gds@mit-eddie.UUCP (Greg Skinner) (12/18/85)
Love-Hounds Digest Wednesday, December 18, 1985, 07:38
Today's Topics:
SuiCiDAL (or should we sat - Rockstar?) tENDencieS
Volcano Suns
Kate Bush interviews in Musician and Rockpool
An experiment
Berkeley at xmas ...
[][][][][][][][][][]
Date: Tue, 10 Dec 85 9:03:59 EST
From: Jim Hofmann <hofmann@AMSAA.ARPA>
Subject: SuiCiDAL (or should we sat - Rockstar?) tENDencieS
They played here last night to a smaller than usual crowd. Suprising, as it
was the only thing going on in town besides the taping of the "Christmas
with Larry" show at the galaxy lounge (special guest: Dr. Ruthless).
Many of the "cool", "in-the-know" upchuckpunks, said they were there for the
opening band, I guess to save face, I dunno. I guess I should mention their
name - Per Capita for journalistic sake or perhaps I should mention thier
fun-filled stomping and trashing of 60's pop songs - "I'm a believer" among
others as well as their slow, shredding rendition of "We are the World" -
dedicated to our favorite performer, Lionel Richie (who was reportedly
retaining water after hearing a tape of this version) ...... so, they
ended their set and we waited for Suicidal Tendencies .... and waited
..... and waited ..... and waited .... meanwhile back at the ranch .....
and waited .... a roadie came out and tuned their guitars and the sound man
played an AC/DC tape .... and waited .... and waited ... Finally the drummer
and soon after the guitar and bass show up. I was expecting lead singer, Mike
Muir to wait until everyone there lit up their lighters or started a cheer of
stomping and trashing of such gems from the poppy 60's (I'm a Believer)
"MIKE MIKE MIKE ..." but he spared us and ripped into a bunch of songs off
the second, less superior, album. (Fashion note for hardcore singers from
Mike Muir: A Suicidal Tendencies T-shirt ($8.00), a crew cut, a blue bandana
tied just above your eyes, now sweat like a dog and hold your microphone
like it is an organic chainsaw or at least a spastic machine gun.) The
best songs of the night came off the first album - Subliminal, Suicidal
Tendencies, I Saw Your Mommy .... the worst song of the night came off the
first album - Institionalized. The youngest kids there were making fun of
this one, kind of reminded me of the early crowd of hardcore types who made
fun of Led Zep ("Oh pls be cool and don't kill me, Mr. Hardcore" said the
pleading kid with a Dead Zep T-shirt) --- I wonder what music *they'll* be
making in 2 or 3 years (perhaps everything will sound like the Church of
the Subgenius???). Anyway, it wasn't the worst song because of this, it was
muddy and after hearing it so many times, I felt it to boring. They should
cut this song from their lineup ... though the psuedo-punks would probably
blubber and cry or something. There was heavy slamming going on, not
recommended to the weak of heart like a certain wimp from nrl-css. (go ahead
post a volcano suns review - but I reserve the right to tear it down of
the supermarket wall! - what's next???? - Picture Week??) ....
Do I sound like a jaded punk? Oh, did I mention I wore a 3 piece suit to see
how "open-minded" these punks really were? The worst name I got called was
"dickhead." One or two people came up and congratulated me for looking the
most different. I just love this punk style!
"Skinhead guys turn me on ... c'mon slamdance" - Fred's Song (BEEFEATER)
[][][][][][][][][][]
Date: Tue, 10 Dec 85 11:20:35 est
From: Tim Wicinski <wicinski@nrl-css.ARPA>
Subject: Volcano Suns
VOLCANO SUNS/SKINNY PUPPY 9:30 CLUB 12/5/85
I showed up early for this show because I was hearing rumors that it
planned to sell out. I was wrong. The crowd tonite was small, but
still eager. I arrived in time to see the first band, Skinny Puppy.
Hailing from British Columbia, this three member trio came onstage
under a huge cloud of smoke. I thought this smoke nonsense went out
with Kiss ?? Well, they consisted of two synth players and a singer,
and all three had voice boxes for effects. Basically, they were awful.
Trying to imitate Bauhaus, they failed miserably and were stuck
in the "depression from a bottle of valium" mode.
At one point the singer
pretended to cut himself with a piece of glass and proceeded to have
fake blood gushing out of his wrist while moaning "I'm dying, I'm
dying...". At best they are a bad imitation of Bauhaus, at worst, well
never mind.
After a long break, mainly because Skinny Puppy had so much junk on
stage they had to clear off, The Volcano Suns. I knew I was in for a
treat when the guitarist walked onstage saying "Enough of this
synthesizer crap, now its time for some real music." With Peter
Prescott (ex -Mission of Burma) singing as well as drumming, this trio
ripped through their set in about 40 minutes. After their second song,
the guitarist stopped and said "Look, look, I cut myself on my guitar
pick ! oh I'm dying I'm dying... look at the blood..." and other cracks
at the first band. They had their set cut short due to the first band
taking so long, but still had enough time to go through most of their
songs from \fIBright Orange Years\fR and still play an encore, a
"burma-esque" version of "1999". What an ending indeed.
[][][][][][][][][][]
Date: Tue, 10 Dec 85 18:03:17 est
From: nessus (Doug Alan)
Subject: Kate Bush interviews in Musician and Rockpool
Kate Bush is the cover story of the 6 Dec 85 issue of Rockpool and there
is an interesting interview with her. I hear that there is also a big
interview with Kate and Paddy in the January (?) issue of Musician, but
I haven't seen it yet cuz it hasn't appeared on the stands around here.
"Watching storms
Start to form
Over America"
Doug
[][][][][][][][][][]
Date: Tue, 10 Dec 85 18:44:30 est
From: nessus (Doug Alan)
Subject: An experiment
Just as an experiment, I'm going to be sending Love-Hounds digest to
mod.music and see what happens. If bad things happen, I'll stop.
-Doug
[][][][][][][][][][]
Date: Tue, 10 Dec 85 21:34:16 PST
From: Jordan Hayes <jordan@ames.ARPA>
Subject: Berkeley at xmas ...
From: hsut@purdue-ecn.ARPA (Tsun-Yuk Hsu)
I'll be in Berkeley and the Bay Area from about Dec 18 to Jan 6.
Are there any concerts I absolutely HAVE to see? What cool
places are there to hit?
Fishbone will be there on the 27th or the 28th ... see them for sure.
There aren't really many "cool" places in Berkeley. It's a shame, but
that's how it goes.
/jordan
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From: umcp-cs!aplcen!uucp@seismo.CSS.GOV
Return-Path: <umcp-cs!aplcen!uucp>
Date: Wed, 11 Dec 85 02:17:31 EST
>From ins_aset@jhunix Tue Dec 10 17:52:57 1985 remote from jhunix
Date: Tue, 10 Dec 85 17:52:46 EST
From: Susanne E Trowbridge <ins_aset@jhunix>
To: love-hounds%mit-eddie.arpa@seismo.UUCP
Hi again...I was just looking through my mail file and I noticed that the
reference to DJ Ennis (i.e. Anus) was in a personal note from Jim, not in
love-hounds. Suffice to say that he and I are rival music directors at
the only two new music college stations in Baltimore, so we'll probably
never be the best of buddies...Hope that clears up the confusion.
Is anyone out there familiar with poet Anne Clark? She has found a good
way to prevent her words from lingering in obscurity - she recites them
over very neat electronic music by John Foxx, David Harrow, and others.
She's quite prolific - I just bought her new album, the name eludes me at
the moment though. I think she's Australian.
I listened to the Jesus & Mary Chain album this morning - it's sort of
headache-inducing and the songs all run together after a while, but for
some reason I like it. Of course, I also liked "Welcome to the Pleasure-
dome" when it was first released. Entertainment through pain...
-Sue
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, ihnp4}!mit-eddie!gds
gds@mit-eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (12/21/85)
Love-Hounds Digest Saturday, December 21, 1985, 13:56 Today's Topics: Drinking is Great Robert Fripp Today's History Lesson Suzanne Vega Dead Kennedys/STD/Mighty Sphincter Re: Today's History Lesson [][][][][][][][][][] Date: Wed, 11 Dec 85 9:51:38 EST From: Jim Hofmann <hofmann@AMSAA.ARPA> Subject: Drinking is Great Not really sure if this is "appropriate to this newsgroup" but I had this review sitting on my disk for awhile with nothing to do with it (after I sent it to my local friendly zine) ... tell me if you don't like this ... Various Artist, Drinking is Great (Fatal Erection, 1985) This comp was mostly brought about through the efforts of Portland scenesters and Tom Pig of Poison Idea who basically chipped in to form a their own label called, ahem, Fatal Erection. This 45 RPM disc just reeks of hell-bent leather and hardcore gospel that absolutely shreds. The title comes as reaction to the Oregon liquor control piggies who have banned all underage people from clubs even if a separate drinking area existed. This has killed a large portion of these bands audience and until they can get a hall or a bar willing to have non-alcoholic shows (fat chance), it don't look too good. Well, score up another one for right wing piggies at least for the moment 'cause judging from the urgency of this music, I doubt if this scene will die. Side one starts off with Poison Idea, who you may be familiar with through that killer Pushead compi- lation, Cleanse the Bacteria. This band features two heavies (and I mean that literally these guys are BIG!) of the Portland scene, Tom Pig (who I mentioned before) and Jerry A. who also have their own wrecking company (!). I wonder if this means they practice in condemned buildings. Anyway, based on first hand knowledge, a Poison Idea show is an exercise in gross and offending excesses. In short, fun. They throw boogers at each other and Jerry A. has been known to spit on the ceiling and let the slime drip back into his mouth. Under- neath this hard shell lies guys who write lyrics like "when you laugh at those with less, where's the humor at" (Laughing Boy), so there must be something here, huh? The other song on this side is by Etherteen (E-13) and is about discovering you have Pancreatis disease by noticing "yellow floaters" in your toilet. I feel the bile rising just thinking about it. Anyway, you might notice the chorus is metered at 7/4 - thereby implying t there might be more to these guys than first imagined. Second Side starts of with Lockjaw, hate band from Seattle, that enjoys popularity among the skinheads in the area. It's called "You Dick". Final Warn- ing ends up the 7" with "I quit" a protest song protesting, gee, against just about anything they could think of. Since this recording, Final Warning has quit and broke up. Either way, you can't go wrong with the price (2.25 through Systematic mail order) and it's great to hear another side of the country that isn't L.A. or San Francisco. [][][][][][][][][][] Date: Wed, 11 Dec 85 11:31:47 cst From: Chris Jepeway <ots!chris415@rice.ARPA> Subject: Robert Fripp is touring??? Where? When? jepeway [][][][][][][][][][] Date: Wed, 11 Dec 85 22:48:00 est From: Tim Wicinski <wicinski@nrl-css.ARPA> Subject: Today's History Lesson on this date (Dec. 11) in 1844 - Nitrous Oxide was first used for tooth extraction. on this date one hundered and thirty years later (1844 + 130 = 1974), Hofmann used Nitrous Oxide for the first time at a party. The outcome...well see for yourself. you lh babbling idiot...but at least I'm not hofmann. tim [][][][][][][][][][] From: umcp-cs!aplcen!uucp@seismo.CSS.GOV Return-Path: <umcp-cs!aplcen!uucp> Date: Wed, 11 Dec 85 23:30:34 EST >From ins_aset@jhunix Wed Dec 11 15:23:36 1985 remote from jhunix Date: Wed, 11 Dec 85 15:23:23 EST From: Susanne E Trowbridge <ins_aset@jhunix> To: love-hounds%mit-eddie.arpa@seismo.UUCP Subject: Suzanne Vega VEGA SHEDS THE FOLK LABEL (c) Baltimore City Paper. Reprinted without permission. Perhaps Suzanne Vega should have run the other way the first time someone called her a folk singer. Granted it's not an entirely inappropriate tag - her roots are in New York's famed Folk City club, and her self-titled debut album earned raves for the best girl-and-her-guitar musings since Joni Mitchell's early LPs. Still, the folk label will probably just serve to turn off a lot of people who might otherwise enjoy Vega's considerable talents as a songwriter and performer. And judging from her November 23 performance at Goucher's Kraushaar Auditorium, Vega's out to prove that she wants to go way beyond that narrow niche of folk. She and her four-piece band opted firmly for popcraft, often reducing her acoustic guitar to just part of the mix, contrary to the sparse sound of the album. If the fleshed-out, full-band treatment detracted a bit from the delicacy of Vega's compositions, the capacity crowd didn't seem to mind. They applauded the beginnings of the songs as well as the ends, and gave her a rousing standing ovation. Even Vega seemed a bit bemused by the intensity of the reception. Of course, she could have led the crowd in a chorus of "Tom Dooley" and still have sounded positively modern after her opening act, Roger McGuinn. It was a little sad to see the former Byrds frontman performing feeble acoustic versions of classics like "R "Turn, Turn, Turn" and "Mr. Tambourine Man"; his quavering voice only served to make the absence of the legendary Byrds harmonies that much more noticeable. His dazzling fretwork on "Eight Miles High" almost saved the show, but on the whole it was embarrassing to watch, and made Vega look even more fresh and exciting by comparison. If she at first seemed to embody the captivating cool of her heroine, German actress Marlene Dietrich, she gradually turned on a winsome charm, delighting the audience with tales of her travels through Europe. After opening with an a capella number, "Tom's Diner," Vega launched into a set that included all 10 songs from her album. There was the eerie, empty soul speaking in "Cracking," lover's games of "Freeze Tag," and a punchy version of her should-have-been-a-hit single, "Marlene on the Wall." She also introduced several new numbers, some very good, like the gently rocking "Luka." Then she announced giddily that she had written a song for an upcoming film, \fIPretty in Pink\fR, directed by teen movie meister John Hughes of \fIBreakfast Club\fR fame. But Vega couldn't transcend the wretched category of Movie Soundtrack Song - "Left of Center" was the low point of her performance, and as she sang her hand firmly covered the strings of her guitar, as if she had to will herself not to play along, just for this one song. Since she has been touring both alone and with her band, it is hard to tell where she'll go from here. If a little more electric guitar and a tougher beat will get her a wider audience, that's ok; her clear, pretty voice doesn't need to change a bit. Vega is simply too good to be written off with a confining label like "folk singer." [][][][][][][][][][] Date: Wed, 11 Dec 85 23:49 MST From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA> Subject: Dead Kennedys/STD/Mighty Sphincter Reply-To: Lippard@MIT-MULTICS.ARPA Today it snowed in Phoenix for the first time since 1939. The weather was cold, windy, and rainy all day and most of the night. That's important for what I describe later. The show was held at the Party Gardens, which used to be Madame Toussad's Royal London Wax Museum. All that's left of the wax museum stuff is a little carousel with horses which used to have wax figures of Goldie Hawn and some other movie stars on it. This is near the back of a pretty large room, a stage was built in the front. Since STD didn't show up (they were arrested in New Orleans while en route to Phoenix), the show was opened up by a folk singer who sounded a lot like Bob Dylan. I didn't catch his name. Surprisingly, nobody booed him or anything, and he got applause and whistles. Mighty Sphincter was pretty bad, the most entertaining things they did were play the theme from the TV show "The Munsters" and have a shouting match with some girl in the audience. They came up with an impromptu song for her benefit, called "suck my dog's weenie" (that being the full lyrical content). Then, after a fairly long delay, somebody from the Party Gardens came on and said that the contract with the DKs said they were supposed to play outside (the Party Gardens has a large grassy area out back) and that Jello refused to sing unless everything was moved out there. He then asked people to please go out quickly and not make a fuss. I was surprised at how many people actually did, given the weather conditions I mentioned above. After a bunch of people went out, the band came on and began playing (and then the people realized they'd been had and came back). The DKs put on a really good show, a lot like the ones described here earlier. Jello did make a number of local comments, like talking about apartheid in Arizona--the indian reservations--when he did his spiel on "USA for South Africa". I was pretty impressed, this was the first time I'd seen them. They've been in Phoenix a couple times before, and I was going to go the last time, but the show was postponed due to Jello's laryngitis and I couldn't make it to the rescheduled shows. Jim (Lippard at MIT-MULTICS.ARPA) [][][][][][][][][][] Date: Thu, 12 Dec 85 03:53:09 est From: nessus (Doug Alan) Subject: Re: Today's History Lesson > From: Tim Wicinski <wicinski@nrl-css.ARPA> > on this date one hundered and thirty years later (1844 + 130 = 1974), Hofmann > used Nitrous Oxide for the first time at a party. What took him so long? "Cutting out little lines" Doug [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, ihnp4}!mit-eddie!gds gds@mit-eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (01/01/86)
Love-Hounds Digest Wednesday, January 1, 1986, 10:10
Today's Topics:
Moderator's Note
Re: My ann-ann-anniversery (whu?)
Question about "Mother Stands for Comfort" (2 msgs)
Confusion
Kate du Jour
Become the envy of your KB fan friends, real cheap!
[][][][][][][][][][]
From: Greg Skinner <gds@mit-eddie.mit.edu>
Subject: Moderator's Note
I apologize for the delay in getting out the mod.music/love-hounds digest. I
was away for Christmas break. Thanks for all the submissions, and especially
the words of encouragement. Keep 'em coming!
--gregbo
[][][][][][][][][][]
Date: Thu, 12 Dec 85 11:49:03 EST
From: Jim Hofmann <hofmann@AMSAA.ARPA>
Subject: Re: My ann-ann-anniversery (whu?)
Tim you are wrong ... it was one hundred and thirty three (or was it four) ...
uh, years since? what am i talking about? oh yeah, the results!
all I remember is that is was a party celebrating the release of Candy-O by
the Cars ... your're write --- haven't been the same since.
"in someone's bathroom
turning blue, puking green
your seeing how it's 17
stars on your brain
your drinking beer
smoking weed
nother acid tab
nother shot of speed
...
you are just a fish
in a sea of human being
lost and caught up in someone elsse's dream
[intelligble]
cause you might drown
..." - Dirty Rotten Imbeciles (from Dealing With It)
"turn me to the monkey beat
... with vodoo on a sti-sti-sti-stick" - Whodini (Escape)
[][][][][][][][][][]
Posted-Date: 13 Dec 85 15:36:57 PST (Fri)
Subject: question about "Mother Stands for Comfort"
Date: 13 Dec 85 15:36:57 PST (Fri)
From: tsung@aero
On my nth listening to HoL, the song "Mother Stands For Comfort" again
sent chills up my spine. If this is really a love song to Mother, then
why does the arrangement give such a . . . haunted/chilling atmosphere
to the song? For me, it conjures up an image of a huge house with an
overpowering mother figure about to beat up little-girl-Kate in the
corner shaking with fear. First time I heard the song (without paying
attention to the rest of the lyrics), I thought Kate was being sarcastic,
what with the title verse sung repeatedly aginst the background, plus that
at one point she goes " . . . make me do this, make me do that . . ."
So what do you experienced KBologists think? Do I have an association
problem?
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From: umcp-cs!aplcen!uucp@seismo.CSS.GOV
Return-Path: <umcp-cs!aplcen!uucp>
Date: Fri, 13 Dec 85 00:29:47 EST
>From ins_aset@jhunix Thu Dec 12 13:28:43 1985 remote from jhunix
Date: Thu, 12 Dec 85 13:28:35 EST
From: Susanne E Trowbridge <ins_aset@jhunix>
To: love-hounds%mit-eddie.arpa@seismo.UUCP
Subject: confusion
I sent two postings the other day - I don't remember exactly what I said
in the first one, but the second one was largely to explain a reference I
had made in the first one. Naturally, the second one got through, the
first one got lost. Sorry 'bout that. I really don't try to be cryptic
on purpose...
IN any case, here is more info on the Some Bizzare (yes, that's the correct
spelling) compilation, "If You Can't Please Yourself You Can't Please Your
Soul."
1. Scraping Foetus Off The Wheel, "The Only Good Christian Is A Dead
Christian." Foetus strives to be offensive, and succeeds rather nicely,
thank you. (On the day that I met him, he was regaling everyone with his
favorite quote, "A woman's place is on my face.") There's little middle
ground here - you'll either love Foetus or you'll hate 'im. Most people
will probably hate him. Personally, I'm a fan. This is fairly represen-
tative of his work.
2. Cabaret Voltaire, "Product Patrol." Another good one from one of my
favorite bands. They're quite prolific these days. Their LP, "The Cove-
nant The Sword and The Arm of the Lord," is one of the year's best.
3. Test Dept., "Total Nervous Phenomenon." Noisy...
4. Marc Almond, "Love Amongst the Ruined." A long torchy thing; I loooove
Marc's voice, but I looooved it much more when he was in Soft Cell and he
had that electronic punch to back it up.
5. Psychic TV, "Twisted." From the remains of Throbbing Gristle...Psychic
TV's alter-ego is Coil (who are on side 2).
6. The The, "Flesh and Bones." Unbelievably good. Totally wonderful and
stupendous and all that...Boy, was I glad to get my hands on this track
after the super-long wait since "Soul Mining." I hope there's an LP from
Matt on the way. In the meantime, I've been playing this constantly.
7. Coil, "The Wheel." Coil's best song, I think - much more "pop" that
their "Scatology" LP or their weird version of "Tainted Love."
8. Yello, "The Roxy Cut." I think this is a remix of an earlier Yello song,
but since I only have one of their albums, I'm not sure what that song is.
Good and danceable, in any case.
9. Virginia Astley, "Waiting to Fall." Sort of pretty - wonder what she's
doing in the company of all these weirdos?
10. Einsturzende Neubauten, "Wardrobe." More alternative noize stuff.
In other words, there is something on this album for EVERYBODY. It is a
very good introduction to Foetus, Test Dept., etc. since it's got a balance
of weird stuff and accessible stuff. Buy or die, as Ralph Records used to
say!!
A note on the KB interview in Musician -- Kate talks about her great admir-
ation for Bryan Ferry!!! What stupendous taste, Kate!! Wonder what Bryan
thinks of her music?
-Sue
[][][][][][][][][][]
From: umcp-cs!aplcen!uucp@seismo.CSS.GOV
Return-Path: <umcp-cs!aplcen!uucp>
Date: Fri, 13 Dec 85 13:40:55 EST
>From ins_aset@jhunix Fri Dec 13 10:23:53 1985 remote from jhunix
Date: Fri, 13 Dec 85 10:23:44 EST
From: Susanne E Trowbridge <ins_aset@jhunix>
To: love-hounds%mit-eddie.arpa@seismo.UUCP
Subject: Kate du Jour
In the latest SPIN magazine, "HOL" is their Platter du Jour (best of the
month, I guess). The review is rather simplistic but there's a nice pic
of KB in a weird little hat with a tassel...
(Reprinted w/out permission, of course.)
If Kate Bush had been a writer instead of a musician, she might have
written something like "Alice in Wonderland." She writes children's
songs for adults, constantly drifting into girlish dreams, while main-
taining a vibrant sense of romantic adventure. Every little daydream
and all her fragile emotions are projected into a fantasyland of poetic
imagery and off-beat music. With traces of classical, operatic, tribal,
and twisted pop styles, Kate creates music that observes no boundaries
of musical structure or inner expression.
Though she has always been a top 10 artist in Europe (this album was
No. 1 in England as of this writing), her odd style and even odder vocal
squeal have always kept her off the American charts. (ST note - Well,
"The Man With The Child In His Eyes" *did* make it to #89 or thereabouts...)
But even though Kate continues on an offbeat course, this album might gain
her some well-deserved recognition from the American mainstream.
On "HOL," Kate continues making Gothic pop with brooding string arrange-
ments, sparse and dissonant percussion (ST note - sparse??), and her
bittersweet vocal squawks and squeaks. While she introduced intermittent
pop touches on her previous album, "The Dreaming," her music is still
anything but pop. On side one's "RUTH" and the title cut, she maintains
her romantic edge, but structures her songs more accessibly, singing
within a range that isn't overly abrasive or far-reaching. These changes
don't appear to have been made as concessions, and certainly don't hurt.
The rest of side one has more of Kate's twisted musical sensibility and
the lyrics deal with her confused romantic desires. She wants to be
enraptured by love, but always ends up shattered and lonely. Just when
she wants to be left to herself, she becomes morose in her independence.
On "The Big Sky," Kate again adds a more accessible touch, with hints of
psychedelia, but then returns to the familiar womb of her childhooe
fantasyland on "Mother Stands for Comfort." The side closes with "Cloud-
bursting" (sic), which appears to be an anti-nuclear song with an arrange-
ment framed by haunting orchestration and a minimal rhythmic approach.
While side one is subtitled "The HOL" and is a collection of quite diffe-
rent songs, side two, entitled "The Ninth Wave," is a somewhat loosely
interconnected collection of musical movements that are even more
bizarre and mystical than Kate's previous works. She dreams again on the
operatic "And Dream of Sheep" and is emotionally trapped on the claustro-
phobic "Under Ice." On "Waking the Witch," one of the most puzzling
songs on the album, Kate brings a funkier edge to her music and seems to
be in a state of spiritual confusion. Any other interpretations beyond
that should be left to individual opinion.
It took three years for Kate to make this album, and it was two years
before that that she last released an album. (ST note - I thought "The
Dreaming" was 82) With no plans to tour America, Kate is likely to remain
obscure on this side of the Atlantic. While her eclecticism is well
(scratch that) welcomed and rewarded in her homeland her genius still
goes ignored here - a situation that is truly a shame for an artist so adventurous and naturally theatrical.
Comments????????? At least the guy tried to go a little deeper than most
reviewers... (by Steve Matteo, btw.)
-Sue
[][][][][][][][][][]
Date: Sat, 14 Dec 85 01:04:25 est
From: nessus (Doug Alan)
Subject: Re: question about "Mother Stands for Comfort"
> From: tsung@aero
> On my nth listening to HoL, the song "Mother Stands For Comfort" again
> sent chills up my spine.
Yeah, it send chills up mine too!
> If this is really a love song to Mother, then why does the arrangement
> give such a . . . haunted/chilling atmosphere to the song?
Because it's about how a mother's love for her child transcends
morality. The child has done something horrible and wrong, but their
mother will still love them.
> For me, it conjures up an image of a huge house with an overpowering
> mother figure about to beat up little-girl-Kate in the corner shaking
> with fear.
Gee, I dunno why you'd picture that? I always pictured a child stricken
with fear going to their mother for comfort.
"Mother will hide the mad man"
Doug
[][][][][][][][][][]
Date: Sat, 14 Dec 85 04:15:17 est
From: nessus (Doug Alan)
Subject: Become the envy of your KB fan friends, real cheap!
> From: genrad!grkermi!andrew
> To: genrad!mit-eddie!nessus
> Thought you might be interested in the following ad (Rockaway Records
> catalog #103, bound inside Goldmine #141):
> K A T E B U S H
> A collection of misc. one of a kind items, for example: original color photo
> (13x17) used for 1st issue of cover of US "Kick Inside" LP; set of 4 color
> photos (11x13) which were *not* used for cover of 1st issue of "Kick Inside";
> paste-up for magazine ad for 2nd issue of "Kick Inside" LP; plus many more
> items. Sold as a set only - the ultimate for Kate Bush fans. $500 (plus
> extra postage). Call for more details.
> The address is:
> Rockaway Records
> 2506 N. Glendale Blvd.
> Los Angeles, CA 90039
> (213) 664-2135
> AWR
> P.S.: I have dealt with Rockaway in the past and been satisfied.
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, ihnp4}!mit-eddie!gds
gds@mit-eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (01/04/86)
Love-Hounds Digest Saturday, January 1, 1986, 13:52
Today's Topics:
Boston in December
KB article in Stereo Review
Robert Fripp review
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Date: Sat, 14 Dec 85 18:14:59 est
From: Tim Wicinski <wicinski@nrl-css.arpa>
Subject: Boston in December
I'm going to be in New Hampshire from Dec 20 -25 and wanted to know
who will be playing down in Boston during those days, and if
anybody will be around there during that time....
I know there's a few boston-ites on this list....
tim
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Date: Sun, 15 Dec 85 15:20 MST
From: Shoo <RLLeatherwood@HIS-PHOENIX-MULTICS.ARPA>
Subject: KB article in Stereo Review
Reply-To: RLLeatherwood%System-M@CISL-SERVICE-MULTICS.ARPA
Subject: KB article in Stereo Review
THE NEW KATE BUSH
Kate Bush is a spellbinding storyteller, a vocal acrobat, and an
intriguing composer and arranger. What she hasn't been credited with until
now is a pretty voice. In fact, Bush has always gone out of her way to make
her listeners uncomfortable. That's changed with her new album, "Hounds of
Love." This time Kate Bush will meet you halfway.
Although "Hounds of Love" deals with a lover's murder and death by
drowning, compared with her brilliant but difficult 1982 release, "The
Dreaming," it's positively tranquil. The bizarre vocal tricks--roller-coaster
phrasing and digitized, reassembled voice--that characterized the earlier
album have been relegated to occasional ornamentation, and the lurching,
fits-and-starts rhythms of "The Dreaming" have given way to more conventional
rhythms rooted in African and Irish folk music. Bush's singing here is
sensitive, almost girlish. It may be a compromise, and it's certainly not as
daring as its predecessor, but you're far more apt to be able to sit through
it without suffering an anxiety attack.
The new album is actually two mini-concept albums. Side one, also titled
"Hounds of Love," is the more elusive since it is less about love than about
some of love's attendant emotions--fear, alienation, rage, and confusion. In
the title song, for instance, the narrator compares falling in love to a fox
being chased down by hounds. Much of the "Hounds" marches along to steady,
galloping rhythms. Bush employs drums very much the way Peter Gabriel does,
setting the music in motion through a succession of violent climaxes and
hushed pauses. Her vocals carry on a dialogue with, in turn, piano, drums,
and bass, and they are shadowed virtually everywhere by a Fairlight backing
vocal.
"Hounds" is far more pleasant to listen to than to contemplate, and the same
is true of side two, "The Ninth Wave," which re-creates the last moments of a
drowning victim, an eternity of recollections and hallucinations compressed
into a few final breaths. Here the electronic effects are more
integral--whirring helicopters, bullhorns, tangled tape-loop voices, chiming
synthesized church bells, echoing snatches of conversation, and a host of
fantastic characters hurtle into and out of the victim's ebbing consciousness.
Bush's vocals, which explore a range of feelings--terror, sadness,
resignation, and, finally, euphoria--are posed against an instrumental tableau
in which sttrings, piano, and synthesizer shift in and out of the foreground.
The growing sophistication of Kate Bush's compositions, arrangements, and
production techniques does not obscure her unique, weird point of view. Only
she could make such macabre subjects so seductive.
Written by Mark Peel in the January 1986 Stereo Review. Reprinted without
permission.
-Robb Leatherwood
RLLeatherwood%System-M at CISL-SERVICE-MULTICS.ARPA
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Date: Mon, 16 Dec 85 07:01:29 est
From: Tim Wicinski <wicinski@nrl-css.ARPA>
Subject: Robert Fripp review
Robert Fripp and the League of Crafty Guitarists
George Washington University, Dec. 14, 1985.
in One Word: Awesome
Robert Fripp is one of those people who you see in concert and you walk
away still not sure what you have witnessed. Last nite was no
exception. In the room where he played, there was 18 wooden chairs
situated in a semi-circle around the stage. For the audience there was
no chairs, just one big rug, and pillows for people who could sit on
the rug. Then the guitarists came out one by one, with Robert being
the last one. As they stood there, they looked over the audience,
going from their left and working right. Then with a nod from Fripp,
they say down and proceeded to play 6 pieces, all new. The music was a
distinct cross between Discotronics and Frippertronics, with a leaning
towards his work on "Let the Power Fall." After 5 pieces, he stood up
and started to read some of the press releases written in the various
papers. Each article was seriously flawed in the presentation of
facts. The article written by JD Considine, his only comment was "Too
flawed to begin to discuss." The other one that he read was from the
City Paper, and contained a quote that he harped on. The quote was
"Mr. Fripp has assembled a group of close friends, studio musicians,
and advanced students." This was wrong in every way. These other 17
guitarists were students from his class that have been working with him
for 12 days !!! Last sunday they traveled to Charleston WV, and did a
live broadcast for West Virgina Public Radio. This performance was
being used to tape an album of this music for EG records, and the
students found out about the show two days before it !!! Talk about
being hit with something. To prove his point that these people were
not accomplished guitar players, he did an impromptu class on stage,
making them play a certain note, then play the note of the guitarist
next to them. After listening to them flail for a few minutes, Fripp
then repeated the phrase "Friends, Studio Musicians, and Advanced
Students..." a few times for effect. They then ended up the show with
an acoustical version of Lark's Tongue in Aspic, Part II. I didn't
recognize it at first, but after a few minutes it all came clear.
I called the music 'pieces' but now I considered them to be more like
exercises, since it is a class. Also, Fripp described
the whole art-rock music as "wretched. I was in the middle of the whole
thing and I found it to be the most pompous and wretched thing I've
seen." I found the performance delightful, even though it's not the
type of music you could listen to for hours, but its very good
background/ambient music.
Note for the curious: No, I couldn't tape it, but they were (Fripp, et al).
Nor could I talk to them, since the added a second show that nite,
and I couldn't hang around because I would have missed the train.
tim
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--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, ihnp4}!mit-eddie!gds
gds@mit-eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (01/08/86)
Love-Hounds Digest Wednesday, January 8, 1986, 12:50 Today's Topics: Moderator's note Hat with tassle? washing me down, washing me down ... kb rarities ... (2 msgs) What an endorsement! SISTERS OF MERCY (2 msgs) The lush life London Vice [][][][][][][][][][] Date: Wed, 8 Jan 86 12:50:30 est From: Greg Skinner <gds@eddie.mit.edu> Subject: Moderator's note I am sorry about the two weeke delays in love-hounds. I will try and get the digest out in a more timely fashion. Greg Skinner (The Moderator) [][][][][][][][][][] Date: Sun, 15 Dec 85 17:30:06 est From: H. Chai <utflis!allegra!ihnp4!utcsri!chai> Subject: Hat with tassle? >From: Susanne E Trowbridge <ins_aset@jhunix> >In the latest SPIN magazine, "HOL" is their Platter du Jour (best of the >month, I guess). The review is rather simplistic but there's a nice pic >of KB in a weird little hat with a tassel... In this month's _Wilson_Library_Bulletin_, the same pix appeared in their recording review section. This section is penned by Bruce Pollock, editor of the mag _Guitar_. He has this to say bout KB: "Kate Bush, the eternal English schoolgirl as temptress, continues her bewitching mastery of music's sensual side in an extended mood piece as elusive as emotion. Luckily most of Kate's work has been free of exposure on MTV." The September issue features Suzanne Vega. He sez: "Mixed with memorable and eminently repeatable melodies, her urban vignettes are constructed with care and cut deep, as opposed to the overly arch and confessional works of the early Mitchel, of the folk period in general. Not especially confessional, her songs nevertheless spring to life full of pictures, twists of phrase and melody line." He also mentions that SV has "at least half a dozen cuts premiered" in the _Fast Folk Musical Magazine_. This is an album/newsletter which features "the country's next wave of folk artists on record each month." I don't suppose there are a lot of folk music fans on the love-hounds list, but if you're interested write Jack Hardy 178 W. Houston St. NY, NY 10014 -- henry [][][][][][][][][][] Date: Mon, 16 Dec 85 10:22:30 EST From: Jim Hofmann <hofmann@AMSAA.ARPA> Subject: washing me down, washing me down ... or SAMHAIN (formerly THE MISFITS) - FRIDAY, DEC 6, 1985. Imagine yourself in a dark, damp, cave. Thousands of eyes are peering at you, looking you over, weighing your flesh, waiting for the right time to attack. Suddenly, a blitzkrieg of sound, loud guitars, tribal drums, things that go bump in the night basso --- a light turns on the leader of the gang, Glenn Danzig - his shiny black hair perpetually over his eyes. He is standing over the mohawked horde, directing them in the finer points of eating flesh. The music is getting louder and louder and your skin is starting to crawl and it keeps on crawling right off your body. Your innards seep down seeking gravity perhaps the only true law in effect. The mohawked hordes fall to the floor slobbering up your entrails ... Danzig looks at you and invites you to partake in your own initiation; he beckons with his hands; he urges you with his voice, a voice unintelligible yet still not without meaning. The music plays on - forever a benchmark in your mind of what music can and should be. A peek into the terror of SAMHAIN and you will never be the same. The question that will always stick in your mind like a shattering lump of death is how one group can sound so racuous, so raw, so intense and still be united as one. Like their major influence, Plan 9 - they explore the dark side of unreality, the part we are taught from day one never to seek but when it rips up inside us, the rest of society gobbles in fascination, sells you on supermarket shelves, convicts you on network TV, then throws you away to rot in some desanitzed hell. Unlike Plan 9, they sport a razor edge sharpness and clarity; they know what they want to say and they know how to say it ... none of this slow, spooky wailing for the terror to grapple you; SAMHAIN harnesses the terror, reins it but never dares to train it or break it ... they merely exhibit it in its nose snorting, hoove clattering glory to the mohawked hordes and urine truly, society's future flesh eaters. Their recorded work, though, is alot different than seeing them live - so don't make judgements based on just listening to vinyl. They have a new LP due out in three weeks, they wouldn't tell me the label as if talking about it would destroy their chances. If you didn't know already, they have picked up a new bass player and drummer (Loudon May, formerly of REPTILE HOUSE) but they sound like they've been playing with the band for a long time. There were no new right religous groups picketing as promised, but don't be suprised if you go to see them and get acosted by the self-righteous. Danzig requests you ignore them but get word to him so he can go out and "talk" to them (i.e. shove his fist down their throat) as they seem want to avoid confronting him directly ... could be even better than the opening act though the SPASTIC RATS did quite a good job last Friday (Dec 6). They are really developing their own sound and their 7" is available through Systematic now. As usual, you can go get it or die. They excelled on "I Stand Alone" and a new one, "Ghosttown", and I would recommend them to anyone into rok musik. After the SAMHAIN show I went to see a group called the X-MEN. By no means patronize these fusion turds unless you wanna hang out with designer hippies, you know the type that were born 15 years too late. The white part of the band are pretty much asswipes too. Overheard conversation: White Guitarist to Friend: "What are you on tonight?". Friend: "Oh, just some pot". WG:"That guy over there has some coke." Friend: "Awww, he's a fag." WG: "Oh. Hey, I'm jetting out to LA tonight to do some studio work" - at this point I broke in to tell him he must be suffering from pre-jet lag since he played like beached porpoise. They roundly ignored me so I struck up a conversation with the Portugese barmaid. She had just gotten of a "crew ship" and was good friend with Rod Stewart:"He get up at 11:00 each day and run 6 miles until he drop then he go to bar and you know drink until he drop." Gee, sounds like a fun guy. Can I meet him? >hofmann [][][][][][][][][][] Date: Mon, 16 Dec 85 13:22:45 EST From: Jim Hofmann <hofmann@AMSAA.ARPA> Subject: kb rarities ... recently while christmas shopping I came across this k bush stuff. Anyone care to comment: A Kate Bush Christmas album?????? A bootleg (?) from the Tawian Fan club. What's on these LPs? hofmann [][][][][][][][][][] Date: Mon, 16 Dec 85 23:13:42 est From: nessus (Doug Alan) Subject: Re: kb rarities ... > From: Jim Hofmann <hofmann@AMSAA.ARPA> > recently while christmas shopping I came across this k bush stuff. > A bootleg (?) from the Tawian Fan club. There are two bootlegs from the Fan Club of Taiwan that I know of. One is called "Paris 1979" and has some stuff taken from a recording made on a cheap hand-held tape-recorder of one of her 1979 concerts. It has an early danceable (!) version of "Egypt" on it, that is so different from the version of "Never For Ever" that it's really wild to hear. I wish I could get a high fidelity copy of this version of the song. The other Fan Club of Taiwan album is a double album. It is called "Kate Bush Live in Europe 79 & 80". One record is the soundtrack to the "Kate Bush Live at the Hammersmith Odeon" video tape, and the other album is the soundtrack to the hour long Christmas special called "Kate" that she did in 79. The Christmas special, besides having some somewhat different versions of some of her early album songs, as well as videos for Egypt, Ran Tan Waltz, The Wedding List, etc., also has a duet of Kate Bush and Peter Gabriel singing Roy Harper's "Another Day" and a short little song for three acappela voices (that people call "The Angel Gabriel") to introduce Peter Gabriel's "Here Comes The Flood". > A Kate Bush Christmas album?????? I've never seen this? It must be a bootleg. Does it look like a bootleg? It's probably also the soundtrack to the "Kate" TV special. There is a real Kate Bush Christmas *single*, though. It's from 1980 and is called "December Will Be Magic Again". It's a *wonderful* song! "Oooh, and see how I fall" Doug [][][][][][][][][][] Date: Tue, 17 Dec 85 00:07:31 est From: nessus (Doug Alan) Subject: What an endorsement! In the current issue of "No. 1", Simon Le Bon reveals that his favorite female singer is Kate Bush. And that he thinks her new album is great. What an endorsement, huh! Maybe now millions of rabid Duran Duran fans are going to run out and buy KB's new album. Oh boy! Hungry like the hound, Doug [][][][][][][][][][] Organization: The MITRE Corp., Bedford, MA Date: Fri, 13 Dec 85 13:38:44 est From: Chris J. Valas <linus!cv@mitre-bedford.ARPA> Posted-Date: Fri, 13 Dec 85 13:38:44 est Subject: SISTERS OF MERCY -=- Have any of you in there heard these guys latest, _First and Last and Always_ ? NO? Go find a copy and play it really LOUD, but you better nail your door shut because your neighbours are going to be coming up to kick it in with their shiny jackboots when they hear this one. Because, "There's a black planet, a black planet hanging over the highway, Out of my minds' eye, Out of my memory, There's a black world, black world." HA!-HA!-HA! Chris J. Valas {decvax,utzoo,philabs,security,allegra,genrad}!linus!cv -=- [][][][][][][][][][] Date: Tue, 17 Dec 85 01:20:42 est From: nessus (Doug Alan) Subject: Re: SISTERS OF MERCY > Have any of you in there heard these guys latest, _First and Last and > Always_ ? NO? YES! Wonderful album! Great for dancing around to when you when you wanna be depressed. -Doug [][][][][][][][][][] From: umcp-cs!aplcen!uucp@seismo.CSS.GOV Return-Path: <umcp-cs!aplcen!uucp> Date: Tue, 17 Dec 85 01:00:29 EST >From ins_aset@jhunix Mon Dec 16 15:30:45 1985 remote from jhunix Date: Mon, 16 Dec 85 15:30:37 EST From: Susanne E Trowbridge <ins_aset@jhunix> To: love-hounds%mit-eddie.arpa@seismo.UUCP Subject: The lush life Kate confesses in MUSICIAN magazine that she gets drunk before recording some of her vocal performances!!! She was a little sussed while singing "The Big Sky," and very drunk while recording either "Waking the Witch" or "Jig of Life" (can't remember which she mentioned). Hic! -Sue [][][][][][][][][][] Date: Tue, 17 Dec 85 02:25:15 est From: nessus (Doug Alan) Subject: London Vice > [Sue:] Kate confesses in MUSICIAN magazine that she gets drunk before > recording some of her vocal performances!!! She was a little sussed > while singing "The Big Sky," and very drunk while recording either > "Waking the Witch" or "Jig of Life" (can't remember which she > mentioned). And a couple years ago Kate said she didn't like alcohol. Gee, she drinks, smokes, tokes, and is addicted to Kit Kats. Who knows what's next? Already she's singing about poppies and cutting little lines.... And she probably doesn't get enough complete protein and trace elements because of a vegetarian diet. Oh well, live fast, die young, and put out a bunch of wonderful albums, Kate! Sport death, Doug [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, ihnp4}!mit-eddie!gds gds@mit-eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (01/09/86)
Love-Hounds Digest Thursday, January 9, 1986, 12:28 Today's Topics: Re: kb rarities ... wretched and pompus art rock (3 msgs) Taiwan fan club bootleg Yet another review of HOL (2 msgs) KB & Joni comparison (2 msgs) Cloudbusting Video (2 msgs) 'Bye everyone... Xmas presents -------------------- Date: Tue, 17 Dec 85 10:28:34 EST From: Jim Hofmann <hofmann@AMSAA.ARPA> Subject: Re: kb rarities ... >> A Kate Bush Christmas album?????? >I've never seen this? It must be a bootleg. Does it look like a >bootleg? It's probably also the soundtrack to the "Kate" TV special. Actually, I kinda lied. What I saw was an article in the local paper, which listed Christmas albums ... and think they called it Kate like the 2nd part of the Taiwan Fan Club Boot. Maybe they got it released legit or separated it. I didn't in fact see it. I did see the first Tawain Club bootleg at Vinyl Discoveries and can pick it up for anyone interested as I'm going back there today to get a HIRAX album. (anyone hear of them?) hofmann -------------------- Date: Wed, 18 Dec 85 09:48:17 est From: Tim Wicinski <wicinski@nrl-css.arpa> Subject: wretched and pompus art rock speaking about the subject, I heard that ELP is getting back together. It will be Called Emerson, Lake, and Powell. Cosy Poweel joined the other two, mainly because Carl Palmer making huge gobs of money being a geek for Asia. I've heard the name of Cosy Powell before, but I'm not sure where. uurgh....death to writers who dont report the facts... -------------------- Date: Wed 18 Dec 85 08:31:05-PST From: Bob Knight <KNIGHT@SRI-NIC.ARPA> Subject: Re: wretched and pompus art rock Yeah. Cozy Powell. He played in the Jeff Beck Group and Ritchie Blackmore's Rainbow. Seems like he's determined to climb down the ladder as quickly as he can, eh? Bob ------- -------------------- Posted-Date: 18 Dec 85 09:01:37 PST (Wed) Subject: Taiwan fan club bootleg Date: 18 Dec 85 09:01:37 PST (Wed) From: tsung@aero That's interesting--I'm from Taiwan, but don't know of such club. But then I left there 8 years ago and did not exactly keep up with their western music scene. I did see what must've been the first Taiwan club bootleg in a local store once, it seemed to contain mostly songs from "The Kick Inside" album. I didn't pick it up, but it was gone the next time (some other l-hound lurking around in Pasadena . . .). Female vocalists with "sweet" voices has always been popular in Taiwan (e.g. Olivia Newton-John), so I'm not surprised if Kate attracted a following there with her earlier work. I just hope the fan club (given that it existed) didn't die with the release of "The Dreaming"! :-) Maybe I can somehow get more info on this (club) from (what's-left-of) my friends in Taiwan. No promises, though. Fu-Sheng -------------------- Date: Wed, 18 Dec 85 10:04 MST From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA> Subject: Re: wretched and pompous art rock Reply-To: Lippard@MIT-MULTICS.ARPA That's old news. More recently I heard that Cozy Powell left the new ELP to form a new heavy metal band, so they're looking for a new "P". Jim (Lippard at MIT-MULTICS.ARPA) -------------------- Date: Wed, 18 Dec 85 13:41:01 GMT From: mit-amt!seismo!mcvax!ukc.uucp!lkt Subject: Yet another review of HOL < Line eater : I aint afriad of no mail : -> Munch , Munch > The following review appeared in Phoenix:The magazine for Kent students :- My comments in --. After three years absence, Kate is back with an album that could only be called a myraid of haunting spectualar tracks. The *Wuthering Heights* screeching has been replaced with a patchwork of sounds including Sade-esque soul, traditional irish folk backing music and drumming that could have originated at an Apache indian tribal dance! Although this mixture sounds well [,] its odd to say the least; the credit goes to Kate for getting it to work!! And it does!! She's lost the little girl lyrics and come up with subtle political messages , hard-hitting poetry and there's even helicopter sounds at the end of *Waking the Witch* on side 2 which are taken from Pink Floyds *The Wall*. [ Big deal !! ] Some cynics may say its too fragmented, *EMI* had to be bullied into releasing it [anybody else heard this ?] and others think her passe but. *Hounds of Love* is the *Best* album l've heard this year and was well worth waiting for!! [Reviewed by T.B.] ================================================================================ My comments :- First i think the people at Phoenix should get a better proof-reader, in the original *Waking the Witch* was *Walking the Witch* :-) The reviewer talks about subtle political message, I did'nt think there were any on HOL. The comment about Helicopter sounds being from *The Wall* , so what was so great about this?? Finally even though the Reviewer seems to be confused , at least he/she likes the album. Oh, and before I forget :- A Merry Christmas and a Happy New Year!!!! "December will be magic again" ------------------------------------------------------------------------------- UUCP: ...!{ ihnp4!seismo }!mcvax!ukc!lkt | L.K.Turner ARPA: lkt%ukc@ucl-cs | Computing Lab. , University of Kent | Canterbury , Kent CT2 7NF , UK. -------------------- Date: Wed, 18 Dec 85 23:10:32 est From: hound!hejira Subject: KB & Joni comparison Geez Doug, sounds like all that bitterness on your part about Kate's being compared to Joni was fruitless. After all, in the January issue of _Musician_, Kate draws the comparison herself (comparing her shift from that strained [my word], high voice in her early work to the more full- bodied, deeper voice on TD & HoL to Joni's shift from the her high voice of her early work to her deeper, jazzier voice of her later work). See, the goddess herself has committed the crime of crimes. SO THERE!!! Next, maybe Joni will compare herself to KB. Then again, I wouldn't want *her* to stoop so low. :-] - Rob Preston <ihnp4!hound!hejira -- AT&T Bell Labs> -------------------- Date: Wed, 18 Dec 85 23:10:47 est From: hound!hejira Subject: Cloudbusting Video Just saw the Cloudbusting Video on U68 (EWR/NYC). The VJ announced afterward that it (the song) is based on a true story that happened in the Pacific Northwest in the '50s. Have I missed something, or is he out of his mind? Last I heard, Organon was something out of a sci-fi novel and wasn't anywhere near Hood Canal. - Rob Preston <ihnp4!hound!hejira -- AT&T Bell Labs> -------------------- Date: Thu, 19 Dec 85 00:03:54 est From: nessus (Doug Alan) Subject: Re: Cloudbusting Video > From: Rob Preston, > Just saw the Cloudbusting Video on U68 (EWR/NYC). The VJ announced > afterward that it (the song) is based on a true story that happened > in the Pacific Northwest in the '50s. Have I missed something, or > is he out of his mind? Last I heard, Organon was something out of > a sci-fi novel and wasn't anywhere near Hood Canal. It is based on a true story! It's based on "A Book Of Dreams" by Peter Reich, who is the son of Wilhelm Reich. "A Book Of Dreams" is about the experiences Peter had with his father. I thought that most of the book takes place in Arizona (I haven't read it yet, though I have read one chapter that I have a xerox of), but I could be wrong.... Henry Chai should know, and I'm sure he'll tell us. "I still dream of Orgonon" Doug P.S. I asked Kate why she misspelled "Orgonon" and "Organon", and she said it wasn't intentional. "Organon" is a real word and Wilhelm Reich used "Orgonon" as a pun.... -------------------- Date: Thu, 19 Dec 85 00:18:20 est From: nessus (Doug Alan) Subject: Re: KB & Joni comparison > From: Rob Preston > Geez Doug, sounds like all that bitterness on your part about Kate's being > compared to Joni was fruitless. I don't mind if they are compared like "Both Kate Bush and Joni Mitchel are wonderful artists." I just get uspet when people say "Kate Bush is the next Joni Mitchel". (Of course, this was said most often before "The Dreaming" and isn't likely something that you'd hear now -- now you hear "Suzanne Vega is the next Joni Mitchel"...) It just bothers me because I don't see much similarity in their music. (Though now that Joni is getting it on with Fairlights and drum machines....) > After all, in the January issue of _Musician_, Kate draws the > comparison herself (comparing her shift from that strained [my word], > high voice in her early work to the more fullbodied, deeper voice on > TD & HoL to Joni's shift from the her high voice of her early work to > her deeper, jazzier voice of her later work). Strangely enough, I like KB's lower voice better and JM's higher voice better (though I like all of KB's voices better than any of JM's voices). > See, the goddess herself has committed the crime of crimes. SO > THERE!!! But she didn't say "I'm the next Joni Mitchel"! She was just using JM as an example of why she likes to sing lower now than she used to. Besides, what does Kate know anyway! She doesn't even know that "There Goes A Tenner" was really about her fear of producing "The Dreaming"! "Apart from a photograph, they'll get nothing from me" Doug -------------------- From: umcp-cs!aplcen!uucp@seismo.CSS.GOV Return-Path: <umcp-cs!aplcen!uucp> Date: Thu, 19 Dec 85 01:01:54 EST >From ins_aset@jhunix Wed Dec 18 19:37:38 1985 remote from jhunix Date: Wed, 18 Dec 85 19:37:34 EST From: Susanne E Trowbridge <ins_aset@jhunix> To: love-hounds%mit-eddie.arpa@seismo.UUCP Subject: 'Bye everyone... Just thought I'd say goodbye -- I'm heading to Michigan for a family yuletide, & all that. I'll try to keep up with my mail via modem, but the cost may prove too prohibitive, even at the low rate hours... ...so have happy holidays! I know I'll be trying to... -Sue ps- My dad is 52 and he bought HOL about a month ago -- and loves it! Hmmm, should I give him "The Dreaming" for xmas? -------------------- Date: Thu, 19 Dec 85 01:44:58 est From: nessus (Doug Alan) Subject: Xmas presents > From: Sue > ps- My dad is 52 and he bought HOL about a month ago -- and loves it! > Hmmm, should I give him "The Dreaming" for xmas? Sure! I dunno if he'll like it, but it'll be interesting to see what he says. My mum makes funny faces whenever I play "The Dreaming", but doesn't dislike her earlier stuff and some of "Hounds of Love". However, she thinks that Roy Harper's voice is even worse than KB's on "The Dreaming". Maybe I should bring some Nina Hagen home this Xmas.... "Hallowed be thy name" Doug -------------------- Date: Thu, 19 Dec 85 01:51:44 est From: nessus (Doug Alan) Subject: Re: Yet another review of HOL > From: lkt@ukc.uucp >> Some cynics may say its too fragmented, *EMI* had to be bullied into >> releasing it [anybody else heard this ?] Nah, that's just untrue. EMI probably wet their collective pants when they heard the album ("Thank God it's not another 'Dreaming'" probably ran through their collective mind), and thought of all the money they'd make. And who are these cynics? I've seen very very few negative reviews of HoL. > The reviewer talks about subtle political message, I did'nt think > there were any on HOL. Well, it depends on what you mean by political. Kate Bush doesn't really ever write from a political viewpoint, and she is notorious for not wanting to talk about politics, but some of the issues she writes about can be seen as being political in some sense. On HoL, there is "Cloudbusting", which deals with the U.S. government throwing Wilhelm Reich in jail, which kills him. And "The Big Sky" and "Waking The Witch" seem to be, in part, jabs at the British music press. "They look down at the ground, missing." Doug -------------------- -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, ihnp4}!mit-eddie!gds gds@mit-eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (01/11/86)
Love-Hounds Digest Friday, January 10, 1986, 16:23
Today's Topics:
Kate Bush in Digital Audio
M+M update & KB 'reviews'
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Date: Thu, 19 Dec 85 20:17 MST
From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA>
Subject: Kate Bush in Digital Audio
Reply-To: Lippard@MIT-MULTICS.ARPA
Performance: 9/10
Sound Quality: 9/10
Kate Bush's music has always come from the heart. Although Hounds of
Love is a complex and richly layered work, it's no exception to the
rule.
Since releasing the primitive but inspired The Kick Inside at the age
of 18, Bush has evolved into a kind of modern renaissance woman:
writer, producer, and Fairlight "player."
Her lyrics go far beyond the expected pop music norm of adolescent
writing. They have depth and are always interesting, even though some
of the meanings may be known only to Bush herself. Bush isn't a "churn
it out no matter what" kind of artist; she has never followed the
album-a-year formula. For this reason, her works tend to be creative
and unique.
This does not, however, mean that Hounds of Love is for everybody.
Bush has always had a highly original and idosyncratic style that never
allows a listener's opinion to fall on middle ground. But once planted,
the seeds of Bush's strange but seductive vocal melodies and harmonies
grow and ripen with each listen.
Part of the success of Hounds of Love stems from its use of so many
different textures without compromising musicality. These include
processed and/or layered vocals, unusual tones and sound effects,
traditional instruments, all manner of real and electronic drums and
percussion...the list goes on. "The Big Sky" and "Waking the Witch" are
fine experiments in varying textures.
Bush says she aimed for a perfect blend of the best acoustic and
electronic sounds on this recording. Striving for acoustic perfection
she solicits the help of instruments such as fiddles, whistles,
bouzouki, uillean pipes, and dijeridu.
On the electronic side, Bush skillfully explores the possibilities of
the Fairlight--that part keyboard, part computer which enables the
competent user to create a variety of sounds almost without limitation.
"Watching You Without Me," a song with a distinctly Eastern flavor, is a
gorgeous blend of acoustic bass and Fairlight.
The sound quality of this disc is first-rate. Part of this may be
attributed to Bush's sensitive approach to producing her own music,
competent engineering, and digital mixdown--all of which leads to a
clean and well-balanced recording.
If you're tired of waking up to the same old CDs every morning, the
freshness of Hounds of Love will make your day.
-- Hugh Hardy
Bush's most wonderfully eccentric performance yet.
-- Scott E. Smith, Nashville, TN
Kate Bush: Passionate and classy. Analog, but fine anyway.
-- Sugith Varughese, Toronto, Ontario, Canada
[From Digital Audio, January 1986]
Jim (Lippard at MIT-MULTICS.ARPA)
[][][][][][][][][][]
Date: Thu, 19 Dec 85 10:13:20 est
From: H. Chai <utflis!allegra!ihnp4!utcsri!chai>
Subject: M+M update & KB 'reviews'
Just happened to come across the Oct 85 issue of _Canadian Musician_,
and the cover story was M+M. They were in England then, working with
David Lord (P. Gabriel's producer), at his studio at Bath, on their
next album _The World is a Ball_. The article is by Daniel Richler.
Mark Gane on their new album: "Our music has long occupied two extremes.
Since _This is the Ice Age_ we've split off into a rhythmic thing and
an ambient thing. This record seems paticularly schizophrenic. You'll
hear ironic juxtapositions. You're thrown from one thing to another.
That and the title, _The World is a Ball_, are meant to exemplify
the kind of life we have in the 20th century. We're bombarded by so
many different and violent conflicting elements."
Several musicians who work with Gabreil also appear in this album,
including Tony Levin, Jerry Moroder, Dick Smith, the last of whom
brought "a vanload of third world instrumnets", including a bass
marimba, maribula, and something called a 'rainmaker': "which sends
seeds cascading through a spiral on the interior of a bamboo tube".
Richler commented that several songs sound as if they incorporate
African rhythms, but Mark says that the resemblance is accidental.
"A lot of those rhythm loops were done on a little effects box
we have at home that came out before all those computerized samplers.
It does overdubbing onto a click track, then you can make it go
backwards or change octaves. We've been using it for years. Often
you don't know what time signature it's making or anything. It does
sound evocative, but I wouldn't know how to make an African rhythm if
I tried."
Sounds like a very interesting album to look forward to.
} Really-From: nessus (Doug Alan)
} I've seen very very few negative reviews of HoL.
Well I just read one yesterday! It was in a British mag called
_Hi Fi Answers_ (if I didn't remember it wrong). The reviewer
said HoL is as overproduced as _The Dreaming_, and that tD
didn't win her any new friends [what? who just said "HA"? :-]
and HoL won't either. "Still a talented artist, but someone
has to take her by the scruff of her neck." Well, you good
people, what say we all go over to England and take the reviewer
by the scruff of HIS neck, eh? And while we're there we could
also camp outside KB's door......(Doug, we're still waiting for
your transcipt of the interview! :-)
In this month's _Graffiti_, KB was featured in a one page article.
This one contained nothing exciting, but it does have a color
pic of KB: the "hands in hair and pouting" one offered in the
limited edition package. (BTW, _Graffiti_ is a Canadian rock music
mag).
-- henry
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, ihnp4}!mit-eddie!gds
gds@mit-eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (01/11/86)
Love-Hounds Digest Saturday, January 11, 1986, 11:00
Today's Topics:
Greek and Czechoslovakian/Russian influences in "The Ninth Wave"
If you can't please yourself, you can't please your soul...
Roy Harper, Pete Townsend, and David Gilmour
A wrestling match between Debbie Harry and Kate?
Kate, Debbie, and James Bond
Lazarus Life After Death award
[][][][][][][][][][]
Date: Sat, 21 Dec 85 21:08:19 est
From: nessus (Doug Alan)
Subject: Greek and Czechoslovakian/Russian influences in "The Ninth Wave"
> [Steve Tynor:] Now, can anyone provide a translation of the men's
> chorus lines? I've heard several of you refer to it as 'greek
> chorus'. Why?
I wish I knew what they were singing too. It might just be sounds. In
any case, I called the chorus "Greek" because Kate said in her
newsletter, a long time before the album actually came out, that there
was music on the album that was inspired by a Greek ritual ceremony.
The chorus was the only music that sounded Greek to me. That chorus, as
we now know, was actually inspired by music from Werner Hertzog's movie
"Nosferatu", and is actually, acording to Kate, some sort of Russian or
Czechoslovakian traditional music.
The music from the Greek ritual ceremony actually appears in "The Ninth
Wave" as the rhythm to "The Jig Of Life".
"Now is the place where the crossroads meet"
Doug
[][][][][][][][][][]
Date: Sat, 21 Dec 85 21:24:17 est
From: nessus (Doug Alan)
Subject: If you can't please yourself, you can't please your soul...
> From: Susanne E Trowbridge <ins_aset@jhunix>
> IN any case, here is more info on the Some Bizzare (yes, that's the correct
> spelling) compilation, "If You Can't Please Yourself You Can't Please Your
> Soul."
This sounds like a wonderful album. Strangely enough, they even had a
big poster for this album on the wall at EMI-America Publicity when I
went to interview Kate. It has a beautifully disturbing cover.
> 5. Psychic TV, "Twisted." From the remains of Throbbing
> Gristle...Psychic TV's alter-ego is Coil (who are on side 2).
I like all of these groups, especially Psychic TV. I didn't know they
are related, however. How are they?
"You, you're unclean..."
Doug
[][][][][][][][][][]
Date: Sun, 22 Dec 85 22:23:38 est
From: nessus (Doug Alan)
Subject: Roy Harper, Pete Townsend, and David Gilmour
Here's the whole story behind the "Hope"/"White City Fighting"
similarities. This is taken from an article by Andy Mabbett in "The
Amazing Pudding", a Pink Floyd fanzine:
Mr G. returns to play lead on the title track, a song which he
co-wrote called "White City Fighting". This song has quite a
history. For those of you who haven't been paying attention,
Dave wrote this music for "About Face", but had no lyrics for
it. He sent it to Pete, who wrote these lyrics for it. Dave
didn't think the lyrics applied to him (they tell the tale of a
star's rise from "rags to riches"). Roy Harper heard the tune
and wrote different lyrics, which Dave also rejected as
inappropriate. (This time it's a message to future
generations). Roy used the tune with his lyrics, as "Hope" on
his "Whatever Happened to Jugula?" album. Dave is uncredited on
this & Roy's son plays a guitar that sounds more like Gilmour's
than Gilmour's does.
Pete then decided to use his version for this project and asked
Dave to play on it -- hence his involvement here.
Roy's "Hope" is slower, with more echo on the guitar and a laid
back Harper vocal which reaches deep inside the listener.
Pete's interpretation, faster and with a clearer guitar sound,
has its lyrics sung in a much more aggressive fashion. It's
ironic that one is looking forwards and the other looking back.
I can't choose between the two -- each has its own attraction
and it's great to hear them back to back. This recording
featuring Dave & possible Pino, is presumably closer to the
original, but I'd love to hear it and see.
I haven't heard "White City Fighting", but since Roy's "Hope" is close
to perfection, I truly doubt that "White city Fighting" can be as good.
"That we both may share
The hope in hearing
That we're not just
Spirits disappearing"
Doug
[][][][][][][][][][]
Date: Mon, 23 Dec 85 00:32:01 est
From: nessus (Doug Alan)
Subject: A wrestling match between Debbie Harry and Kate?
In the January issue of SPIN (the issue with the review of HoL), there
is an interview with Debbie Harry and Chris Stein of Blondie....
SPIN: You were into wrestling long before Cyndi Lauper. Do you
think you're the toughest female vocalist?
DEBBIE: No! I'm a pussycat. I'd hate to face the Weather
Girls.
CHRIS: Debbie could take Kate Bush.
DEBBIE: I could beat Cyndi Lauper. Anytime, anyplace!
Maybe they should have a three way free for all....
-Doug
[][][][][][][][][][]
Date: Mon, 23 Dec 85 00:54:48 est
From: nessus (Doug Alan)
Subject: Kate, Debbie, and James Bond
Later in that same interview....
SPIN: "For Yours Eyes Only".
DEBBIE: That was supposed to be the theme from the James Bond
movie. We thought they wanted us to write one. Actually, it
turned out that they already had a song they wanted me to sing.
Kate Bush did it. [Hummmmph!!! -Doug] Oh, no. It was Sheena
Easton.
Kate was asked to sing the title song to "Moonraker", but turned it down
saying that she didn't think she could do a good job. Maybe Debbie and
Kate should form a club for singers who have turned down the opportunity
to sing a James Bond title song....
"Ooh, James, are you selling your soul
To a cold gun?"
Doug
[][][][][][][][][][]
Date: Mon, 23 Dec 85 02:29:55 est
From: nessus (Doug Alan)
Subject: Lazarus Life After Death award
Melody Maker just awarded Kate runner up to the Lazarus Life After
Death award. Gee, thanks guys....
"She said c'mon let me live"
Doug
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, ihnp4}!mit-eddie!gds
gds@mit-eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (01/12/86)
Love-Hounds Digest Sunday, January 12, 1986, 14:07
Today's Topics:
10,000 Maniacs (review)
Cloudbusting EP
The passing of a minuteman (2 msgs)
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Return-Path: <bdmrrr!potomac!jsl>
Date: Mon, 23 Dec 85 13:27:32 est
From: bdmrrr!potomac!jsl@seismo.CSS.GOV (John Labovitz)
Subject: 10,000 Maniacs (review)
One-word capsule review: oooh-ooh-what-a-*great*-concert!
Well, I think Kate Bush has a contender for the nicest-person-in-the-world
award -- Natalie Merchant, the vocalist of 10,000 Maniacs. No, cancel
that. Let's have a new award -- the nicest *band* in the world.
They came on stage, said hello, and Natalie sang a few bars of an
Irish-sounding folk song, a capella. I didn't write down the names of the
other songs, but they were mostly from the new album. There were only two
songs I didn't recognize. One of these was a reggae song that lasted for 15
minutes, and showed that this is a *versatile* band who are good musicians.
Natalie read from a book for this song, and the words fit amazingly well. I
couldn't find out the title of the book; does anyone know?
Band setup: singer, drummer, bassist, rhythm guitarist, lead guitarist.
The lead guitarist had a really unique style of playing. It appears as if
he learned how to play mandolin before guitar, because he plays the guitar
in the same fast-strumming way as a mandolin is played. The amazing thing
is that it actually sounds like a mandolin! He had a large rack of effects
which made his guitar sound very strange, and unlike a guitar at all. Only
once did I see him actually play a guitar chord.
At one point, Natalie picked up a notebook she had and showed the audience
little sketches that she had done. There was one of a palm tree in
California that she had drawn when they played there, and one of a dog.
When they finished their set, most of the band came up to the mic and said
`thank you' and `goodbye.' They got an encore, and played three more songs.
The opening band was 11th Hour, and reminded me of REM and various other
bands of that nature. They were ok, except most of the songs sounded
too similar. They did a great Christmas medley.
The only thing I didn't like about the whole concert was the normal
asshole-drunk-jock crowd that usually shows up for these. I guess I can't
complain too much about them, cuz they obviously have good taste in music,
but still... They guy behind me kept yelling and talking to people while
the bands were playing.
If 10,000 Maniacs plays *anywhere* near you, go see them. You'll be glad
you did. They are still on their tour, but will be playing again in the New
York/Boston area in February.
John Labovitz ..!{rlgvax,seismo}!bdmrrr!potomac!jsl
--
I think I'm going to try
To fade out into yesterday
Before tomorrow comes
[][][][][][][][][][]
Date: Fri, 27 Dec 85 15:39:03 EST
From: Laura Frank Clifford <lcliffor@bbnccm.ARPA>
Subject: Cloudbusting EP
Finally got this for Christmas - WOW, I'm impressed. "My Lagan Love" just
sends chills up the spine.
I really like the cover photography, which I assume is from the "Cloudbusting"
video -- has anyone seen this yet on MTV or V66? If so, when's a good time
to catch it? Do they announce when they're airing it, as they did for
Bowie's 20-minute "Blue Jean"?
Oh yuh - my "Cloudbusting" EP is double labelled on one side - isn't this a
collector's item?
Laura Clifford
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Date: Mon, 30 Dec 85 06:44:03 est
From: Tim Wicinski <wicinski@nrl-css.ARPA>
Subject: The passing of a minuteman
I was informed at 3am this morning that on this past
Christmas Eve, D. Boon, guitarist, singer, and songwriter for the trio
known as the Minutemen was killed in a car accident when his girlfriend
fell asleep driving. This is all I know at this time, but there is
expected a press release from SST records fairly soon.
oh well, what else can be said ???
a man mourning in the morning
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Date: Mon, 30 Dec 85 13:15:50 EST
From: Jim Hofmann <hofmann@AMSAA.ARPA>
Subject: The passing of a minuteman ...
[dark depression/gloom/doom/sadness]
If this is indeed true, the world has lost a truly original and creative
mind. I've been walking around all here in shock and totally unable to
explain to anyone who and what he was ... unlike Lennon's death a couple
of years ago it's hard to find a sympathetic ear.
d. boon represented a one of kind true hero, not afraid to speak his mind,
not afraid to lead his band through a thorough slaying of accepted musical
ideas. With their first albums, they established the idea that songs
don't have to be long to get their message across, just about every punk/
hardcore band that followed keep at least one 45 second song in their
set ... they were totally against organized lyrics and preferred to present
thier songs in complete freeform ... even today 5 years later a listen to
politics of our time or what makes a man set fires will not fail to amaze
you. For a true introduction to the concept of the MINUTEMEN, I recommend
Double Nickels on a Dime. Earlier this year, they totally blew away
everyone by releasing a 12" which deviated totally from the genericism that
hardcore had lapsed into, I recommend Project: Mersh for anyone who
feels disgusted at that trend. They also have just released a seven inch
and a cassette which I have yet to find.
So without d. boon, I really doubt whether the Minutemen can stay together
much longer. He really seemed to be the unifying force behind them.
Sad but true.
He was also one big ugly looking muthah ...
"for one brief moment, a star shone forth" - Camelot
"everytime you hear a bell ring, an angel gets his wings" - It's a Wonderful Life ...
jim hofmann
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, ihnp4}!mit-eddie!gds
gds@mit-eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (01/18/86)
Love-Hounds Digest Saturday, January 18, 1986, 14:10 Today's Topics: Robert Fripp in Guitar Player KB in Tower Records' "Pulse" Trivia Question Wall Street Journal and Kate [][][][][][][][][][] >From wicinski@nrl-css.arpa Tue Dec 31 09:45:37 1985 Date: Tue, 31 Dec 85 09:59:38 est From: Tim Wicinski <wicinski@nrl-css.ARPA> Subject: Robert Fripp in Guitar Player The new guitar player magazine has an interview with Rober Fripp. I borrowed a friend's copy and read it in a hurry (we were on our way to a hockey game) so I didn't get the whole picture out of it. It is a long interview, taking up a good many pages. The interview covers topics like why Discipline is a much better album than than two albums that followed it; a new method of guitar tuning being developed by Fripp which he says is infinitely better than the old standard (don't ask me man, I know little about music); and various topics guitar related, music related, and life related. As usual, Fripp is his intense self. It doesn't sound like he takes things lightly at all. Also included is a flex-i-disc of some frippertronics music. not bad. tim [][][][][][][][][][] >From tsung@aero Tue Dec 31 12:32:12 1985 Posted-Date: 31 Dec 85 09:31:30 PST (Tue) Subject: KB in Tower Records' "Pulse" Date: 31 Dec 85 09:31:30 PST (Tue) From: tsung@aero "Pulse" is a (monthly?) magazine published by Tower Records. In the current issue there is an one-page article on Kate. It seemed that Kate had interviewed with an Tower person (why not? If she could interview with Doug :-) as this article is consisted largely of her quotes. Following is some of the more interesting stuff (KB's words are double quoted): -------------------------------- The latest of five Bush collections just hit the bins and now _Hounds of Love_ is being stacked alongside such long-standing successes as Heart and Motley Crue (!!?). Before, _The Kick Inside_, _Lionheart_, _Never For Ever_, and _The Dreaming_ were but small cult items. about RuTH: "That song is going to puzzle a lot of people," says Bush. "I think perhaps the word God conjures up a sense of religion but it's quite often used symbolically." (a quote from Ruth about the Deal With God) ". .. . (God is the) only person who can make the true bond of love possible." She laughs: "Hopefully there are enough people who listen to the music and see that it's actually not that religious." about The Ninth Wave: The flipside's (of _HOL_) dubbed "The Ninth Wave" or, "a journey for a woman asleep on the water: There are people trying to keep her awake and not let her fall asleep ['And Dream of Sheep']. Then she falls asleep and has a dream -- but wakes up from the dream only to find herself underwater ['Under Ice']. And then she has hallucinations where people are saying 'Wake up, wake up, don't sleep anymore,' and trying to get her out of the water. Except a witch finder pushes her right under because he assumes she's a witch ['Waking the Witch']. Soon she travels home and sees her loved ones but they can't see her ['Watching You Without Me'] and hopefully it all leads to the hope and salvation of the morning ['The Morning Fog'] where everything comes to life again. The sense of loneliness is taken over by the sense of someone saving them." (what happened to "Hello Earth"?) random: "Perhaps there's more of a sense of continuity on this album," she comments, "but that's just my humble subjective opinion." One thing's for sure: "It's the lightest album and the easiest for me emotionally." But being able to "turn ideas into pieces of plastic" has remained her emotional high. "What is wonderful is I may read a book or see a movie and get a lot of visual imagery. Except the influence won't surface in my music for maybe ten years," (she cites _The Book of Dreams_ as an example). "When the ideas feel right they just come to the front and sort of go, 'Hi there.'" Plans of late are "getting on with the next record as soon as possible" and creating a full-length video version of "The Ninth Wave." . . . Bush calls herself lucky as her wildest fantasy is coming true: the ability to remain true to her inventive mind without worrying about its results being accepted by the commercial world. Bush sings about that fantasy on _Hounds of Love_. "You want my reply?/What was the question?/I was looking at the big sky." (written by Richard Laermer, quoted w/out permission, etc, etc). ------------------------------ Well the last paragraph (about "The Big Sky") certainly made a lot of sense to me. Say, do you think that The Ninth Wave could be about her own artistic/internal struggle? It's that witch part above (and the discussion a while back of KB-the-witch) that gave me the idea. For instance, the bit with the witch- finder is about KB not understood by outsiders (critics, etc), and "Watching You Without Me" (she sees loved ones but they can't see her) is about her not understood by her close friends. Just a wild speculation. By the way, where does all that angry energy of "The Dreaming" comes from? I don't think anybody can produce a work of such STRONG emotion without some stimuli of an equivalent magnitude. Fu-Sheng p.s. KROQ (Pasadena/LA) played "Hounds of Love" (the song) twice in last three days! I'm amazed! Within twenty minutes (of HOL), the same DJ played "Close To Me" from the latest Cure album, which I consider to be one of the best cuts from the album. Doubly amazed! [][][][][][][][][][] >From think!harvard!topaz!petsd!peora!jer Wed Jan 1 16:49:02 1986 Subject: Trivia Question Date: 31 Dec 85 16:59:19 EST (Tue) From: J Eric Roskos <think!harvard!topaz!peora!jer> X-From: J Eric Roskos <jer@peora.UUCP> While sitting here thinking about how I sort of miss the Love-Hounds discussions, and stuff like that, I realized that I had left a "loose end" when I disappeared recently. Specifically: Nobody ever answered my A-ha "Take on Me" trivia question. So, I will tell you the answer now: it's the movie _Altered_States_. And, also, I never answered the question someone asked about "What is the etymology of the term `Golden Ghetto'". This term was first used to refer to Sandy Springs, GA, an area in which very high-income people live, which has a very high level of crime perpetrated by juvenile offenders. [][][][][][][][][][] >From hofmann@AMSAA.ARPA Thu Jan 2 13:13:02 1986 Date: Thu, 2 Jan 86 10:58:47 EST From: Jim Hofmann <hofmann@AMSAA.ARPA> Subject: Wall Street Journal and Kate WSJ reviews Hounds (2 paragraphs) without making any comments on the marketibility of Kate! Actually their arts and leisure page is very well written - you'd be suprised you are reading what Sport Death Larry refers to as a business rag. It was in the Monday issue. If anyone wants me to reprint it here, just say the word. (Is anyone collecting all the reviews?). Oh, it was generally a good review ... the person loved the 2nd side and desribed it as the last minutes of drowning victim who goes through various stages of terror, fear and ectasy ... for two paragraphs it was written very succintly and was the lead off for a bunch of other reviews (included Joni Mitchell and Pete Townsend). hofmann [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, ihnp4}!mit-eddie!gds gds@mit-eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (01/19/86)
Love-Hounds Digest Saturday, January 18, 1986, 20:24 Today's Topics: Re: Love-Hounds Digest KSTM 1985 listener poll Re: Cloudbusting EP My tete-a-tete with Kate [][][][][][][][][][] >From genrad!decvax!linus!uw-beaver!entropy!fetrow Mon Jan 6 09:24:42 1986 Return-Path: <genrad!decvax!linus!uw-beaver!entropy!fetrow> Date: Mon, 23 Dec 85 20:58:39 PST From: David Fetrow <genrad!decvax!linus!uw-beaver!entropy!fetrow> Posted-Date: Mon, 23 Dec 85 20:58:39 PST O OOO O / \ / \ | | =========== =========== | _ _ | < > < ^ > WWWWWWWWWWWWW WWWW WWWWW WWWWWWWWW WWWWWWW Enjoy the Holiday! A day away from Machines, YEAH. [][][][][][][][][][] >From allegra!uw-beaver!entropy!fetrow Wed Jan 8 01:10:43 1986 Date: Tue, 7 Jan 86 17:04:05 PST From: David Fetrow <allegra!uw-beaver!entropy!fetrow> Posted-Date: Tue, 7 Jan 86 17:04:05 PST Subject: Re: Love-Hounds Digest Referent to the Santa Claus: Wow, I didn't know turnaround time was quite that long! Sorry if it seemed out of place. -Dave "Keep Running up that Scale" Fetrow (1/7/85) [Moderator's note: Yes, I know about the slow turnaround time. Sorry. I'm working on a time-critical project and can only devote a little time to mod.music. Response will improve in a week or two. --gregbo] [][][][][][][][][][] >From @MIT-MULTICS.ARPA:Lippard.Multics@HIS-PHOENIX-MULTICS.ARPA Wed Jan 8 11:48:10 1986 Date: Tue, 7 Jan 86 21:42 MST From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA> Subject: KSTM 1985 listener poll Reply-To: Lippard@MIT-MULTICS.ARPA Kate Bush was the number one female vocalist of the year. [][][][][][][][][][] >From nessus Wed Jan 8 23:58:03 1986 Date: Wed, 8 Jan 86 23:58:03 est From: nessus (Doug Alan) Subject: Re: Cloudbusting EP > [Laura Clifford:] I really like the cover photography, which I assume > is from the "Cloudbusting" video -- has anyone seen this yet on MTV or > V66? The cover photo is indeed from the video (though there isn't any solarization in the video). They have shown it on Empty-V, but not very often, that I've heard. Empty-V is also now showing the real video for RUTH (at least the last time I saw it, it was the real video), but they've taken it out of their rotation, so it's probably not being seen very much anymore. > If so, when's a good time to catch it ["Cloudbusting"]? Do they > announce when they're airing it, as they did for Bowie's 20-minute > "Blue Jean"? They did have some announcements for it ahead of time, I am told. They premiered it with Kate there and they talked to her before and after showing the video. (It was recorded previously, though.) > Oh yuh - my "Cloudbusting" EP is double labelled on one side - isn't > this a collector's item? I dunno. I'm not sure if records are like stamps. I don't think it is. "Just saying it, could even make it happen" Doug [][][][][][][][][][] >From nessus Thu Jan 9 05:20:30 1986 Date: Thu, 9 Jan 86 05:20:30 est From: nessus (Doug Alan) Subject: My tete-a-tete with Kate [Cross-posted to net.music.] (C) Copyright 1985 by Doug Alan. All rights reserved. Half An Hour With Kate Bush An interview by Doug Alan "I was going to ask you for a fag, but this man might kill me" are the first words I hear from Kate Bush as I as am shown into her small but comfortable hotel room in Manhattan by an EMI-America representative. I guess Kate noticed my T-Shirt with an international No Smoking symbol proudly emblazoned on its front. I want to reply "No, Kate, I don't have to -- you're killing yourself by smoking!". But I can't manage to get out these words to an idol, especially when my heart feels like it's going to pound my brain permanently into mush. Maybe it's all for the best, anyway. Maybe it's all that tar coating her vocal chords that has allowed her to sing lower and with more rawness and power ever since "Breathing" ("...Breathing her nicotine..."), the last song on her third album Never for Ever, without damaging her ability to also sing ----- --- ---- unbelievably beautifully when desired. I want to reply "No, Kate...", but instead, I just manage to mumble something incoherent. The EMI representative leaves and Kate opens the window, letting in an atmospheric Manhattan sound. She is here in the States for the first time since '78. She has come to promote her new album, Hounds of Love, for one week, and ------ -- ---- I have half an hour of that week. Hounds of Love is Kate's fifth album, and though she has ------ -- ---- been very popular in Europe and especially in England since '78, this is the first album of hers to make it into the U.S. Top-100. It has even made it up to number one on some college album charts. This album and especially her previous album, The --- Dreaming, are complete masterpieces and are proof that she is a -------- very important artist, and perhaps the most significant musical --- artist to have emerged in the 80's. Unfortunately, her previous album, The Dreaming, initially was not well-received in her --- -------- homeland, England. It was an artistic break-through, but at the time was not recognized as such by most of the narrow-minded British music press or by much of the record-buying public. Ironically, in the U.S., where Kate Bush had been previously pretty much ignored, The Dreaming received nearly unanimous --- -------- critical adulation, though perhaps not inciting amazing record sales. Fortunately, her new album, Hounds of Love, has been ------ -- ---- received unbelievably well by the both the British and American press. Out of dozens of reviews, I have only seen one negative review, and most of the reviews are 5 star raves. It is also selling incredibly well throughout the world, and including, amazingly enough, the U.S. These facts, and that she has one of the strongest and perhaps the most dedicated cult following of any musical artist, mean that in the near future she will probably become more widely recognized as one of the most important forces in contemporary music. Why does she have such a dedicated cult following? What is it about her music that stirs such passion in many listeners that her fans have spawned more fanzines and fan clubs than I can even count? Well, being one of her biggest fans, I'm probably somewhat qualified to comment. I guess that to those whom she reaches, she touches deeply. To those whom she reaches, her music takes them to another world -- this world. This world viewed through Kate-colored glasses. An escape from reality into reality. Where one is shown the beauty of ugliness and the ugliness of beauty. A world where estranged lovers settle their differences by transforming into mules. Where electronic swallows and blackbirds swoop and dive through the recesses of the inner mind. Where hounds attack to tear you apart with love and witches try themselves. Where Irish jigs and Greek fire dance rhythms, and digital sonic landscapes, and Aborigine and African drums, and flanged voices, and Tennyson poems and movies about vampires are coherently aspects of One. A world where always We Let The Weirdness In. A world where frustration and pain are fundamental and essential, but where there is always hope and love and joy. A world of infinite pain and infinite pleasure. A mirror for all that is important in life. Life itself! Uh, hmmmm.... I'm sorry.... Perhaps I should just move on to the interview. I interviewed Kate on the evening of November 20th. It is a summer day in the middle of November. 75 degrees warm. A warm and unusual day to interview a warm and unusual person. Kate has opened the window letting in the atmospheric honks and roars of Manhattan traffic to add flavor to our conversation. I mumble something to Kate about Dali and her being my favorite artists, and I give her a present of a record album: Birdsongs of the Mesozoic's Magnetic Flip. She thanks me -------- ---- sincerely. She is incredibly nice. Soon I remember that I have only half an hour, and I manage to pile out my tape equipment, connect up the microphones, and start the tape rolling..... KATE: One, one, one, one, one, two, two, testing. Am I loud and clear? DOUG: That sounds pretty good. KATE: Good! [My microphone doesn't appear to be working, however....] DOUG: I don't sound so good, though.... I don't matter -- I can dub my voice in later. KATE: [Laughs] Ask me completely different questions, eh? [Laughs again.] [I try to think of a witty reply, but my has brain has long since ceased functioning, and instead I just mumble something incoherent again. Kate makes an obscene throat-clearing noise -- a noise probably only possible for a smoker. I flounder around for a few moments, but soon figure out that my microphone isn't turned on....] DOUG: Now I'm coming in! KATE: Great! DOUG: Okay... I guess I'm ready to start. A song of yours for which the symbolism in the lyrics really fascinates me is "There Goes A Tenner" [from The --- Dreaming]. You've said that it is just a simple song about -------- bank robbery, but the more I look at it, the more it seems that nearly every line is really sort of an allusion to your recording career at the the time you were recording The --- Dreaming. You wouldn't deny that this was intended, would -------- you? KATE: Yes, I would deny it. DOUG: You would? KATE: Yes, it's very much a song about bank robbery. I wouldn't say it was a simple song about bank robbery, but it's about the fear that people feel rather than the glorification of bank robbers. DOUG: I dunno. It seems like... well, to me it seems every line sort of could parallel your recording career. I won't go and explain it, but like one example is "There Goes A Tenner". "Tenner" could be a ten dollar bill -- it could also be a level of singing: you know, like soprano, alto, tenor. And sort of every line is like that. But you don't ----- agree? KATE: Well, no I don't because that's not... that was... nothing that was in my head when I was writing it. But then I think the interpretations that people have of your songs afterwards are nothing to do with me anyway. I think it's up to them to get what they can out of the song. DOUG: Okay. That seems reasonable. Maybe it was all subconscious. It seems so perfect to me. I dunno. I read an interview where the interviewer asked you if "Running Up That Hill" is about the contemplation of suicide. And I thought that was pretty amusing, because it seemed to me clearly not to about any such thing at all. On the other hand, strangely enough, that's just what "Under The Ivy" [the B-side to Kate's "Running Up That Hill" single] seems to be about to me. The tone of the song is very, very sad. And it seems to be about longing for the lost innocence of youth -- perhaps a follow-up to "In Search Of Peter Pan" [from Kate's second album "Lionheart"]. A white rose is a strong image in the song. And it could be a symbol for friendship or innocence, but it could also be a symbol for death. You sing "Away from the party", and it seems like you might almost mean "away from the problems and triviality of modern day life". You sing "It wouldn't take me long to tell you how to find it", and it seems like you might almost be addressing Death itself. You mention a secret, but never mention what it is. Could it be the taboo subject of suicide? What are your feelings about this interpretation, and what were you intentions with the song? KATE: Well, I think...uh, it... perhaps you are reading much more into it than was originally intended when I wrote it. It's very much a song about someone who is sneaking away from a party to meet someone elusively, secretly, and to possibly make love with them, or just to communicate, but it's secret, and it's something they used to do and that they won't be able to do again. It's about a nostalgic, revisited moment. DOUG: Is there any reason why it's so sad? KATE: I think it's sad because it's about someone who is recalling a moment when perhaps they used to do it when they were innocent and when they were children, and it's something that they're having to sneak away to do privately now as adults. DOUG: "My Lagan Love" [the bonus track on Kate's "Cloudbusting" 12-inch single] is another song of yours that seems very sad. I looked up the word "lagan" in the dictionary, and it means "cargo thrown into the sea attached to a buoy so that it can be recovered later". But you use the word "Lagan" as a name of someone, perhaps a deity. In any case, the dictionary meaning seems to go well with the song, because it seems in the song that your Lagan love has died. You sing "Where Lagan's light fell on the hour/ I saw him far below me/ Just as the morning calmed the storm/ With no one there to hold him". This seems to conjure up the image of looking down into a grave at your Lagan love. But perhaps he will return again "when the sun and the moon meet on yon hill," [Kate smiles] or whatever. Could you say more about this song? KATE: Yes, "My Lagan Love" is a traditional song that is one of the most beautiful tunes I think exists in traditional music. And throughout the years, people have used the song and their own versions of the lyrics to it. The most famous version of the song, I think, uses lyrics from a Keats poem. I wanted to do a track that wouldn't be on the album, that would go on the twelve inch, so that people that were buying the album and the single had something extra that didn't come off the album. And it seemed like a quick, easy track to do, that would be unaccompanied -- a traditional song. DOUG: Did you agree with that meaning of the song, or what was your intentions with the meaning of the lyrics? KATE: I think the lyrics are really just a vehicle for the song. I wanted to do the song and it had no traditional lyrics. We had to find some to go with it, so we pulled together some lyrics with my brothers and just put them to the music. It wasn't something that I put a great deal of thought into at all. [Tiny laugh.] DOUG: Okay. [It turns out that John Carder Bush, Kate's oldest brother, wrote the lyrics Kate sings to "My Lagan Love". When I talked to him about it, he said that the song is indeed about a woman's lover who has died, and the lines quoted above do describe her looking down into his grave. It is based on a story by James Joyce called "The Dubliners". Lagan, it turns out, is a place in ----- Ireland, and John was not aware of the dictionary meaning of the word "lagan" before I mentioned it to him, but he said that the dictionary meaning really is very appropriate for the song, and was amused by this coincidence.] DOUG: "Burning Bridge", the other song on your [Kate makes another obscene throat clearing noise] "Cloudbusting" single, seems to be a more desperate retelling to me of a much earlier song of yours, "Passing Through Air". Could you say something about "Burning Bridge"? KATE: Umm, again it was a song that was totally created for a B-side, and I knew that it was going on the other side of "Cloudbusting". "Cloudbusting" is not necessarily an up-tempo song and I feel that flips of records should be something that counterbalances the energy of the other side. So, I wanted something that was relatively up-tempo, and just a fun song. I don't think the lyrics are by any means profound, but it was something that I felt was fun to do and was a very different energy from the A-side of the record. DOUG: It's sort of... I don't know if it's incredibly... I mean it's up-tempo, but it still has a sort of desperate sadness to it, don't you think? KATE: Actually, I think it's incredibly positive and quite trivial. DOUG: Okay. [Tiny laugh.] KATE: [Tiny laugh.] DOUG: On the song "Jig Of Life", you seem to hint that you are planning on maybe having children. In an interview 6 or 7 years ago, I believe you said that you weren't planning on having children, but that if you did it would mean the end of your recording career. Have you changed your mind about having children? And if so, would you really give up your recording career? KATE: I haven't changed my mind about having children, no. But it's not necessarily something that I wouldn't change my mind about at some point. "The Jig Of Life" is very much about the visitation of the future. Your future self coming to visit you to stop you dying -- to make sure you stay alive. And the use of the mention of children is really to use the image. In the future, apart from getting old, what happens to people? They get married; they have kids. So that's why it's being used -- purely as a poetical vehicle of explaining the situation that time has passed between the present and the future. DOUG: But you don't necessarily see that happening to you, in specific? KATE: No I don't, no. DOUG: I have a problem with big record companies, in that I don't like to view Art as Big Business. Most large record companies seem much more concerned with making money than with encouraging art. But in order for many artists to make enough money to record albums the way they want to, it's a necessary thing to record for large record companies. And in fact, many of my favorite artists do. What is your opinion on the commercialization of art? KATE: I think the purpose of a record company is to sell as many records as they can, and that is their total main concern. If something is successful, they are happy. If something is artistically good, but is not successful, then they can't really be prepared to follow that through. Their business is not art -- it's money and selling records to make money. I think that's part of the reason why the business is so hard, because you're talking about two completely different forces having to be integrated. Artistic people, a lot of the time, don't have a good business sense, and a lot of the time it's totally against everything they feel -- it's about money, commercialization, exploitation. It's not anything to do with a creative spirit, which deals in sensitivity and observation of people, emotions. They're two completely different forces. And I think to survive in this business, you have to be realistic, and if music is what matters to you, there's a certain amount of business that you have to be involved in in order to be able to keep making music. So, I think for me, the way I cope with it, is to try and keep a realistic balance between the things I like and don't like doing. I have to do things I don't like in order to make sure my work will survive. DOUG: Sounds like a good answer to me.... I think the The Dreaming is just about as good an album --- -------- as any ever recorded, but unfortunately, it wasn't much of a commercial success compared to your other albums. Was The --- Dreaming financially successful enough so that if all your -------- records were only that successful, you'd still be able to continue making records the way you want to? KATE: That's a very difficult question. I don't know. I think as long as an album is relatively successful, then you can afford to make another one. I think also, the thing about records is that they don't necessarily stop selling after a year of being released. I think it's possible that The --- Dreaming could continue to sell more than the others in the -------- future... DOUG: Sure hope so! [Wait.... I didn't mean to say that that way....] KATE: ...and that that might be the one that keeps me in my old age. [Small laugh.] It's very difficult to say, and I think all I do really is put out the best I can, and hope people like it. And if I've done the best I can, then there's nothing more I can do. DOUG: One can't help but notice that the first three songs on your new album, though quite excellent indeed, have a distinctly more "commercial pop" sound to them than anything on The Dreaming. Was this to help make the album sell --- -------- better than The Dreaming, or did you feel it artistically --- -------- important to make some music that might be more accessible to more people, or did it just come sort of come out that way? KATE: I don't feel that it is that much more obviously commercial. I mean, I think from what people say, they feel that it is, but for me they are very similar energies. They are just trying to create as interesting a song as possible with the best production to accompany it. And to make it different. And I think what makes it more accessible for people is the consistency of rhythm. I can't really see that much difference... apart from how different songs are anyway from each other. DOUG: Well, did you think to yourself "Well, if I use a consistency of rhythm that it will be more accessible to more people" when you went about writing the song, or did you... KATE: No... DOUG: ...just want to do that? KATE: Well, I write a song because it's what I like at the time. On the last album [The Dreaming] I was beginning to get very ---- --------- intrigued with the use of rhythm. I really like using rhythm, and I think this album is a progression of how I've learned to work with it. DOUG: Your song "Breathing" seems to be written from the point of view of a fetus about to be born into a post-holocaust world. One might think from this and from your being a vegetarian, that you would be opposed to abortion. What are you feelings on the morality and legality of abortion? KATE: I think that is a very difficult subject and something that's far too easy to generalize about. But I think that life is something that should be respected and honored even in a few hours of its conception. DOUG: Do you think that abortion should be illegal? KATE: I don't feel that I want to comment on that. DOUG: Okay.... When I first heard the title of your new album Hounds ------ of Love, a long time before the album was actually released, -- ---- it seemed to me like a reference to fans. It sort of conjured up the image of The Beatles constantly being hounded by their adoring fans, who would attack them, because each fan wanted a little piece of their idols. So the title "Hounds of Love" seems to hint at a love/hate relationship with fans. The Love/Hate relationship also seems to be symbolized on the picture sleeve to "Running Up That Hill", where you are aiming a bow that could be Cupid's bow, but is also a deadly weapon. Did you have these things in mind? KATE: No, I'd like to say straight away it's absolutely nothing to do with a love/hate relationship with fans and, in fact, that, as far as I am concerned, is something that doesn't exist. I have no resentment or dislike for any of the people that like my music, at all. If anything, it's a great honor for me that such nice people are attracted by the music. And that song has nothing to do with fans -- it's about love -- it's about someone who's afraid of being captured by love, and it's seeing love as a pack of hounds that's coming to get them. [Doesn't remind me of fans, at all....] As something that they're frightened of -- not willing to accept. DOUG: Well, I would sort of maintain that any love relationship is a love/hate relationship, in that... KATE: Yes... DOUG: ... there are always problems that come along with... KATE: I would totally agree, but it's got nothing to do with my fans. DOUG: Okay.... In the song "Hounds of Love", what do you mean by the line "I'll be two steps on the water", other than a way of throwing off the scent of hounds, or whatever, by running through water... but why "two steps"? KATE: Because two steps is a progression. One step could possibly mean you go forward and then you come back again. I think "two steps" suggests that you intend to go forward. DOUG: But why not "three steps"? [Giggle.] KATE: It could have been three steps -- it could have been ten, but "two steps" sounds better, I thought, when I wrote the song. DOUG: Okay. [Grin.] ------- You've said elsewhere that "Jig of Life" was inspired by a Greek ceremony. Could you describe this ceremony and say how it appears in the song? KATE: My brother [Paddy Bush] discovered a piece of music that was used in a Greek religious ceremony, where people worked themselves into a trance state through the hypnotic quality of the music and then begin to walk on fire. The piece of music is incredible and has a very hypnotic rhythm. And it was the piece of music that I then used to base the song upon. The inspiration was totally a musical one and a rhythmic one. DOUG: Did you write the poem that is narrated at the end of "Jig Of Life"? KATE: No, I didn't. My brother [John Carder Bush] wrote that. DOUG: That's what some of us thought. It seemed like a slightly different style. It seemed more like his style -- from what people have been able to infer of his style without seeing much of his poetry. It's a really wonderful poem. KATE: It is. DOUG: So, tell him I like it. [Small laugh.] I find the use of strong symbolism and metaphor and allusions in your lyrics to be extremely interesting. For example, in "Get Out Of My House", the woman who is singing the song has been left by her lover and feels hurt, and identifies herself with a house. This is a biblical allusion. When she says "I wash the panes", it is a triple entendre, because she's saying she's washing the windows of her body, which are the eyes. This means she's crying, and by doing so, she's washing the hurt and pain away. Then she ---- says "No stranger's feet will enter me" saying that she won't let anyone into her house, which is saying she won't let anyone into her body, which is also reinforced by the biblical use of "feet" as a euphemism for "private parts". The layers of meaning here, are pretty incredible. Then a man tries to enter her life again, but she's too scared, and she tries to escape by flying away, but he turns into the wind. She then turns into a mule, perhaps for its stubborn ability to withstand the wind. And then he also turns into a mule. Now it seems that they have a ground for communication. Because mules are neuter, and they can communicate on a platonic level rather than a sexual level. Now a friend of mine believes that this last part is a flaw in the song, because mules are not really neuter after all. They are only sterile. Personally, I think it isn't a flaw because the idea comes across loud and clear to me, and somehow it seems that "I change into the amoeba. Ooze. Ooze." just wouldn't work so well. So the question is, what do you think of this interpretation? And could you respond to my friend's slight criticism? KATE: And what was your friend's criticism? ["You want my reply? What was the question?" Oh dear, I've bored Kate to death....] DOUG: He said that the ending is a flaw because mules are not really neuter, they are only sterile. KATE: What does he mean? DOUG: Well, it seems to me -- and to him -- that the end of the song is sort of a positive note because they've found a grounds for communication. And sort of on a platonic level, because mules might be seen as being platonic, because.... KATE: Why? [In an intrigued tone of voice.] DOUG: Oh... well... [Doug turns eight shades of red...] mules are sterile... uh... a donkey and a horse... you know... have a sexual relationship, and then they have mules, and mules don't have children, but they really can have sex. They just can't have children, but a lot of people actually think that they just don't have sex. Which isn't really true. KATE: Right! [Little laugh.] Well, uh, [in an amused and puzzled tone of voice] I think you... it's kind of weird the level ----- of interpretation that you are reading into things, because... I mean, a mule -- in our country -- all it represents is a stupid animal. They are considered stupid. ------ And that's the allusion that was being used in that case. And it's very much a play on a traditional song called "The Two Magicians" about someone who's trying to escape someone, and they keep changing their form in order to escape them. But the other thing keeps changing its form. And that's actually what the whole song is about -- someone who is running away from something they don't want to face, but wherever they go, the thing will follow them. Basically, you can't run away from things -- you've got to confront things. And it's using the person as the imagery of a house, where they won't let anyone in, they lock all the doors and windows, and put a guard on the front door. But I think the essence of the song is about someone trying to run away from things they don't like and not being able to escape -- because you can't. DOUG: But if the symbol of mules is just stupidity, at the end, then it would seem like it would be a negative ending, and it just sort of seems to me, most of your songs... a lot of them... end on up notes. And it sort of seemed like it was a positive note at the end. KATE: Yes, I think the mule is that kind of... the stupid ------ confrontation... I mean, there's not really that much to read into it. It was the idea of playing around with changing shape, and the mule imagery was something I liked ordurely. The whole thing of this wild, stupid, mad ---- ------ --- creature just turning around and going, you know, eeyore, eeyore [Kate makes convincing eeyore sounds]. I don't know if you saw Pinoccio, but there's an -------- incredibly heavy scene in there, where one of the little boys turns into a donkey -- a mule. And it's very heavy stuff. DOUG: I haven't seen that since about six [which is at least a year or two ago...] , but I think I remember that... it's a strong image. KATE: Well, maybe you should see it again. It's a good film. DOUG: In a recent interview you said "I don't really know why people think my songs are strange." I'm not sure that this was said by the same person who sings "We let the weirdness in" at the end of the song "Leave It Open". In any case, what is really strange about the singing at the end of "Leave It Open", is that if you play it backwards, it also sounds like intelligible singing. In fact, it sounds to me like "And they said they wouldn't let me in", which is wonderful because then it has the opposite meaning backwards as it does forwards. There is also something like this on Hounds of Love in ------ -- ---- the song "Watching You Without Me". There is one part where you sing what to me sounds like "Really see" repeated several times. And if you play this backwards, it sounds exactly the same. Still like "Really see", though I'm not sure it's "Really see" -- it just sounds like that to me. But whatever it sounds like, it sounds exactly the same backwards. Well, the question is, I'd be really interested in knowing how you did this sort of manipulation. KATE: Well, that's something I've been experimenting with for a while, and would like to continue experimenting. It's just a way of using backwards ideas, but actually saying something cohesively. DOUG: But how do you actually get a message or singing which sounds like something both forwards and backwards. And what are the technical issues involved. I mean, it seems like it would be really hard to do. KATE: It is. It's very difficult -- it takes a lot of time and an awful lot of patience. [Kate is saved by the bell, as her brother is at the door, and my half hour is up. I talked to both of Kate's brothers sometime later, however, and neither had any qualms about giving away the secret of the two-way messages. It involves listening to singing played backwards on a tape deck, learning to sing the backwards sounds, and then recording that strange singing backwards. In any case, Kate agrees to answer a couple more questions....] DOUG: Of your albums, which one is your favorite? KATE: Ummm... I think the last album you do is always the one that's closest to you because you've just spent the nearest part of your life to it, but I think for artistic fulfillment, I think The Dreaming was certainly quite --- -------- rewarding to have actually achieved some of the things that we set out to do. [Doug can't agree more.] But you have very much a strange relationship -- I don't know if you really like anything you do. DOUG: Well... I like it a lot, so... KATE: Good! [Laughs.] DOUG: Before we end the interview, one more quick question -- what do you feed your cats? KATE: Ummm... food, normally. DOUG: What kind of food? KATE: Tinned food... and fish. Fiiiishy wiiiishy! [Very! But I won't say anything. ("Watching the storm start to form over America".) Several hours later, at home, I turn on the TV news and hear that hurricane Kate has just hit Florida. But I was blown away years ago by a more Gael-ic Kate.] [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, ihnp4}!mit-eddie!gds gds@mit-eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (01/20/86)
Love-Hounds Digest Monday, January 20, 1986, 02:35 Today's Topics: Break-Through bangles Goodbye ... Cloudbusters KB interview [][][][][][][][][][] Date: Thu, 9 Jan 86 05:57:22 est From: nessus (Doug Alan) Subject: Break-Through The infamous North American KB fanzine, Break-Through, is back in business again. They just came out with their first issue in a year. The name seems like an anachronism now, however. I think they should change their name to "Broke-Through". "Over America, can't do anything" Doug P.S. Has anyone else noticed that in the broken up speech in "Waking The Witch" right after "Bless me father, for I have sinned", Kate says "Listen to me, baby -- listen to me come -- UUH!"? [][][][][][][][][][] Date: Wed, 8 Jan 86 13:16 EST From: David M. Hardy <HAADAV@MITVMA> > Referent to the Santa Claus: Wow, I didn't know turnaround time > was quite that long! Sorry if it seemed out of place. > -Dave "Keep Running up that Scale" Fetrow > (1/7/85) ^^ It was actually nice. I've heard of things getting delayed in the mail, but a year? Even the USPS doesn't do that (too often) :-) Perhaps some sort of bizarre time warp? Anyway, anyone here familiar with a band called Barclay James Harvest? I heard a song from them years ago and never heard or saw anything from them again, until yesterday, that is, when I found a CD called 'Live Tapes' They sound a little bit like a cross between early Genesis and the Strawbs, and the CD is great. I don't think they're a new band by any means, but I like their sound, especially "Suicide" (the one I heard a ways back). I'd like to know some more about them... >>> Dave Acknowledge-To: David M. Hardy <HAADAV@MITVMA> [][][][][][][][][][] Date: Thu, 9 Jan 86 10:48:24 EST From: Jim Hofmann <hofmann@AMSAA.ARPA> Subject: bangles Because this list seems generally receptive towards women in pop/rock music, I'd thought I'd mention the bangles (wicinski's old sweethearts) have released an album including a cut I heard on the radio called "Walk Like An Egyptian" that I had thought was Siouxie or Ten Thousands Maniacs --- when I heard it was these Liverpudians I was amazed at how much their style had matured ... forgive me for making an analogy which will be made (I think) alot about this group but this reminds me of the Beatles going from Meet The Beatles to Revolver ... Flames on ... hofmann [][][][][][][][][][] Date: Thu, 9 Jan 86 13:54:59 est From: H. Chai <utflis!allegra!ihnp4!utcsri!chai> Subject: Goodbye ... Starting this Friday (if not, VERY soon) our machine is to be isolated from the rest of the UN*X net. (all a matter of politics) No more news. No more mail from another machine. No more new versions of hack. No more Love-hounds! *sigh* Before I go, let me metion that on the Friday after X'mas "Good Rockin' Tonight", produced by the CBC (Canadian Broadcasting Corporation) in Vancoucer, aired an interview with KB and showed the _Cloudbusting_ video. The cloudbuster shown in the video was nothing like the real thing, which was just a simple contraption of straight metal tubes. Also the latest issue of _Breakthrough_ contains pictures of all five versions of the _The Kick Inside_ album covers. There is also a section called "Cover Girl" which has all the magazine covers which featured KB. There are over twenty of these, dating back to 1979. _BT_ has switched to a newspaper format, though, which isn't exactly an improvement. Well, it was nice talking to you all. *sniff* :.-( Keep on running up that hill !! -- Henry Chai, just a humble student at the Faculty of Library and Information Science, U of Toronto {watmath,ihnp4,allegra}!utzoo!utflis!chai [][][][][][][][][][] Date: 09 Jan 86 09:37:07 EST (Thu) From: J Eric Roskos <think!harvard!topaz!peora!jer> X-From: J Eric Roskos <jer@peora.UUCP> > KATE: Right! [Little laugh.] Well, uh, [in an amused and puzzled > tone of voice] I think you... it's kind of weird the level > ----- > of interpretation that you are reading into things, > because... Oh, my... this is most discouraging and depressing... sort of like the essence of the solipsism in the Human Experience, you know? Sort of like the cranial sutures, which, though inseparable, are distinct and not united for all their intertwining... I remember one of my professors in college, the one who taught Romantic Poetry, Charles Lloyd (famous coach of the undefeated GE College Bowl champions years ago) said, once, You write these poems, and people find meaning in them that you didn't know was there. So, did you really put it there, did you really mean to say that? [a long pause] Certainly, you did. You knew it was there! It's hard to believe that poetry that is consistent, and basically good poetry, should also be accidental. I can believe that of Jon Anderson, who writes meaningless phrases that you find meaning in, like patterns on a randomly-patterned wall, but not with coherent poetry. Maybe there's more to it than that... I wonder if John Carder Bush reads her lyrics and says, "why don't you change this to say ..." ? Or if maybe it's like the explanation of the backwards singing. Reading this interview reminds me a lot of an interview with Vangelis, where he simply refuses ever to say anything at all, only "I play the music, and it comes out." More than that, it is somehow disarming... Well, I've got to get to work... more later. [][][][][][][][][][] Date: Thu, 9 Jan 86 22:06:30 est From: nessus (Doug Alan) Subject: Cloudbusters So long Henry. We'll miss you. > The cloudbuster shown in the video was nothing like the real thing, > which was just a simple contraption of straight metal tubes. I'm told by someone who claims to know about such things that the cloudbuster in the video has all the elements necessary for a working cloudbuster and that it is remarkably accurate, even though it does not look anything like the original one (the one in the video is all Hollywooded up), -Doug [][][][][][][][][][] Date: Thu, 9 Jan 86 23:54:10 est From: nessus (Doug Alan) Subject: KB interview > From jer: > It's hard to believe that poetry that is consistent, and basically > good poetry, should also be accidental. I can believe that of Jon > Anderson, who writes meaningless phrases that you find meaning in, > like patterns on a randomly-patterned wall, but not with coherent > poetry. I've written a little bit of (bad) poetry. What's really strange is that often I just write what I think is nonsense. A bunch of phrases that pop into my mind, with images and vague symbols -- but nothing coherent. Then I might find the poem in a pile of junk a while later, and when I read it, I know exactly what it means. So, did I put that meaning there unconsciously when I wrote the poem? Or did I just read that meaning into the poem later? > Maybe there's more to it than that... I wonder if John Carder Bush > reads her lyrics and says, "why don't you change this to say ..." ? I dunno. Maybe, but I kind of doubt it. What's interesting is that Kate said that the "tenner" / "tenor" double entendre was not intended. On the other hand, I asked John Carder Bush if the "morning" / "mourning" double entendre in "My Lagan Love" was intentional and he said that it was. Now I really want to ask Kate if the triple entendre with "I wash the panes" (" I wash the windows" / "I cry" / "I wash the hurt and pain") in "Get Out Of My House" was intentional. It seems *so* perfect that it must have been! But if she thinks about this enough to have come up with such a perfect triple entendre here, then how could she have missed the "tenner" / "tenor" pun? Maybe it is all intentional, but only subconsciously.... There was a very interesting interview with Kate in a recent issue of Hot Press. She says some things that seem to hint that she does operate on a subconcious level for many things. For example, the interviewer asked her about the covers to "Lionheart" and "Hounds of Love" and said they might be seen as being somewhat kinky. Kate said that she hadn't thought about them that way before, but now that he mentioned it, maybe she did see that they could be seen that way. Knowing no feeling My mind wanders through your world Only words live now Doug P.S. John Bush said that he'd be willing to send me some of his poetry. But I haven't gotten off my butt yet and written a letter to him. Anyone else interested? [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, ihnp4}!mit-eddie!gds gds@mit-eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (01/24/86)
Love-Hounds Digest Friday, January 24, 1986, 12:15 Today's Topics: Kate in the Wall Street Journal Re: KB in Tower Records' "Pulse" SPIN rejection letter Anyone heard of... Did Kate put it there? babble Today's dose of Katrivia Re: KB interview [][][][][][][][][][] Date: Fri, 10 Jan 86 02:43:28 est From: nessus (Doug Alan) Subject: Kate in the Wall Street Journal "Pop: Music for a New Year" by Pam Lambert Wall Street Journal 12/30/85 With "Hounds of Love" (EMI), Britain's Kate Bush compellingly stakes her claim as a major voice in pop music. On this album, her fifth, Bush's craft as a producer has blossomed to match her creative vision. The result is at once the artist's most accessible release -- and the brightest sound I've heard in quite a while. Bush took two years to make the record. It shows. Her four-octave range and Fairlight synthesizer are the base for impressionistic aural landscapes that at times swell to orchestral complexity, at others simplify to the directness of a march. Though the album opens with the exceptional "Running Up That Hill", whose loping rhythms made it a natural first single, the second side is the real showpiece. A phantasmagorical seven-song voyage through the ebbing consciousness of a drowning victim, it flows from dreamy numbness to terror to something approching euphoria. Which is just what Kate Bush is likely to leave you feeling. [][][][][][][][][][] Date: Fri, 10 Jan 86 03:04:42 est From: nessus (Doug Alan) Subject: Re: KB in Tower Records' "Pulse" > From: tsung@aero > Bush calls herself lucky as her wildest fantasy > is coming true: the ability to remain true to her inventive mind > without worrying about its results being accepted by the commercial > world. > Bush sings about that fantasy on _Hounds of Love_. "You > want my reply?/What was the question?/I was looking at the big > sky." > Well the last paragraph (about "The Big Sky") certainly made a lot of > sense to me. Actually I think the quote from "The Big Sky" is actually more of a jab at some of the British music press, rather than the commercial world. Except in the U.S., she's been remarkably successful commercially. The British music press, however, until recently, were often pretty nasty to her. > Say, do you think that The Ninth Wave could be about her own > artistic/internal struggle? I think it could be seen as being about any life crisis. > It's that witch part above (and the discussion a while back of > KB-the-witch) that gave me the idea. For instance, the bit with the > witchfinder is about KB not understood by outsiders (critics, etc), Yeah, I think that "Waking The Witch" is in some ways another jab at the British music press. They sometimes called her a witch, or spaced-out hippy, or whatever. Being accepted by the British press might seem like an old fashioned witch trial. If you pass, maybe you've forsaken your art for praise. And if you fail, then perhaps you will never get the recognition you deserve. > and "Watching You Without Me" (she sees loved ones but they can't see > her) is about her not understood by her close friends. Just a wild > speculation. Seems quite reasonable to me! > By the way, where does all that angry energy of "The Dreaming" comes > from? I don't think anybody can produce a work of such STRONG emotion > without some stimuli of an equivalent magnitude. Traumatic childbirth? Existential despair? I dunno. I often get as upset as Kate is on "The Dreaming" and nothing all that bad ever happened to me. Most of the time it's when I ponder the meaning of life and stuff like that... "I don't know why I am crying Am I suspended in Gaffa?" Doug [][][][][][][][][][] Date: Fri, 10 Jan 86 14:19:00 est From: nessus (Doug Alan) Subject: SPIN rejection letter I got my rejection letter from SPIN for my KB interview. Here's what it says: Dear Doug Alan: What is this strange power Kate Bush has over the soles of men? I don't know, but I don't get it. Anyway, I think an interview with the burning one at this time would be untimely. Thanks anyway. Best, Richard Gehr Oh well. Maybe I'll try the Smallville Weekly Reporter.... [][][][][][][][][][] Date: Fri, 10 Jan 86 16:54:39 EST From: hsut@purdue-ecn.ARPA (Tsun-Yuk Hsu) Subject: Anyone heard of... Has anyone heard music from Univers Zero, Art Zoyd or However? Wayside was out of some stuff I ordered (no Bill Nelson --- AAAARRGHHHH) and I need some recommendations for alternatives. Thanks in advance... Bill Hsu [][][][][][][][][][] Date: Fri, 10 Jan 86 17:10:17 EST From: hsut@purdue-ecn.ARPA (Tsun-Yuk Hsu) Subject: Did Kate put it there? Doug brought up some interesting points in his interview with Kate: if there's a fairly transparent allusion or pun in some poem or lyrics, is it REALLY there if the writer denies he put it there intentionally? Harlan Ellison, for example, likes to claim that his stories are very simple and straightforward, and complains that people read too much into them. It's interesting that John Bush claims that the wordplay in his lyrics is intentional, while Kate denies many of the puns Doug and other lovehounders found in her lyrics. Maybe John Bush, being a poet in the more traditional sense, is aware of wordplay and punning on a more conscious level, while Kate does things more on a subconscious level. Another theory (close to what Structuralist critics think) which sidesteps the problem of the author "subconsciously" putting things into the text is that which sees texts as constructs, analogous to mathematical constructs. You can build a mathematical object (such as some weird graph) and not realise all its properties at the moment you created the construct. Same thing with poems and other text. Maybe Kate's lyrics has all these puns which she was not aware of. Of course there are problems with this view being applied to foggy, non-mathematical things like poetry. Using this approach, a critic can almost say anything he wants about a text. If the author of the text denies having put something in the text, the critic can always say: "It is an inherent property of your text, you just didn't see it." BTW, Doug, I'd love to get some of John Bush's poetry too... Bill Hsu [][][][][][][][][][] Date: Fri, 10 Jan 86 16:06:03 est From: Tim Wicinski <wicinski@nrl-css.arpa> Subject: babble I wished I have heard the bangle's song that hofmann talks about, it sounds like a winner. Too bad your leaving Henry, you always had a good thing to say (not like me, who majors in major babble). No, This person I know has not made the Robyn Hitchock tape. His tape player broke down and he refuse to lend me the tape. I think he's being a prick about it, but he's a friend of DOug's so I'll be nice. speaking of Doug's friends: Turns out that my old roomate was the person responsible for turning doug onto kate. kind of a small world if I don't say so myself. Descendents are playing here next week, that should be a good show. Part of their merchandising includes coffee mugs with pictures of milo on them. [][][][][][][][][][] Date: Fri, 10 Jan 86 18:43:32 est From: nessus (Doug Alan) Subject: Today's dose of Katrivia As related to me by Del Palmer: Kate did indeed do the voice of the priest / judge in "Waking The Witch". Del didn't seem 100% sure what they used in the final mix, but thinks it is Kate through a harmonizer set two octaves down. They also tried using slowed down tape, but that didn't come out as well. Originally they wanted a man to do the part, but they couldn't find anyone who could do it right. I think it's good that Kate sang the part of the judge, because it makes it seem as if she's putting herself on trial in her mind -- which is a really powerful image. >From the mouth of Jay Bush: Originally his poem in "Jig Of Life" was supposed to be read by some famous Irish person, but then they decided to have him read it with a put-on Irish accent, and speed up his voice to sound like an Irish woman (ed note: or maybe like Irish chipmunks...). In the end, they decided to leave it at normal speed. >From the mouth of Paddy Bush: They will definitely do another concert tour -- if not this year, then next. And it will make the last concert pale in comparison. And they will bring it to the U.S. >From the mouth of Kate: They probably won't be doing another concert tour in the near future. She feels she can reach a lot more people with less effort through film or TV, but she hopes to do another concert tour before she's old and grey. I think that Paddy's going to put on a wig and leotard and leg warmers and do it himself if Kate doesn't change her mind.... -Doug [][][][][][][][][][] Subject: Re: KB interview Date: 10 Jan 86 09:21:08 EST (Fri) From: J Eric Roskos <think!harvard!topaz!peora!jer> X-From: J Eric Roskos <jer@peora.UUCP> > I've written a little bit of (bad) poetry. What's really strange is > that often I just write what I think is nonsense. A bunch of phrases > that pop into my mind, with images and vague symbols -- but nothing > coherent. Then I might find the poem in a pile of junk a while later, > and when I read it, I know exactly what it means. So, did I put that > meaning there unconsciously when I wrote the poem? Or did I just read > that meaning into the poem later? It's hard to know. I say this partly because it's hard for me to know exactly what *I* was thinking when I wrote something, especially with regards to meter. Actually this makes me wonder sometimes about the mechanisms of writing the poetry; it requires a particular frame of mind, which is difficult to attain. Thus I tend to suspect that it *does* involve a sort of subconscious thinking, or at least a thinking in parallel. For example, in this part of a poem I wrote recently: > No. Not only is time stretched into > This hour as empty as before, > But I must measure it too? I had two distinct meanings definitely in mind for the word "measure". Yet, thinking about it later, it occurred to me that the opening line of the poem, "Another hour outside of time" was also involved in these lines, since an hour outside of time (besides being paradoxical in itself, unless "time" means "history", which in a sense it did) would not be measurable. I am not sure if I intended this or not. However, I've been thinking a lot about the interview and why she said some of the things she said there; when I have time (i.e., when I'm not at work) I will try to remember to write more about that... -- jer [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, ihnp4}!mit-eddie!gds gds@mit-eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (01/26/86)
Love-Hounds Digest Sunday, January 26, 1986, 14:27 Today's Topics: thanks! HoL Singles, RUTH Lame? sombre reptiles (2 msgs) Interview comments, poetry, etc. [][][][][][][][][][] Date: Sun, 12 Jan 86 15:22:55 EST From: hsut@purdue-ecn.ARPA (Tsun-Yuk Hsu) To start off the new year two weeks late, a bunch of mini-reviews... The Explorers Falling for Nightlife/Crack the Whip (12" single) The Explorers are Andy McKay, Phil Manzanera and James Wraith (who? --- on vocals). Nice elegant dance music in the Roxy Music mode, but nothing terribly spectacular. Wraith really sounds like Bryan Ferry sometimes, especially on Crack the Whip. Tuxedomoon Holy Wars This was on some Best of '85 lists, but I was very disappointed especially after the long wait. Blaine Reininger is gone, and the band has a more commercial sound. Some of the tracks resemble good film music, but nothing special. Winston Tong does a good Jim Morrison imitation on Bonjour Tristesse, but this is overall a lowkey, unimpressive effort despite a few interesting moments. Sonic Youth Bad Moon Rising This is the most interesting album of '85 I've heard (sorry Kate). Love that vicious guitar sound and the wailing, distraught vocals. A set of harrowing, unforgettable sound pictures. Fred Frith Gravity If you like Fred Frith, you'll love this collection of fake folk music and demented arrangements of light music cliches. Frith is almost the Residents of the guitar. Birdsongs of the Mesozoic Magnetic Flip I was disappointed not to find their cover of Sombre Reptiles on this album (is it on the EP, Doug?) Many interesting bits here, though I liked side two and the Rocky/Bulwinkle theme better than side one and the Rite of Spring variations. Eberhard Weber Colours You don't really hear Weber's rich bass lines that much in this album (there's very little that compares with his solos in Mother Stands for Comfort, for instance). His band plays very well though. A nice album, just not enough Eberhard Weber. Roy Harper/Jimmy Page Jugula+ Good '80s folk rock with strong political lyrics. Some of the songs are too long for what they have to say, in my opinion. There are some great snide remarks about the British music press on the inner sleeve. Bill Hsu [][][][][][][][][][] Date: Sun, 12 Jan 86 21:03:53 cst From: ihnp4!uokvax!emjej Subject: thanks! Many thanks, Doug, for an interesting interview...a job I would simultaneously envy and dread. (I dare say I would start and end with "Duh..." shortly before melting messily on the hotel room carpet.) Looking for some Powdermilk Biscuits, James Jones [][][][][][][][][][] Date: Mon, 13 Jan 86 11:08:25 est From: nessus (Doug Alan) Subject: HoL Singles, RUTH Lame? > From: Steve Tynor <gatech!gitpyr!tynor> > I can't believe I (a fervid Kate fan) am writing this and maybe this > is the wrong group of people to write this to, but I'm getting sick of > RUtH. Doug says, 'Give it a chance, it's *perfect*!'. I never said it was perfect! I think it is excellent, but it is far from the best thing Kate has done. I've said on several occasions that I really am not so wild about the four note synth hook. I really do like the rhythm, however. It has a sort of hypnotic throbbing drone that is similar in some ways to the effect of the rhythm in the song "The Dreaming". > Well, after repeated listening (both at home and on the radio), I have > the same impression that I started with. It's a lame song. It's just > too repetative. I think you're just reacting this way because it's popular. I don't see how you can say that it's any more repetative than much of the stuff she's done. Repetition done properly is a very important tool in music. Listen again to "Leave It Open" or "Pull Out The Pin". > (Even the video (the one with Kate and friend dancing) is repetative! > How many times do they repeat the stunt where he holds her in his > arms, she throws her legs up over and behind his back... It's a neat > effect, just as certain aspects of the song are neat. Boo! Hiss! I just don't see how you can say this! The video for RUTH is the best video I've ever seen. It's perfect. (All her other videos are flawed in some way or another). I never noticed any excessive repetition in the video -- the move you mentioned is perhaps done twice? And the dance is just so beautiful, and there are so many subtle things going on: There is symbolic crucification. Kate and the male dancer switch places several times. There a visual argument. There is the imagery of Kate being trapped within herself. It's wonderful! > There are other, more interesting songs suitable for singles on the album. > (Big Sky (tho not *much* better), Cloudbusting) "The Big Sky" not much better than "lame"? Urrgh! "The Big Sky" just keeps growing on me. It is really a masterpiece. I sure hope that it is released as a single. It would really show the charts what great music is. And it probably even has a chance of being pretty successful. "Cloudbusting" was the second single in England, but it wasn't exceptionally successful (it only made it up to 20), so it's unlikely that it will be released as a single here. Unfortunately, the least imaginative song on the album, the title song, is definitely the next single in both the U.S. and in England. It has already been released as a DJ only promo single in the U.S. (And has been being played in very heavy rotation on WFNX.) Kate is currently working on the video for it. > Though I can't confirm it (I'm not near my stereo right now), I > believe the drum pattern used in RUtH is identical to that used by the > Beatles in 'Baby You're a Rich Man'. Can anyone confirm? What??? It's not even close! "This cloud, this cloud says 'Noah, c'mon and build me an ark'" Doug [][][][][][][][][][] Date: Mon, 13 Jan 86 13:23:08 est From: Tim Wicinski <wicinski@nrl-css.arpa> Subject: sombre reptiles Bill, The only place I have seen the Birdsong's version of Sombre Reptiles is on the 'Arf Arf Compilation' on (I believe) arf arf records. It features many Boston and Mass. bands, including the Pink Negroes. >From what I remember hearing, it's not a bad compilation, though I would probably tape it anyway. The Birdsong's version of Sombre Reptiles pays great tribute to Eno's original piece while not copying it note for note. "Music is the cup that holds the wine of silence, Sound is the cup, but empty, Noise is the cup, broken." -Robert Fripp [][][][][][][][][][] Date: Sun, 12 Jan 86 22:28:56 PST From: David Fetrow <ihnp4!uw-beaver!entropy!fetrow> Posted-Date: Sun, 12 Jan 86 22:28:56 PST Thanks for putting the interview up! Especial thanks for keeping it honest; most interviews read nothing like they sounded; yours read "real". On "Waking the Witch" my recording (which was in the tape machine at work while reading this) it is definitely: "Bless me father, Bless me father for I have sinned --- UH". However it also sounds a bit spliced up, so maybe that wasn't the original. Yes! I expect most of us would like to see some of Paddy Bush's poetry but please check to make sure he knows it will be spread around, copyright, etc. I have a few poet friends who write great stuff but I can't share it with the net because that's the way they want it. Speaking of which, is the Kate Interview non-distributable or distributeable if your name is on it or what? It is, after all, your property. -Dave ihnp4!uw-beaver!entropy!fetrow [][][][][][][][][][] Date: Mon, 13 Jan 86 17:26:51 est From: nessus (Doug Alan) Subject: Re: sombre reptiles > [Tim:] Bill, The only place I have seen the Birdsong's version of > Sombre Reptiles is on the 'Arf Arf Compilation' on (I believe) arf arf > records. Yeah, this is what it is on. > It features many Boston and Mass. bands, including the Pink > Negroes. Actually, most of the bands aren't really real. They are one-shot bands put together by Eric Lindgren to do one song. Birdsongs is an exception. Most of Eric Lindgren's solo stuff goes under the name "Space Negroes". I have his Space Negroes business card. "The Space Negroes -- 'Abstract Go-Go-ists -- Weddings, Bar Mitzvahs, Funerals". > From what I remember hearing, it's not a bad compilation, > though I would probably tape it anyway. It's completely wonderful! Buy it! > The Birdsong's version of Sombre Reptiles pays great tribute to Eno's > original piece while not copying it note for note. Their version is just so good that I'm left [][][][][][][][][][] Date: Tue, 14 Jan 86 08:34:45 est From: nessus (Doug Alan) Subject: Interview comments, poetry, etc. > [James Jones:] Many thanks, Doug, for an interesting interview... Hey, any time! My pleasure. > a job I would simultaneously envy and dread. (I dare say I would > start and end with "Duh..." shortly before melting messily on the > hotel room carpet.) Well, fortunately I had all my questions written out on 42 neat little index cards (of which I made it through 13 or so). Otherwise, I would have just sat there with a glazed look on my face, or something. I wasted five or ten minutes before I remembered that I was supposed to be doing an interview and started to record, being nervous and acting neurotic... (And wondering why her make-up looked so strange... But then when I went to England, many of the women were wearing the same strange style of make-up... And I went into a store, yesterday, and the cashier was wearing that same unusual style of make-up -- and guess what? She had a British accent.) > [Dave Fetrow:] Thanks for putting the interview up! Especial thanks > for keeping it honest; most interviews read nothing like they sounded; > yours read "real". How do you know it didn't in actuality sound totally unreal, and I doctored it up to sound real? Just a thought.... > Yes! I expect most of us would like to see some of Paddy Bush's poetry > but please check to make sure he knows it will be spread around, > copyright, etc. Actually, it's John Bush's poetry. He's a published poet, so I imagine he's not too shy about it. Oh, you know there's a KB biog that has in it poetry Kate wrote while still in school for the school journal. Anyone want to see that? > Speaking of which, is the Kate Interview non-distributable or > distributeable if your name is on it or what? It is, after all, your > property. Yeah, sure. Just don't sell it for profit, or anything. "Oh England my lionheart I don't want to go" Doug [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, ihnp4}!mit-eddie!gds gds@mit-eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (01/28/86)
Love-Hounds Digest Tuesday, January 28, 1986, 12:50 Today's Topics: The Semi-Compleate Lyrics to Waking The Witch Save the Madonna! Cloudbusting - the video ... Love-Hounds Digest Name this tune... [][][][][][][][][][] Date: Tue, 14 Jan 86 09:35:47 est From: nessus (Doug Alan) Subject: The Semi-Compleate Lyrics to Waking The Witch > From Dave Fetrow: > On "Waking the Witch" my recording (which was in the tape machine at > work while reading this) it is definitely: "Bless me father, Bless me > father for I have sinned --- UH". However it also sounds a bit spliced > up, so maybe that wasn't the original. I meant the part right after that. Here's that section a little more acurrately, as I hear it: PRIEST: What child? What Child? KATE: Bless me father, bless me father, for I have sinned -- UH! Simultaneously: KATE: Help me. Listen to me, listen to me, listen to me come, baby -- UH! KATE: Red, red roses. Simultaneously: KATE: Help me, baby. Talk too! KATE: Red, red roses JUDGE: I question your innocence. Here's all the lyrics for the whole song as best as I can make them out. If anyone has any different ideas about what's being said, please tell me: VOICES: Wake up. A good morning m'am. This is your early morning call. (Trivia note: the above line was said by Paddy talking through a phone.) You must wake up. Wake up. Wake up, man. Wake up, child. Pay attention. Come on, wake up, my love. Wake up, love. They should make the night, but see your little light's a lie. [Simultaneously:] MAN: Sunday at nine and you're sleeping in bed? Get up! KATE: Your ma needs a shower. Get out of bed. CHORUS: Little light. MAN: Can you not see that little light up there? KATE: Where? MAN: There! KATE: Where? Over here. You still in bed? Wake up sleepy head. The heirs of the water are trying to get out. We are water in the holy land of water. Don't you know you've kept we waiting! Look who's here to see you! KATE: Wake, wake up. Wake up. Wake up, baby. Wake up. Wake up. Wake, wake up dear. JUDGE: You won't burn. KATE: Red, red roses. JUDGE: You won't bleed. KATE: Pinks and posies. JUDGE: Confess to me girl. KATE: Red, red roses go down. KATE: [Indecipherable] JUDGE: Poor... KATE: Red, red roses. JUDGE: ... blackbird. KATE: Pinks and posies. JUDGE: Wings in the water. KATE: Red, red roses. BOTH: Go down. KATE: Pinks and posies. KATE: [Indecipherable.] PRIEST: What child? What Child? KATE: Bless me father, bless me father, for I have sinned -- UH! Simultaneously: KATE: Help me. Listen to me, listen to me, listen to me come, baby -- UH! KATE: Red, red roses. Simultaneously: KATE: Help me, baby. Talk too! KATE: Red, red roses. JUDGE: I question your innocence. KATE: This blackbird -- there's a stone around my leg. JUDGE: Hah! Damn you woman! UH! Hah! KATE: This blackbird -- there's a stone around my leg. JUDGE: What say you, good people? GOOD PEOPLE: Guilty! Guilty! Guilty! KATE: This blackbird. JUDGE: I am responsible for your actions. KATE: Auuuuuuhhhhhhhhhhhhh. JUDGE: UH! Hmm! Ha, ha, ha. Kill thee. Burn! KATE: Help this blackbird. VOICE: Let go of the way. VOICE IN HELICOPTER: Get out of the waves. Get out of the water. -Doug [][][][][][][][][][] Date: Mon, 13 Jan 86 17:09:11 EST From: Jim Hofmann <hofmann@AMSAA.ARPA> Subject: Save the Madonna! Reprinted without permission from The Nuclear Times (Nov/Dec) "Somewhere in Cincinnati there lives a young man, a comatose quadriplegic, named Given, who is cared for by his sister Jaunita. "One sumer day in the park a boy walked past Given carrying a cassette recorder, which was playing a song by pop star, Madonna. For the first time in years, Given became lucid, asking, "What beautiful music is that?" "The next few days were happy ones for Given and family. They showered him with Madonnarabilia, and her album never left the turntable. Given's health and mood improved steadily. "Seventeen days later, Given watched a video cassette of 'The Day After,' and here the story takes a sad turn. Fearing that Madonna might be killed or forced to live in a post-nuclear world like the one portrayed in the film, Given became seriously depressed. His condition deteriorated until serveral months later, he was comatose again. Given's sister claims that his last words were, 'Those eyes [Madonna's], must never see nuclear war.' He has not come out of the coma since. "In a press release, a spokesman for Juanita, Terrence Ross, tells us that she has decided to honor her brothers last request. She has appointed Ross executive director of a new disarmament group, the Association to Save Madonna from Nuclear War (ASMNW). Ross is anxious to discuss the matter with Madonna herself. He is publicizing the story because he wants people to think about nuclear war in different ways. Everybody is so overwhelmed by the concept that they cannot deal with it. This story makes people think about nuclear war by singling out one unique person, of all creation. 'It's a newe approach.' Ross admits that one of the chief reactions so far is 'disbelif, sometimes sardonic humor.' Juanita has refused to be interviewed to verify the story." [][][][][][][][][][] Date: Mon, 13 Jan 86 17:20:10 EST From: Jim Hofmann <hofmann@AMSAA.ARPA> Subject: Cloudbusting - the video ... Just my thoughts after seeing the video (Thanks, Doug) ... Kate Bush seems to have the right idea about combining music with images - which should be the goal of the "video" (Mikey Jackson now prefers to call "videos" "films") and all to often the "video" (or at least the majority shown on MTV and assorted other venues (Friday Night Videos, Radio 1990) has merely been an excercise in making an extended commercial which can be pretty boring after awhile. "Cloudbusting" like its predecessors "Blue Jean" and yes, "Thriller" treats the music as an integral part of the action but not the central point. This is good and should be encouraged! Write MTV and tell them you want more time devoted to this type of film ... However, "Cloudbusting" suffers from Kate's complete lack of acting ability ... alot of this blame must be put on the director's shoulders for not eliciting a convincing performance. Kate should take her cue from other singers/athletes/etc turned actor/actress and take a much less demanding role. To jump into a little boys shoes from modern dance slippers is way too much for her. To have a brillant performance by Donald Sutherland which overshadows her attempts to be cute is utterly sickening (to my mind and stomach at least) ... perhaps Kate should have hung ego on the front door and allowed a more accomplished actor do the part, say Matthew Broderick or Henry Thomas .. they certainly wouldn't have looked as ridiculous in a little boy outfit as Kate does. If anything, she should have made her acting debut as a character closer to her own personna instead of tackling Cloudbusting as such. Again, the director is to blame for not finding the most convincing performance but when the actor holds the purse strings and artistic control many directors are hard-pressed to hurt ego. Too bad ... as Sutherlands' performance was magnificient ... Hofmann [][][][][][][][][][] Date: Thu, 16 Jan 86 04:51:51 est From: nessus (Doug Alan) Subject: Name this tune... There's a really moby song which I have heard on the radio and for which I have a video, but I don't know who does it. It sort of sounds like Gordon Lightfoot gone psychedelic punk industrial art noise rock. It has one distinctive phrase "Like talking to a stranger" that alternates with other phrases. Does anyone know who does it? "Like talking to a stranger" Doug [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, ihnp4}!mit-eddie!gds gds@mit-eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (01/30/86)
Love-Hounds Digest Thursday, January 30, 1986, 12:03 Today's Topics: Name this tune... (2 msgs) Descendents/Dag Nasty show request of info on some groups (3 msgs) Save the Madonna! [][][][][][][][][][] Date: Thu 16 Jan 86 08:52:00-PST From: Bob Knight <KNIGHT@SRI-NIC.ARPA> Subject: Re: Name this tune... Aaargh! The name of the group is on the tip of my tongue. They're from Australia and there (were, are) about 8 people in it. That song came out about 3-4 years ago, and they have toured the US at least twice. They have also at least two albums out. Aha! Cogitation wins out! The name of the band is "Hunters and Collectors". Bob ------- [][][][][][][][][][] Date: Thu, 16 Jan 86 13:52:25 est From: Tim Wicinski <wicinski@nrl-css.ARPA> Subject: Descendents/Dag Nasty show Descendents/Dag Nasty 930 club, Big News: Dag Nasty will be putting out a 7" 4-song Ep on Dischord in a month or so !! Dischord # 19 for those keeping count. Other Big News: I had my first drink in a month ! Whoa boy, calm down. Had too, after I found out that Husker Du and Soul Asylum will be playing the 9:30 on Feb. 9th. Had another one when I both my tickets (2 for 19.00, big bucks for big stars). Total = 2 Beers, 2 Tickets, 2 bands. one night. Dag Nasty came up. The singer is now on lesson 6 of "Ian Mckaye's 16 steps to be a big time rock singer". The band as a whole has improved since the last time I saw them, and there still improving. I was more impressed this time. In between sets you could hang out watching videos (like Til Tuesday's video of "Voices Carry" while listening to the Gang Green version of the same song) or go to the back bar for some good drinks or go outside and listen to Peter Murray of Marginal Man and John Stabb of GI's talk about their motorcycles (how macho are you??) or go around the corner and hit the peep shows. I myself like top stand outside a peep show house (no particular one) and when someone would exit, make it look like I'm writing down information about them. These clods then get all nervous and uptight and want to know what your doing. Then you tell then you work for Jerry Falwell or something along those lines. They hit the road fast. Still waiting for one to pull a knife on me. okay, okay, here come the descendents. With Bill Stevenson back from Flag and Milo back from college, they ripped through their set. And ripped through was right. Not one break between songs, just barrelling through most of their new songs. Problem with the guitar player, never turned to face the audience at all. guess he didn't like the way we looked. Still More big news: John Labovitz is in England now. who knows what kind of deviant behavior he's unleashing on the countryside. look for the descendents in your town soon. tim [][][][][][][][][][] Posted-Date: 16 Jan 86 10:55:40 PST (Thu) Subject: request of info on some groups Date: 16 Jan 86 10:55:40 PST (Thu) From: tsung@aero I'd like to find out more about the following groups. I have either heard interesting things ABOUT them or FROM them, and I want to know more. Residents Replacements Siouxie and the Banshees Cocteau Twins (somebody on the net mentioned "Treasure" LP ...) X Fine Young Cannibals (does a good cover of "Johnny Come Home") Tom Waits (ok, so he's not a group, and he's been around awhile) The The (a few people raved about them, but what KIND of music do they play?) (that's all I can remember now) Most importantly, what do their music SOUND like? I know this is hard to describe (how would you describe KB?), but any effort is appreciated. Also, what are their best efforts, and which LP's are good introductions to their music (i.e. 1st one to buy)? Are they worth it? For instance, I would consider HOL a very good introduction to KB (it got me hooked!). Thank you for any infomation! Fu-Sheng "What? This is NOT net.music?" [][][][][][][][][][] Date: Thu, 16 Jan 86 14:51:18 est From: nessus (Doug Alan) Subject: Re: Save the Madonna! > "In a press release, a spokesman for Juanita, Terrence Ross, tells us that > she has decided to honor her brothers last request. She has appointed Ross > executive director of a new disarmament group, the Association to Save > Madonna from Nuclear War (ASMNW). Gee, I'd never thought about some of the benefits of nuclear war before.... Maybe Reagan isn't so bad after all. "Two suns in the sunset" Doug [][][][][][][][][][] Date: Thu, 16 Jan 86 15:56:35 EST From: Laura Frank Clifford <lcliffor@bbnccm.ARPA> Subject: Re: request of info on some groups Siouxie and the Banshees is one of my favorite groups. Siouxie Sioux, the lead singer, has a stage presence not dissimilar to Kate's, although not quite in the same league. The band is usually associated with Britain's early punk movement (Siouxie was the original 'Nazi' punk), but don't really have a hardcore punk style. I believe one of the band members used to belong to Magazine, but I'm not sure. I'm surprised you've not heard of them - some of their more 'popular' songs are "Christine", "Arabian Nights", "Israel" (their best!), cover of "Dear Prudence". I really like their "Juju" album. Hope this helps! Laura Clifford [][][][][][][][][][] Date: Thu, 16 Jan 86 14:19 MST From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA> Subject: Re: request of info on some groups Reply-To: Lippard@MIT-MULTICS.ARPA > [Laura Clifford]: > I believe one of the band members used to belong to > Magazine, but I'm not sure. John McGeoch of Magazine (and Visage) appears on several Siouxsie and the Banshees albums, as does Robert Smith of The Cure. I just have Hyaena by SatB (it's the only one I've seen on CD), I like it a lot. Jim Lippard (Lippard at MIT-MULTICS.ARPA) [][][][][][][][][][] From: allynh%miro@BERKELEY.EDU (Allyn Hardyck) Subject: Re: Name this tune... Date: 16 Jan 86 15:36:43 PST (Thu) Sounds like "Talking To A Stranger" (surprised?) by Hunters and Collectors, an Australian band. It's on _Hunters and Collectors_ (A&M/Oz). Yeah, good stuff, a girl I knew in Firenze liked it. [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, ihnp4}!mit-eddie!gds gds@mit-eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (02/01/86)
Love-Hounds Digest Saturday, February 1, 1986, 12:01
Today's Topics:
What are the Residents?
Residents, The
Cities in Dust
J. McGeoch,Magazine,Armoury Show,P. Murphy,Siouxie
Cities In Dust in Brazil
[][][][][][][][][][]
Date: Fri, 17 Jan 86 10:53:51 EST
From: hsut@purdue-ecn.ARPA (Tsun-Yuk Hsu)
Subject: What are the Residents?
Rah! Rah! A question about the Residents, my favorite demented
synth-group!
Anyway, nobody really knows who the Residents are, or whether the
same four people wear the masks with the big eyeballs. Their music is
mostly electronic, with lots of hilarious distorted vocals. It takes a
slightly warped sense of humor (like mine) to appreciate them, but they're
really one of the more innovative groups around. Their music ranges from
crazy rearrangements of old music which is always funny (3rd Reich and Roll
contains '60s and '70s hits seen thru Residents' eyeballs, George and
James contains hilarious versions of Gershwin and James Brown), relatively
straight electronic epics (Not Available), electronic simulations of
folk music (Eskimo) and warped film/video quasi-ambient pieces (Whatever
Happened to Vileness Fats).
Before you buy a Residents album, I'd suggest listening to some
of the music first just to experience the sound, since they sound very
different from most people. I know people with otherwise great tastes in
music who can't stand the Residents (they're in the minority, tho.)
My favorite Residents album is Not Available, a true concept album with
"singable" tunes and probably the most coherent thing they've done.
Eskimo is also very good, tho it's too draining to listen to more than
once a month.
"Is obscurity the test tube of tomorrow
Or just a testing done
To pave the way for sorrow?"
The Knife Fight, from Vileness Fats by
the Residents
Bill Hsu
[][][][][][][][][][]
Date: Fri, 17 Jan 86 11:31:39 est
From: David Oskard <dno@cvl.umd.edu>
Subject: Residents, The
Here's a "little" blurb Rich Rosen sent me many moons ago on the whole Ralph
Records / Residents scene. Their music is, well... interesting. They go
for the psychotic sound it seems. I think one of the great experiments
of all time occurred when they payed a guy named Penn Gillete (sp?) a lot
of money to be locked in a motel room for 6 days and listen to ALL Ralph
Records has ever put out. The results are found on the Ralph 10th Anniv-
ersary album. Anyway, here's what Rich sent me:
Your article was cut off completely (must have been painful) except for the
title. If you are asking "WHO ARE THE RESIDENTS?", I will try to provide an
answer. If you are answering the question you ask, this letter is redundant and
should be burned immediately.
The Residents are originally from Shreveport, LA. There they got involved
in making weird music and such. They moved to the San Francisco area where
they continued this process, sending a demo to Warner Bros. records without
a name. It got rejected and sent back with the address label saying
"RESIDENTS". A name was born.
In some order or other, Ralph Records and the Cryptic Corporation were formed
by friends and associates of the Residents to promote and distribute their
music. Their first album, "Meet the Residents", had a cover based on the
"Meet the Beatles" album cover, except with the Beatles' faces grotesquely
distorted. It was withdrawn (at the request of Capitol Records; actually the
Beatles loved it---unless it was because...) and a new cover (also with a
picture of the Beatles) was released, this time with the Beatles' heads
replaced with crustaceans. This was approximately 1972.
Since then, the Residents have recorded many albums, including "Not Available"
(a record that was not supposed to have been released until the Residents
forgot about it; it was released despite the fact that they hadn't; this is
all based on the theory of obscurity of N. Senada, their cultural idol and
something-or-other), "Third Reich n' Roll" (a medleyesque sendup of the
music of the sixties, including simultaneous playing of Inagaddadavida, Hey
Jude, and Sympathy for the Devil, + 96 Tears, Hey Little Girl, Light My Fire,
Yummy Yummy, Hanky Panky, all in the inimitable Residents style),"Fingerprince"
(which contains an extended ballet piece), "Eskimo" (a conceptual album that
is supposedly based on Eskimo music, culled from research by N. Senada),
"Diskomo" (an EP containing disco versions of pieces from Eskimo, backed with
Residential style Mother Goose songs), "The Residents Commercial Album" (with
40 1-minute 'commercials' [top 40??], each just long enough to make you want
more---all absolutely great!), "Duck Stab"/"Buster & Glen" (each side of this
album is from an EP, though the Buster & Glen EP was never released except on
this album; contains what have been called "nearly pop" stylings including
'Constantinople', 'Laughing Song', 'Sinister Exaggerator', 'Bach is Dead'),
and finally the Mole albums ("Mark of the Mole", which details the stories of
the Mole people who work in the pits, who are forced by disaster to go to the
cities to do menial work for the ruling Chubs, and "Tunes of Two Cities",
which alternates between songs showing music of the Moles and the Chubs---Mole
music is bizarre and industrial, while Chub music seems to be Residential
versions of old swing tunes---these albums were supposed to be part of a
trilogy, the third alubm of which has never been released; they are also the
basis for the Mole Show which the Residents have performed only a very few
times in recent months).
The Residents' identities are kept very secret, so as to prevent them from
being swallowed up in the rock 'n roll superstar gluttony machine (?).
Speculation has had it that they are the Beatles, since their first work
emerged just after the Beatles broke up. On Third Reich n' Roll, they
explain "Why the Residents Hate the Beatles", after the backlash from their
first album cover. Some say "Who hates the Beatles more than the Beatles
themselves, who broke up the band to get out of the hassles of Beatledom?"
They have released a special single (no longer available) called "The
Beatles Play the Residents/The Residents Play the Beatles" which includes a
track called 'Beyond the Valley of a Day in the Life', which is a Revolution
9-esque portrait of the Beatles music in tape loops, backwards orchestral
passages, and weird verbiage. What does all of this mean? Probably nothing.
Because of the secrecy surrounding them, the Residents have rarely performed
live. Rare occurrrences of live performances have involved secretive
disguises (mummification, and their trademark---wearing eyeball head masks
with top hats). Only recently did they engage in a modest tour with their
Mole Show.
Meanwhile, Ralph Records has grown beyond the point where the Residents can
control it. Ralph has released "Not Available" (as well as recent live records)
without Residential permission. It should be noted that there are many other
artists that have been involved with Ralph. Among them:
Snakefinger (actually Phil Lithman) - an English guitarist who has
appeared with the Residents live and on record; very bizarre
and incredible style; did a cover of Kraftwerk's "The Model";
last record (Manual of Errors) has him working with Eric Drew
Feldman who has worked with Capt. Beefheart
Fred Frith - very serious and prolific guitarist who has worked with
Eno, Material, the Art Bears, Matching Mole, and can be found
all over the Residents Commercial Album
Tuxedomoon - no longer with Ralph, sort of chamber noise; violin,
sax, bass, rhythm machine, eerie keyboards and vocals on
occasion, "Half-Mute" is a great album, though I've never found
a good pressing
Yello - European synthodisco, but really much more, very experimental
Renaldo & the Loaf - newcomers, now working on a collaboration with
the Residents; very very weird---tape loops and bizarrely
processed instruments and even more bizarrely processed voices;
"Songs for Swinging Larvae" (1st album) is very good
Plus there are several compilations: "Subterranean Modern"--contains Residents,
Tuxedomoon, Chrome, and MX80 Sound doing versions of "Left My Heart in San
Francisco" plus original material; "Frank Johnson's Favorites"--Frank
Johnsons was their bookkeeper, then they got a computer and named it after the
departed Frank; Frank picked out these rarities (mostly B-sides not found on
albums), incl. the Beatles "Flying" taken from the aforementioned Residents
single; "Best of Ralph"--really THE must-own record here; contains "Beyond
the Valley of a Day in the Life", "Constantinople", excerpts from Eskimo
and Third Reich n' Roll, plus works by other Ralph artists: Tuxedomoon's
"What Use?", Fred Frith's "Dancin' in the Streets" and "Norgaarden Nyvla",
Renaldo & the Loaf's "Bali Whine", Snakefinger's "The Model" and "The
Spot" (a Residents cut) and "The Man in the Dark Sedan", and more. Get your
name on their mailing list for further info. Write to:
Mail Order/Ralph Records
109 Minna Street, #391
San Francisco, CA 94105
Good luck. Rich Rosen pyuxn!rlr
Good enough for ya? David
[][][][][][][][][][]
Posted-Date: 17 Jan 86 17:18:27 PST (Fri)
Subject: Cities in Dust
Date: 17 Jan 86 17:18:27 PST (Fri)
From: tsung@aero
("Siouxie Sioux" . . . wow, what a concept)
KROQ is playing Siouxie (Siouxsie?) and the Banshee's (new song, I assume)
"Cities in Dust" regularly. It's quite interesting.
Checking out local record stores, I'm surprised to find so many SatB albums,
while none of them is "Cities in Dust" (or released in 85). Has it been
released? If so, what do you (anybody) think of it?
Otherwise I'll just check out their "Juju" or "Hyena" (thanks, Laura and Jim).
Fu-Sheng
[][][][][][][][][][]
Date: Friday, 17 Jan 1986 10:06:29-PST
From: hall%beta.DEC@decwrl.DEC.COM
Subject: J. McGeoch,Magazine,Armoury Show,P. Murphy,Siouxie
>Really-From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA>
>> [Laura Clifford]:
>> I believe one of the band members used to belong to
>> Magazine, but I'm not sure.
>John McGeoch of Magazine (and Visage) appears on several Siouxsie and the
>Banshees albums, as does Robert Smith of The Cure.
And.....John McGeoch is now a member of The Armoury Show. He also plays
guitar on the Peter Murphy cover of Magazine's "The Light Pours Out Of Me".
That's why it sounds so similar to the original. I really like the addition
of the harmonica bit in Murphy's version. Magazine was my favorite band for
quite awhile. I saw Howard Devoto after his solo album came out, and he did
a few Magazine tunes...made my day! I've been in a Bauhaus/Tones On Tail/
Dalis Car/Love and Rockets binge lately, so I look forward to Peter Murphy's
album.
>>Really-From: Laura Frank Clifford <lcliffor@bbnccm.ARPA>
>>Siouxie and the Banshees is one of my favorite groups.
>> I'm surprised you've not heard of them -
>>some of their more 'popular' songs are "Christine", "Arabian Nights",
>>"Israel" (their best!), cover of "Dear Prudence". I really like their "Juju"
>>album. Hope this helps!
Don't forget their newest single "Cities in Dust", a tasty little requisite!
Dan
[][][][][][][][][][]
Date: Sat, 18 Jan 86 01:25:45 est
From: nessus (Doug Alan)
Subject: Cities In Dust in Brazil
> Really-From: tsung@aero
> KROQ is playing Siouxie (Siouxsie?) and the Banshee's (new song, I assume)
> "Cities in Dust" regularly. It's quite interesting.
I have "Hyaena", "Juju", and "Kaleidoscope". I think that "Juju" is the
best (oops, I mean my favorite...). But "Cities In Dust" is the best
song I've heard by them -- it's really quite fantastic.
> Checking out local record stores, I'm surprised to find so many SatB albums,
> while none of them is "Cities in Dust" (or released in 85). Has it been
> released?
It's out as a single. It has a really wonderful cover, too. Haven't
bought it yet, however.
"Desert kisses in the sand"
Doug
P.S. Just saw Terry Gilliam's new movie, "Brazil". It is "fucking
brillaint", and you can quote me on that. If you only see one movie in
your life, "Brazil" might as well be it. Coincidentally, the originial
music was composed by Michael Kaman, who just happened to do the
orchestral arangements on the most recent album of a certain female
progressive musical artist...
Goddamn, that movie was just so fucking brilliant....
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, ihnp4}!mit-eddie!gds
gds@mit-eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (02/01/86)
Love-Hounds Digest Saturday, February 1, 1986, 14:07
Today's Topics:
Re: Love-Hounds Digest, 1/16/86
I'm back!
[][][][][][][][][][]
Return-Path: <earle@gorbag>
Date: Fri, 17 Jan 86 17:32:02 pst
From: ia-sun2!smeagol!gorbag!earle@csvax.caltech.edu (Greg Earle)
Subject: Re: Love-Hounds Digest, 1/16/86
(WARNING - LONG letter ahead - proceed at own risk)
Re: Love-Hounds digest of 1/17/86
An introduction and information:
Hello everyone in Love-Hounds land. My name is Greg Earle, and I am the
world's first post-punk Computer Scientist (self-proclaimed) currently
haunting the Jet Propulsion Laboratory in good ol' Pasadena CA. I have only
been on USENET for ~4 months, so I am just getting on this mailing list.
A few comments and observations:
It appears this list has expanded beyond the range of merely re: the Amazing
Kate. Is this true? I note much info on Milo decides college sucks (aka
the Descendents) in the 1/17/86 digest.
Now on to the 'request for information'. A footnote: I have been personally
involved in the L.A. punk & antecedent scenes since about day 2, which means
since ~1977 just after the Original Masque (if that means anything to you
non-L.A. dwellers), both as an intersted bystander/fan and also involvement
in promoting shows, clubs, and bands, etc. I bring to this mailing list
a backlog of 9 years involvement in the music scene, and a collection of nearly
1500 records, almost all from the post-'76 era. If anyone has a question
about any music from anywhere that is post-'76, I can either answer it or
find someone who can. Now *that* sounds incredibly pompous, so I'll shut up
now, and give you "just the facts, ma'am".
(Aside to list-keeper - are long discographies appropos for posting,
[Sure! -- Doug] or should I say 'I've got one, e-mail me and I'll send
it to you'??)
-----------------------------
(Hold your breath, folks)
For Fu-Sheng:
- The Residents
The Residents are a bunch of people from S.F., who have been around for over
10 years. As far as I know, all of their output has been on Ralph Records
of S.F. The most noteworthy thing about the Residents is that they never
allow pictures of any of the real live band members to be taken. So if you
see a record cover with 4 men in tuxedoes on it, their heads replaced by
giant eyeballs, that's them. They have put out quite a few LP's; among
others that come to mind are 'The Residents' Commercial Album', 'The Mole
Show', 'Duck Stab' (came with free t-shirt!) and lots of others. The best
shot at describing their sound is 'pop eclectic', they mix and match many
elements of standard pop together. They are about as unclassifyable as
any band going.
- The Replacements
These guys hail from Minneapolis, Minn., and are currently hailed by the
so-called "critics" (sooner or later, everyone on this list will come to
realize my absolute hatred/disgust for any newspaper/magazine rock "critic")
as being at the forefront of the new "American Wave" (sneer). They play
an amalgamation of styles, loosely based on 60'sish garage basic-rock combos.
It is basically unembelished music. They are 'famous' for getting wasted
before gigs, and from playing sets of extremely varying quality and content.
Their first 3 or so LP's were on the Twin Tone label, but they were recently
signed by Sire, and their latest LP, "Tim", is the one getting all the
huzzahs (When the L.A. Times critics pooled their Best-of-85 polls, this
LP came up on top. I refuse to say anything about "Lowest Common Denominator")
- Siouxsie (not Siouxie) and the Banshees
Well, .... just let me say two things. First, if I wanted to, I could make
this paragraph so long that you wouldn't get anything else done all day.
Second, I own every record they have ever released. That should tell you
something ...
Fu-Sheng asked "what are their best efforts, and which LPs are good intros?"
First of all, "best" is entirely subjective. The word is "favorite". In the
words of a famous lost rock philosopher :
"Musical opinions are like assholes.
Everybody has one;
They're all different;
and everybody else's STINKS!"
So any time I see a "critic" say THESE WERE THE TEN BEST RECORDS OF 198? (see
Thunder and Lightning), I start foaming at the mouth. ("Shaddup!")
Anyway, in Siouxsie's case, this is IMPOSSIBLE to answer. So I will give
an off-the-top-of-my-head Discography (English Releases Only):
----------------------------------
Singles:
(All releases Polydor/Wonderland)
Hong Kong Garden / Voices (1978)
Staircase Mystery / Twentieth Century Boy (1978)
Playground Twist / Pull To Bits (1979)
Mittageisen / Love In a Void (1979)
Happy House / Drop Dead (1980)
Christine / Eve White Eve Black (1980)
>From here on, all singles released in both 7 and 12" formats:
Israel / Red Over White (1980)
Spellbound / ? / ? (1981)
Arabian Knights / Slap Dash Snap / Supernatural Thing (1981)
Fireworks / ? / ? (1981)
Slowdive / Obsession II / Cannibal Roses (1982)
Melt / Il'l est en divine enfant / ?(1982)
Dear Prudence / Tattoo / There's A Planet In My Kitchen (1983)
Dazzle (Long Mix) / Dazzle (Mix 2) / ? (1984)
Swimming Horses / ? / ? (1984)
The Thorn (4 old songs re-done w/ Orchestra) (1984)
Cities In Dust / The Execution / Quarterdrawing Of The Dog (1985)
Sorry if I missed any, and the forgotten B-Sides (I can remember the 7" ones
easily, and I'm not at home to look at the others). There is also a fan
club 7" single that you Can't Get.
The albums, however, I do know from memory. Also, if you count Robert Smith
twice, the Banshees have had no less than *7* guitar players in their
history. I list the player who appeared on each LP :
(#1, P.T. Fenton, did not appear on any LP's)
The Scream (1978) (John McKay)
Join Hands (1979) (John McKay)
(#3, Robert Smith Mk. I, played on a tour after McKay left)
Kaleidoscope (1980) (John McGeoch and Steve Jones [ex-Pistol])
JuJu (1981) (John McGeoch)
Once Upon A Time - The Singles (Singles Compilation) (1982)
A Kiss In The Dreamhouse (1982) (John McGeoch)
Nocturne (Double Live) (1983) (Robert Smith [Cure])
Hyaena (1984) (Robert Smith)
(#7, John Valentine Carruthers [ex-Clock DVA], appears on their
upcoming LP, and on the 'Cities In Dust' single)
John McGeoch was indeed ex-Magazine & Visage, and is now in The Armoury Show.
The current drummer, Budgie, was formerly in Big In Japan, and appeared on
The Slits' "Cut" (1979) LP.
As a duo, Siouxsie and Budgie have made a few records as 'The Creatures':
Wild Things by The Creatures double 7" E.P. (1981)
? / Weathercade 7" (1983)
Feast LP (1983)
Steven Severin (bassist) and Robert Smith combined as 'The Glove':
Blue Sunshine LP (1983)
2 singles (1 12", 1 7") (1983)
* Anything * is a "worthwhile introduction".
[Aside to Laura Clifford - if Siouxsie is one of your faves, (a) How come you
don't know how to spell her name; (b) What do you mean by Nazi punk - she
was never a Nazi punk, just one of the first to use Nazi regalia for shock
value. As for Nazism, cf. "Israel", or the cover of "Mittageisen", taken
from a drawing by John Hertsfeld, well-known anti-Nazi artist; (c) Siouxsie
is in NO ONE's league when it comes to stage presence.]
-------------------------------------------
- Cocteau Twins
Again, I own all of their records, so the same thing holds true for
these folks as for the Banshees. I could wax lyrical forever.. *Sigh*
Briefly, the nucleus of (couple) Robin Guthrie and Elizabeth Fraser have been
together for about 4 years. In the last year they have been augmented by
bassist Simon Raymonde (ex-Drowning Craze). Another off-the-top-of-my-head
discography follows:
Singles: (All in 12" format, 4AD records UK)
Lullabies (1982)
Peppermint Pig (1982)
Sunburst and Snowblind E.P. (1983)
Pearly Dewdrops' Drops (1984) \_
The Spangle Maker (1984) /- IS THIS THE SAME RECORD, I FORGET
Aikea-Guinea E.P. (1985)
Echoes In A Shallow Bay E.P. (1985)
Tiny Dynamite E.P. (1985)
Albums:
Garlands (1982)
Head Over Heels (1983)
Treasure (1984)
Liz (singing) and Robin (Production, gtr.) have been involved in some way with
these other 4AD bands :
This Mortal Coil - It'll End In Tears LP (1984) (Liz vocals, R. gtr)
Dif Juz - Extractions LP (1985) (Liz - vocals 1 track, R. prod.)
Felt - Primitive Painters 12" 45 (1985) (Liz - background vocals)
Wolfgang Press - Sweatbox 12" 45 (1985) (Robin - Produced)
There is a domestic (yes, American) compilation LP called
"The Pink Opaque (1985)" that is a good introduction to the Cocteau's magic.
Sound is best described as "Atmospheric" - Liz' amazing voice-as-instrument
melded to Robin's phlanged-chiming-guitars. Defies categorization.
Editorial Comment:
One of the great memories I have of 1982 was listening to two
masterpieces of that year, the Cocteaus' "Garlands" and the Banshees'
"A Kiss In The Dreamhouse"; come the end of the year the "critics" tried
to tell me that the *best* 2 records were Loose Stringbean's (sic) "Nebraska"
and Abbott N. Costello's "Imperial Boredom (sic)". What a joke.
[Clearly, "The Dreaming" was the best album of 1982, since it's the best
album of all time -- Doug. Oops, I'm sorry, after all this is someone
else's article...]
----------------------------------------------------------
This is getting too long, so I'll be brief:
- X
Came out of the first wave of L.A. punk bands in 1977-78. Produced a few
early memorable singles, a great first LP ("Los Angeles", Slash, 1980) and
from there on, no comment. Signed to Elektra records after release of
second Slash LP, "Wild Gift". Have released "Under The Big Black Sun" and
their latest on Elektra. Let's just say their latest is a big disappointment
for those of us from the "Old Days"; but don't let that prejudice you in any
way. Original guitar player Billy Zoom left band last year, one of the
Blasters is filling in on tour. Seems like John Doe and Exene Cervenka (lead
singers - songwriters) are more interested in being the Common Man types
these days. (if you like folk, try the X spinoff, The Knitters - "Poor Little
Critter In The Road (1985))
-------------------------------------------------------
- Five (not Fine) Young Cannibals
No info for you there.
[Dunno about Five Young Cannibals, but there *definitely* is a Fine
Young Cannibals. I have their video for "Johny Come Home" (or something
like that). I believe that it has someone from The (English) Beat in it.
-- Doug]
-------------------------------------------------------
- Tom Waits
HAS been around a long time. Affects the viewpoint-from-the-underbelly-of-
society lyrical viewpoint. I'm not much of a fan, but his last two LPs,
"Swordfishtrombones (1984)" and "Rain Dogs (1985)" meld that same lyrical
style to a real interesting mix of musical styles - very ecclectic.
Interesting stuff if you like that sort of mix and match musical style.
-------------------------------------------------------
- The The
are not "them", but the product of one person (and sidemen, live), namely
a bloke named Matt Johnson. First The The records are hard to find; first
got (semi-)wide exposure when he released a 'solo' LP on 4AD back in 1981
called "Burning Blue Soul" (this was re-released with a different sleeve,
and remixed :-(, last year), which is magnificent. Apparently decided to
"re-form (heh heh)" The The, and in 1983 (?) put out a double LP called
"Soul Mining". I believe this received domestic release. Again, Matt
is not one to get stuck in one musical style; "Soul Mining" is a pleasant
mix of various elements of pop (including accordion on "This Is The Day",
perhaps te best known song), whilst remaining accessable (whatever that
means).
-----------------------------------------------------
Are you still with me?? *WHEW* Sorry if I bored anybody, I hope this
is helpful.
P.S. I thought the Japanese cover of "The Kick Inside" was a good intro
to Kate for me ... ("Greg?? Greg? The MUSIC, Greg, the MUSIC!! ...")
[Clearly a man who knows his nipples -- Doug]
Greg Earle
JPL
sdcrdcf!smeagol!earle (UUCP)
ia-sun2!smeagol!earle@csvax.caltech.EDU (ARPA)
Know Your Culture:
-----------------
"PsychoCandy", LP by The Jesus And Mary Chain (posted to the net in Nov.,
but deserves another mention here) - singlehandedly restored my faith
in pop music when it was dying ...
[][][][][][][][][][]
Date: Fri, 17 Jan 86 10:59:48 est
From: H. Chai <ihnp4!utcsri!utflis!chai>
Subject: I'm back!
Well, due to make shift arrangements our machine can still mail to
and get mail from outside machines for the time being. The future
is yet unclear. (isn't it always ? :-)
There's one thing I had in mind for a while: the "Kate Who?" syndrome
seems not as serious as it is purported to be, as I gathered from
readings, at least here in T.O. (Toronto, Ontario). Several people
I've spoken to heard of KB, though they are not fans. During one
conversation, one person said he just got _The Kick Inside_ during
Boxing Day Sale, another said he's got the album from a long time ago,
and a third said, "Is that the one with the Heathcliff song?". (The
start of this conversation was due to my being seen with the HoL
sweatshirt..) I had asked Doug to sent me a copy of the interview to
someone else on campus during the "no-more-mail" scare. When that
person told me he's got it, I asked if he has any opinions on KB, and
he said, "I like her!". Though he has none of her albums (he confesses
that he doesn't like buying albums or tapes), he said he heard her
songs long before she became famous...
BTW, during Boxing Day sale, I saw one record store offer HoL for
$3.99, along with Tina Turner's and Bruce Springsteen's (sp?) albums.
Another store even offer it for $2.99! Now is that a good sign or
a bad sign? :-)
-henry
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, ihnp4}!mit-eddie!gds
gds@mit-eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (02/02/86)
Love-Hounds Digest Sunday, February 2, 1986, 15:06
Today's Topics:
Residents, Cocteau Twins, etc.
[][][][][][][][][][]
From: allynh%miro@BERKELEY.EDU (Allyn Hardyck)
Subject: Residents, Cocteau Twins, etc.
Date: 20 Jan 86 17:25:44 PST (Mon)
One of the Residents' eyeball masks was stolen recently after a series of
concerts in SF. The unfortunate Resident is now touring in a black tuxedo
(the rest wear white) and a black skull mask. Rumor has it they'll be playing
either SNL or Letterman when the tour reaches NYC. "Demented synth-group"?
Incidentally, there's a New American Dada exhibit (neglecting the fact that
Dada was a one-time movement) at the Henry Art Gallery at UWash, with 4 tvs
broadcasting alternative videos. The "Weirdness" tv is almost entirely Ralph,
including Tuxedomoon's "Jinx" and the Residents' "Moisture", "Act of Being
Polite", "Simple Song", "Perfect Love", "Hello Skinny", and "Third Reich and
Roll". The other tvs are:
Satire: Devo "Freedom of Choice" Dog Police "1-800"
Circle Jerks "Beverly Hills" Black Flag "TV Party" + interview
Rage: Ramones "Psycho Therapy" Suicidal Tendencies "Institutionalized"
DEad Kennedys "Life Sentence" Einsturzende Neubauten "Autobahn"
Protest: Devo "Beautiful World" D. A. F. "Dance To Mussolini"
Cabaret Voltaire "The Crackdown"
Killing Joke "Follow The Leader", "Who Told You How?", "Exit"
I've probably forgotten a few...
Cocteau Twins: Killer. (Sorry, the influence of SoCal residents of my
co-op.) Just bought _Treasure_, after having heard "Lorelei" on a college
radio station in Chicago while waiting for a plane at O'Hare. Other good
cuts on the album are "Ivo" and "Amelia". The version I bought (Canadian)
also included the _Aikea-Guinea_ EP. "Kookaburra" sounds very much like
pre-sellout Simple Minds. I noticed the _Echoes in a Shallow Bay_ EP at the
record store; isn't that a line from New Order's "Blue Monday"?
"but if it wasn't for your misfortune, I'd be a heavenly person today"
Butthole Surfers / Camper Van Beethoven show at the Mabuhay sold out, grr.
Attempts to meet the Surfers at the place they were crashing proved futile:
they turned out to have phoned ahead to say they were staying at some place
on Fillmore.
Special showing of _Brazil_ with Terry Gilliam in attendance this Tuesday
at Wheeler Aud on campus, but dammit the same time as the city council meeting
on the future of my beloved co-op. Can only hope we don't come up til late on
the agenda.
allyn
[][][][][][][][][][]
Return-Path: <genrad!decvax!linus!uw-beaver!entropy!fetrow>
Date: Sat, 18 Jan 86 21:38:47 PST
From: David Fetrow <genrad!decvax!linus!uw-beaver!entropy!fetrow>
Posted-Date: Sat, 18 Jan 86 21:38:47 PST
The Residents recently took off their eyeballs. It should also be
mentioned they had a writeup in PC magazine (yes the business oriented
magazine for IBM-PC users)! It was about their innovative use of the
Mindset PC sort-of-compatable in one of their fine, fine videos. One or
more of the band is real hardware freak.
It should also be noted that Siouxie and the Banshees' did the best
ever cover of "Helter Skelter" on one of their early albums: The Scream.
Is anyone else confused that ZTT records is the label of: Frankie Goes
to Hollywood, Art of Noise and Roy Oberson?
-Dave-
Interviewer: Do you have any idea why so many Kate Bush
fans also like Siouxie Sioux?
Kate Bush : No.
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, ihnp4}!mit-eddie!gds
gds@mit-eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (02/03/86)
Love-Hounds Digest Monday, February 3, 1986, 03:42
Today's Topics:
a potbellied plethora of wicinski like ramblings
Question
plan 9 ... rough trade
Re: rough trade
errata
[][][][][][][][][][]
Date: Tue, 21 Jan 86 8:07:49 EST
From: Jim Hofmann <hofmann@AMSAA.ARPA>
Subject: a potbellied plethora of wicinski like ramblings
***SHOW REVIEW***
Saw the Descendants last Friday - I have now coined the phrase fusion
hardcore for their style - though I can't figure out fusion with what??
Their new songs feature some pretty intricate manuveurs heretoforunseen
in the generic world of punkland - I tried to keep time until I realized
they were playing with oddly metered measures, I haven't heard that since
Etherteen (you heard of them, Greg post-76?) did that funky 7/4 song about
yellow floaters. Oddly enough or not, the offbeat time is perfect for
thrashing and I'd like to see other bands pick up on it ... I'm afraid
however most would say, huh? 7/4/??? 5/4??/ and sometime I wonder if
Etherteen knew what they were doing ... Nevertheless, Dave Brubeck would
probably dig it.
Other bands that played (4 for 6$!!!) were LUDICHRIST (I bought their $4
dollar tape) who played in that NY-R Rad -Reagan Youth intensity and
political leaning - threw out zillions of stickers, frisbees. Someone
brought their teddy bear and threw it into the thrash pit - and the kids
loved it so much they tore off it's appendages.
Opening up were the anarchaic Flag of Democracy who played about 5 songs
over their agreed upon time borrowing a bassist from Ludichrist since their
regular died or was incarcerated. They could really be "good" and they know
it - however they preferred to piss off the audience with dinosaur guitar
jams and drum solos ( Descendants had a couple of drum breaks, too but
Stevenson is like god you know so it was okay). Metalish when they aren't
a joke band.
Second band was the Lil Gents - a bit on the Mod/Who side
for me (even dressed like mods!) feature yet another Big Young Fat Dude
on vocals.
The Descendants got one of the most loudmouthed assholes doing their
merchandizing, bouncing, strongarming ... every girl he saw he asked
if she would want to give him, uh, oral, you know, sex --- I guess
sooner or later that strategy is bound to pay off. I though Milo
was a roadie until he started singing and the other guy with the
skinhead was in the band.
----------------------------------------------------------------------------
Came back on Saturday Night to rewind my VCR (fuck you I won it as a doorprize)
and catch the first (I think), Hardcore (sort of) band on national television ..
I'm talking 'bout that fab performance by the Replacements on Saturday Night
Live. They sure showed everyone that DIY is alive and well. The second
song, On the Bus, proved it wasn't as wimpy as the vinyl indicated - YAH, RAH,
Long Live the 'Mats!!!!
-----------------------------------------------------------------------------
As I sat there in amazement and a general Saturday night stupor a Dick Clark
produced show came on to wash away the raw puke left by the Mats with an
anti-septic display of music YOU WANNA HEAR (or so Dick sez) ... the next time
I see my buddy Dick I'm gonna fuck him up the ass with a razor blade.
-----------------------------------------------------------------------------
Well, my recording career is starting as I've been informed an inheiretance
(oh you cruel, heartless bastard!) will leave me with enough money to
invest (!!HAH - we're talking serious here) in a Tascam Porta One Four track
and microphones - stay tuned. My bands are called Mental Picknick, Smart
People in Car Crashes and The Appropriate Soda (and if any of you fucks steal
my names I'm gonna sue, I SWAR, Billy Bob)
------------------------------------------------------------------------------
Maximum Rock and Roll is a commie/leftist propaganda rag - you can tell this
when you send them a dollar (and no money for postage) and they still send
you their disgusting slimey publication - they are obviously underwritten
by the USSR.
--------------------------------------------------------------------------------
SONIC YOUTH will change my life once I take out the earplugs
-------------------------------------------------------------------------------
Wankers make good lovers
hofmann
[][][][][][][][][][]
Date: Tue, 21 Jan 86 11:24:14 EST
From: hsut@ec.purdue.edu (Tsun-Yuk Hsu)
Subject: Question
Anyone into Plan 9 or Magazine? What do these groups sound like? I
was warned Plan 9 does heavy '60s garage psychedelia, but after Chrome,
Sonic Youth and Residents I can take a lot weirdness :-).
By the way, thanks to Allyn for the suggestion to check out
Rough Trade in San Francisco. Great place, anyone into alternative music
should check it out if they're in the area. Unfortunately, I only had
about 20 minutes to spend there and didn't get to look thru everything
and talk to people.
Bill Hsu
[][][][][][][][][][]
Date: Tue, 21 Jan 86 15:32:55 EST
From: Jim Hofmann <hofmann@AMSAA.ARPA>
Subject: plan 9 ... rough trade
Plan 9 is killer - they have their own record company and I'd send you
the address BUT I sent them money for the new SamHain lp and still no
see-um vinyl ... I'm sending them a letter pretty soon and if that don't
work I'm gonna rant in Flipside or sumthin - however ... the lp could have
been delayed - knowing Danzig's ego and such everything has to be perfect.
Oh - PLAN 9 has been around awhile - kinda dirgey, kinda psyche, definitely
unique ... check out the misfits or samhain instead - you said you liked
Sonic Youth. Well ... have you heard the live 45 from Forced Exposure
feature I Killed Christgau with My Limp Dick? (Christgau is the Village
Voice music editor who determined last year that Sonic Youth did not
deserve coverage by VV spurring an intense letter battle between Thurston
and Bobby Christgau culminating in this track - actually the titel
of the song is Kill YR Idols)
As for Rough Trade - they ARE mailorder, hsut - I'm sure you could spend
more than 20 minutes poring through their catalog. You DID get a catalog
didn't you????
If you whine, I'll get addresses for these companys. My favorite (i.e.
most reliable) is Systematic. They seem to carry everything I want
and I wish I could just buy them out! Hah! Not 'till I win the lottery
and that will only happen if someone buys me a ticket!
Oh where was I? Oh yeah! For those Minutemen fanz/listeners/enthusiasts
the 3 record album is still going to come out. All tracks and such are
"in the can" - the only thing left is for the fans/etc to pick their 30
favorite tracks for the live sides. I talked to the Spaceman hissownbadself
out at SST via my "secret" (i.e. Paul Hammerlinck gave it to me) phone
number. Nyah, nyah-nee, nyah, nyah - Idon't wanna grow up (can't get that
outta my head!) I'm planning to write an article on my 30 choices for
this zine I write for ... stayed tuned all five M-man fans out thar. (tim,
larry, hmmm... oh yeh, allyn). Hsut, check these guys out if you wanna
see some sincere playing around with musical form. EVERY SONG is a fucking
revelation. just revel in it. Double Nicks on A Dime is a good intro -
3 way tie is a less expensive one.
Gawd, I'm a ramblin man today ... speaking of which I was flipping through
the dials yesterday and caught Neil Young on a cerabal palsey telethon
(!!!!) interviewed by (!!!!) Fonzie!!!! These 80's are fucking killing
me.
"People pick up on what I'm putting down" - hofmann
[][][][][][][][][][]
Date: Tue, 21 Jan 86 18:52:40 PST
From: Jordan Hayes <jordan@ames.ARPA>
Subject: Re: rough trade
I do believe they have a store in SF ... Allyn, haven't you been there?
/jordan
----- Jim Hofmann sez
As for Rough Trade - they ARE mailorder, hsut - I'm sure you
could spend more than 20 minutes poring through their catalog.
You DID get a catalog didn't you????
-----
[][][][][][][][][][]
Return-Path: <earle@gorbag>
Date: Tue, 21 Jan 86 19:28:03 pst
From: ia-sun2!smeagol!gorbag!earle@csvax.caltech.edu (Greg Earle)
Subject: errata
Well, Love-Hounds lovers, I think I just learned not to post
off-of-the-top-of-my-head discographies...
First off, mea culpa. It is indeed FINE Young Cannibals,
and Doug, you are correct, the band contains two former members
of the late lamented Beat; namely their bassist and lead guitar
player (one is David Steele, the other's name escapes me right now).
(NAUGHTY BOY FANNY SLAP TIME)
Remember, Doug - repeat after me:
"'The Dreaming' was MY FAVORITE album of 1982, since it's MY FAVORITE
album of all time"...
I blush when you say four-letter words in music circles ("best") :-)
Naughty Naughty...
Now for the errata. Here, in toto, is the Compleat Guide to
Siouxsie and the Banshees/The Glove/The Creatures, and the Cocteau Twins:
(This time I have included catalogue numbers (UK releases), and a
few Wrigley's Fun Facts as well)
-------------------------------------------------------------------------
SIOUXSIE AND THE BANSHEES
Singles/EP's:
-------------
Hong Kong Garden/Voices (Polydor 2059.052) (1978)
(Wrigley's Fun Fact #1: 1st 10,000 copies came in gatefold sleeve)
The Staircase (Mystery)/20th Century Boy (Polydor POSP 9) (1979)
Mittageisen/Love In A Void (German Polydor 2059 151) (1979)
(WFF #2: Cover art by anti-Nazi artist John Hartfield)
Playground Twist/Pull To Bits (Polydor POSP 59) (1979)
Happy House/Drop Dead/Celebration (Polydor POSP 117) (1980)
(WFF #3: Drop Dead/Celebration is one song - about 2 members that bailed)
Christine/Eve White Eve Black (Polydor 2059 249) (1980)
(WFF #4: From now on, all singles available as both 7" and 12"; prev. 7" only)
Israel/Red Over White (Polydor POSP 205) (1980)
Spellbound//Follow The Sun/Slap Dash Snap (Polydor POSPX 273) (1981)
Arabian Knights//Supernatural Thing/Congo Conga (POSPX 309) (1981)
(WFF #5: US version [PVC 4902] has a nice live pic sleeve (12") of Sioux;
adds Slap Dash Snap from "Spellbound"; mislabels Congo Conga as "Conga Conga")
Fireworks//Coal Mind/We Fall (Polydor POSPX 450) (1982)
(WFF #6: 7" of Fireworks has fold-out sleeve with lyric to A-Side.)
Slowdive//Obsession II/Cannibal Roses (Polydor POSPX 510) (1982)
Melt!//A Sleeping Rain/Il Est Ne' Le Divin Enfant (POSPX 539) (1982)
(WFF #7: From now on, all releases on own-label, "Wonderland")
Dear Prudence//Tattoo/There's A Planet In My Kitchen (SHEX 4) (1983)
(WFF #8: 7" of "Dear Prudence" has fold-out sleeve, band pics inside)
Swimming Horses//Let Go/The Humming Wires (Wonderland SHEX 6) (1984)
Dazzle (Glamour Mix)//I Promise/Throw Them To The Lions (SHEX 7) (1984)
The Thorn EP (Wonderland SHE EP 8) (1984)
(WFF #9: Tracks: Overground/Voices//Placebo Effect/Red Over White - 4 old
tracks, redone with new arraingments and the 'Chandos Players' on cello, etc.
Marks first appearance of current guitarist, John Valentine Carruthers)
Cities In Dust//An Execution/Quarterdrawing Of The Dog (SHEX 9) (1985)
LP's:
-----
The Scream (Polydor POLD 5009) (1978)
Join Hands (Polydor POLD 5024) (1979)
Kaleidoscope (Polydor 2442 177) (1980)
Juju (Polydor POLS 1034) (1981)
A Kiss In The Deamhouse (Polydor POLD 5064) (1982)
Once Upon A Time - The Singles (Polydor ?) (1983)
Nocturne (2 LP Live at Royal Albert Hall) (Wonderland SHE LP 3) (1983)
Hyaena (Wonderland SHE HP 1) (1984)
(WFF #10: ALL these albums have been re-released on domestic (US) pressings
by GEFFEN records - you have no excuses)
------------------------------------------------------------------------------
THE CREATURES
The Creatures are/were a Banshees offshoot, consisting only of Siouxsie, and
the drummer, Budgie (real name Peter Clarke).
Singles:
--------
Wild Things By The Creatures (double pack 7")(Polydor POSPG 354)(1981)
(WFF #11: Tracks: Mad Eyed Screamer/So Unreal/But Not Them/Wild Thing/Thumb)
Miss The Girl/Hot Springs In The Snow (7")(Wonderland SHE 1)(1983)
Right Now/Weathercade (7") (Wonderland SHE 2) (1983)
LP:
---
Feast (Wonderland SHE LP 1) (1983)
-----------------------------------------------------------------------------
THE GLOVE
Same as above, this time consisting of the other half of the (then current)
Banshees, Steve Severin (bass) and Robert Smith (He of The Cure); plus guest
vocalist Jeanette Landray.
Singles:
--------
Like An Animal (Club? What Club? Mix)//Like An Animal/Mouth To Mouth
(Wonderland SHEX 3) (1983) (12" and 7")
Punish Me With Kisses/The Tightrope (Wonderland SHE 5)(1983)(7" only)
LP:
---
Blue Sunshine (Wonderland SHE LP 2)(1983)
----------------------------------------------------------------------------
*** You now know everything there is to know about Siouxsie and The Banshees
records. Go out and impress your friends. ***
Now for my Cocteau Twins errata (Catalogue Numbers included):
----------------------------------------------------------------------------
COCTEAU TWINS
Singles/EP's:
-------------
Lullabies EP (4AD BAD 213) (1982)
(WFF #12: Tracks: Feathers-Oar-Blades/All But An Ark Lark//Alas Dies Laughing)
Peppermint Pig//Laugh Lines/Hazel (4AD BAD 303) (1983)
Sunburst and Snowblind EP (4AD BAD 314) (1983)
(WFF #13: Tracks: Sugar Hiccup/From The Flagstones//Hitherto/Because Of Whirl-
Jack; last 3 non-lp)
The Spangle Maker//Pearly Dewdrops' Drops/Pepper Tree (4AD BAD 405)(84)
(WFF #14: Starting with above, enter bassist Simon Raymonde)
Aikea-Guinea EP (4AD BAD 501) (1985)
(WFF #15: Tracks: Aikea-Guinea/Kookaburra//Quisquose/Rococo)
Tiny Dynamite EP (4AD BAD 510) (1985)
(WFF #16: Tracks: Pink Orange Red/Ribbed and Veined//Plain Tiger/Sultitan Itan)
Echoes In A Shallow Bay EP (4AD 511) (1985)
(WFF #17: Tracks: Great Spangled Fritillary/Mellonella//Pale Clouded White/
Eggs And Their Shells)
LP's:
-----
Garlands (4AD CAD 211) (1982)
Head Over Heels (4AD CAD 313) (1983)
Treasure (4AD CAD 412) (1984)
As mentioned before, there is the American compilation LP of Lp tracks
and singles, "The Pink Opaque" (1985)
As I said, Liz and Robin have appeared on/produced many other records on the
4AD label. For those of you who have picked up the This Mortal Coil LP
"It'll End In Tears", there is also a 7" single of the track "Kangaroo" on 4AD,
and before the LP was released (ASIDE TO "CRITICS" - RELEASED IN SEPT. 198*4*,
ASSHOLES! NOT 85), the Tim Buckley song that Liz sings on the LP was released
as a 12" single (also 4AD).
Editorial Comment:
The catalogue numbers that 4AD uses are quite good, and I wish other
record companies would follow their lead. Briefly:
- If a record is a 7" single, the Cat. # begins with AD.
- If it is a 12" EP, it begins with BAD.
- If it is an LP, it begins with CAD.
- The number that follows is :
- First digit is the release year - 1980 (What happens in 1990? :-)
- Rest of number is sequential order that record was released in year.
Thus, for the Cocteaus' "Aikea-Guinea" (Cat. BAD 501), you instantly
know that it was a 12" EP, released in 1985, and it was the first record
that 4AD released in 1985. Likewise, Bauhaus' "Terror Couple Kill Colonel"
(Cat. AD 7) was a 7", released in 1980, and the 7th record 4AD released in '80.
Simple, huh?
----------------------------------------------------------------------------
All for now ...
Greg Earle
sdcrdcf!smeagol!earle (UUCP)
ia-sun2!smeagol!earle@csvax.caltech.EDU (ARPA)
Know Your Culture:
"Dead Can Dance", & "Spleen And Ideal", LPs by Dead Can Dance
(4AD CAD 4xx, 4AD CAD 512) (1984, 1985)
Once you've had your appetite for 4AD whetted, try these...
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, ihnp4}!mit-eddie!gds
gds@mit-eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (02/04/86)
Love-Hounds Digest Monday, February 3, 1986, 21:17 Today's Topics: bulldadA/residentS/partieS/matS/4aD/huH? [][][][][][][][][][] Date: Wed, 22 Jan 86 11:23:29 EST From: Jim Hofmann <hofmann@AMSAA.ARPA> Subject: bulldadA/residentS/partieS/matS/4aD/huH? more random assorted and stupid observations on nothing in particular ... ------------------------------------------- >From: allynh%miro@BERKELEY.EDU (Allyn Hardyck) >Subject: Residents, Cocteau Twins, etc. >Date: 20 Jan 86 17:25:44 PST (Mon) >Incidentally, there's a New American Dada exhibit (neglecting the fact that >Dada was a one-time movement) What about BullDada? It lives on in --- and ^^^ and ### and !!! everytime I %%%%% or @@@@@ and ((((( ... get it@@@ >I've probably forgotten a few... Thou art forgiven in the name of Slack - one two three. Speaking of the residents (sounds of hecklers: But you weren't asshole!) - I cornered some- body at a party to explain this phenom, he is/was/will be (maybe) a DJ at WJHU back before and when (and hereafter) (as well as herebefore) it became or becomes yuppieoid classical/smashicall and of course the safe jazzzzzzz ... this person or persons (i can't remember now) had in actuality visited the non-descript headquarters of Ralph (ta-daaaa) Records and reported all eyeballs in attendance at that time so Rosens theory a la Lennon is probably (perhaps) wrong (or tight) ... he also said all props ever ever used by the Residents and other luminaries of Ralph are there also. I forget how he found the place since he tried the PO box and USPS wouldn't tell him where Ralph was - I imagine he made a coupla phone calls and viola! What intrigued me more was when he started talking about computer nets (yccccchhh) and especially arpa net and this mailing list he had heard of called love-hounds. I choked on my drink! Perhaps this was a method of The Others or The Conspiracy to give information so I stayed quiet and ignorant like (which isn't hard if you know me) and mumbled something about M.I.T. ... he looked at me quizzically as I drifted away to catch the Replacements on TV ... none of the burnouts at this party could understand my enthusiasm at seeing the first hardcore on network television ... obviously standing among unenlightened ones, who were among the same who rejoiced when the Talking Heads made their TV debut I thought ... (thass a joke boy, you supposed to laugh says Foghorn who is standing right next to me now - Down Boy!). [By now, I have turned off all Normals and they will probably never read my postings again so I can begin Sub-G-liminally reprogramming you all at 9600 baud ... and so it went.] Allyn, I've heard of strange things to do in Chicago but listen to college radio??? you must be as wierd as your name ... --------------------------------------- >As mentioned before, there is the American compilation LP of Lp tracks >and singles, "The Pink Opaque" (1985) The above was from Greg Searle - I read a review in City Paper of Pink Opaque which was negative (kept on comparing the twins with R.E.M. for some godawful reason, I don't know what ... oh yeah, cuz liz's voice is as murky as stipes - good reason huh???) - apparently the reviewer seemed unaware this was a comp and treated it like a new work. That's egg on his face. Sue, you can do the honors. Ya know the more I listen to the Twins the less I listen to that Mortal Coil thang ... hmmm --- anyone wanna plot this on a log-log graph - doug, you could program this into your commodore 64 ... > The catalogue numbers that 4AD uses are quite good, and I wish other >record companies would follow their lead. hmmph, I liked Alternative Tentacles system - i.e. the first release is called Virus 1 and the 45th release is called Virus 45 ... Seriously - yer right 4AD has got their heads screwed on right ... I always consider Homestead their Yankee counterpart - you? Can the Dead really dance??? - hofmann [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (02/07/86)
Love-Hounds Digest Friday, February 7, 1986, 12:18
Today's Topics:
Moderator's Note
too much lyrics on my mind
Echoes in a Shallow Bay
I'm not trying to ignore you, really....
Residents Concert
Re: Love-Hounds Digest
[][][][][][][][][][]
Date: Fri, 7 Feb 86 12:18:00 est
From: Greg Skinner (The Moderator) <gds@eddie.mit.edu>
Subject: Moderator's Note
I received a message from someone today regarding the content of the
last Love-Hounds Digest. Specifically, this person was complaining
about the profanity in the posting. While I did not feel that the
posting was in bad taste, to avoid future incidents such as this I must
ask that you do not use profanity in your postings. I appreciate your
cooperation.
Greg Skinner (The Moderator)
[][][][][][][][][][]
Date: Thu, 23 Jan 86 14:21:57 cst
From: TDAS Development(chris) <ots!chris515@Rice.EDU>
Subject: too much lyrics on my mind
What/Where/Who is Gaffa and how do you get suspended in it?
Chris Jepeway
[][][][][][][][][][]
Return-Path: <umcp-cs!jhunix!jhunix!ins_aset>
Date: Thu, 23 Jan 86 13:20:39 EST
From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV>
Subject: Echoes in a Shallow Bay
Nope, there's nothing about Echoes in a Shallow Bay in New Order's "Blue
Monday." The "bay" in the lyric is really "obey"...
I see a ship in the harbour
I can and shall obey
But if it wasn't for your misfortune
I'd be a heavenly person today...
As a trivia note, the members of New Order have supposedly confessed that
this song is really about Ian Curtis...but then again, who can ever pin
them down to the truth. They can be a pain to interview.
More reasons why I cancelled my Rolling Stone subscription -- their HOL
review compares KB to Jonathan Richman as an "eternal child" and ends with
the warning that HOL will not appeal to those who believe children should
be seen and not heard. How patronizing to an artist like Kate...I urge
everyone to help send Rolling Stone to bankruptcy city by buying some decent
rag like SPIN or Melody Maker...hell, even CREEM (at least it isn't pre-
tentious, and they need the money, or so I've heard).
This is a stagnant month for music.
-Sue
[][][][][][][][][][]
Date: Fri, 24 Jan 86 02:58:50 est
From: nessus (Doug Alan)
Subject: I'm not trying to ignore you, really....
About a week ago, someone accidentally created a new file system on
Eddie where the user file system used to be, and a back-up had not been
done since December 3rd. So if you sent me mail between December 3rd
and last week, and I never answered it, and you still want an answer,
please send me a copy of the unanswered mail.
"I just can't believe that when you die, you
just disappear. All that energy has got to
go somewhere."
Doug
[][][][][][][][][][]
Date: Fri, 24 Jan 86 03:16:08 est
From: nessus (Doug Alan)
Subject: Residents Concert
Monday
night
I saw
the Residents
in concert
at The Channel in Boston.
They put on a bizarre and
amazing show,
and if you don't see the Residents when they come to your area, then
you should be
shot.
I was leaning against the stage
dead
center, and
at times was
three
inches from the lead singer.
He has green/grey eyes and capped teeth.
Concert
of the year.
-Doug
[][][][][][][][][][]
From: Alec Saunders <allegra!watmath!watdragon!wasaunders>
Subject: Re: Love-Hounds Digest
On the subject of the KB Christmas Album ... I believe it was available in
Canada, and I think my younger brother has a copy of it. He being quite the
Fanatic collects these sorts of things. He also has a thing called the
KB Single File, which is a boxed set of all singles released before HOL. I'll
try to get labels etc for those of you who are interested. I believe the single
file is an illegal import from the UK though ... he paid something like $60 for
it.
Alec.
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (02/08/86)
Love-Hounds Digest Friday, February 7, 1986, 21:03 Today's Topics: Regarding HoL in Rolling Stones (2 msgs) Re: Question The Residents Replying to everything [][][][][][][][][][] Posted-Date: 24 Jan 86 08:56:41 PST (Fri) Subject: Regarding HoL in Rolling Stones Date: 24 Jan 86 08:56:41 PST (Fri) From: tsung@aero I read the review, too, and had been wondering: who is Jonathon Richman? (Hope this is not blatant ignorance on my part). By the way, the RS reviewer did mutter something like "there is no doubt that KB is extremely talented" right before he committed himself with the bit about "children should be seen and not heard". Fu-Sheng [][][][][][][][][][] Date: Fri, 24 Jan 86 14:20:59 est From: nessus (Doug Alan) Subject: Re: Regarding HoL in Rolling Stones I was in a mall a few days back and happened to see a book called something like "The New Rolling Stone Encyclopaedia of Music" or something like that. I flipped to the B's and found one thing about Kate Bush, a review of "The Kick Inside". They gave it two stars, and from memory, it went something like this: Kate Bush caused quite a stir in some circles back in '78 with "The Kick Inside". Not quite new wave, not quite art rock, she sounds like a cross between Patti Smith and a Hoover vacuum cleaner. The more things change.... -Doug [][][][][][][][][][] Date: Friday, 24 Jan 1986 13:22:51-PST From: hall%beta.DEC@decwrl.DEC.COM Subject: Re: Question >Really-From: hsut@ec.purdue.edu (Tsun-Yuk Hsu) > > > > Anyone into Plan 9 or Magazine? What do these groups sound like? > Bill Hsu Bill, I was reluctant to answer this question (and another like it from Fu-Sheng) because of my drawing a blank when actually trying to describe how a band sounds. I could tell you what other bands they sound like to me, or what instruments they play on the record, but what do they sound like? I'd have as much trouble describing what a color looked like. Magazine had their heyday from 1977 to 1981. They were comprised of Howard Devoto; vocals Barry Adamson; bass Dave Formula; keyboards Martin Jackson; drums John McGeoch; guitar/saxaphone They released five albums (six if you count the compilation released after they broke up); Real Life 1978 Secondhand Daylight 1979 The Correct Use of Soap 1980 Play 1981 Magic, Murder and the Weather 1981 Real Life contains their first popular single "Shot By Both Sides", and "Definitive Gaze", "The Light Pours Out of Me" and "Parade" which all got considerable airplay. There is currently a Peter Murphy version of TLPOoM getting popular. Their second album "Secondhand Daylight" didn't do as well. I'm not surprised - it's my least liked Magazine album, but it does contain the classic "Permafrost". They tightened up and released "The Correct Use of Soap" in 1980, a record a reviewer once said was about fear, love, the fear of love, and the love of fear. A very apt assessment in my opinion. Contains "A Song From Under the Floorboards", "I Want To Burn Again", and their cover of Sly Stewart's "Thank You (fallettin be mice elf agin)". 1981 saw John McGeoch leave the band to be replaced on the live album Play by Robin Simon, who was replaced by Ben Mandelson on their last album Magic, Murder and the Weather. Here's my suggestion Bill. Now that your interest is piqued go look in the nearest cut-out bin for a $4 copy of The Correct Use of Soap or Play. The last album may even be in the cut-outs by now. You can't go wrong at those prices, and you ought to get them while they're still around. If you like what you hear, you can track down Howard Devoto's solo album, or some of the Visage stuff (Visage are Steve Strange, Rusty Egan, Midge Ure and Billy Currie (Ultravox) and Dave Formula, John McGeoch and Barry Adamson). Howard Devoto did the vocals on one of the tunes on the This Mortal Coil project. Or if you want to go back in time, check out some early Buzzcocks which is where Devoto and friends, along with Pete Shelley, first got noticed. Happy listening, Dan *Interesting Aside* The Magazine tune "Come Alive" from Magic, Murder and the Weather contains the lyrics "Pepsi Cola, Pepsi Cola brings your ancestors back from the grave". Apparently when Pepsi first started marketing in China, they went with the literal translation of their slogan "Come alive, you're in the Pepsi generation" Oops. Caused quite a stir in stoic old China. [][][][][][][][][][] Organization: The MITRE Corp., Bedford, MA Date: Fri, 24 Jan 86 16:36:34 est From: Chris J. Valas <linus!cv@mitre-bedford.ARPA> Posted-Date: Fri, 24 Jan 86 16:36:34 est Subject: The Residents Welly, well, well.... Seems like everyone who listens saw the Residents at the Channel. I had a hard time believing my eyes at this show, but no problem with my ears: The Residents were great and Snakefinger was incredible. I read somewhere (here?) that he just did an album with Eric Feldman (of Captain Beefheart's latest lineup).... has anyone heard it? For those people into trading tapes (wicinski? are you there? what about the Hitchcock show in DC?) I made a bootleg of the Residents show, so speak to me if you want it. latex, Valas {decvax,utzoo,philabs,security,allegra,genrad}!linus!cv [][][][][][][][][][] From: allynh%miro@BERKELEY.EDU (Allyn Hardyck) Subject: Replying to everything Date: 24 Jan 86 23:09:52 PST (Fri) Oh - another video at the Henry I forgot earlier: "Nothing" by Flipper. The ZTT weirdness is also true at Some Bizzare, where you have Virginia Astley and Marc Almond alongside Scraping Foetus Off The Wheel and Psychic TV. _Brazil_ is great - Gilliam's a wacky guy in person. (Guess this isn't too relevant.) I have had maybe 3 hrs. total alone with my copy of _PsychoCandy_ since I bought it last week - it's apparently the only copy in the building. More about "Cities in Dust" (opinions, etc.) please - one of my local opinion sources sez "it sucks but at least their previous records are still worth listening to". hof - nothing else to do waiting to board the plane, not enough time to get into a book, you can't use the radio on the plane and there are sure to be some good stations in that city so flip, flip, sure enough, on the left side of the dial, they played some Swell Maps too. Also on that vacation up in Madison the late night "Crosscurrents" show on WORT went an hour later than usual and played "Whip Blow" from the new Cabaret Voltaire which I subsequently picked up. And BLEAH I say to the 12" of "Subculture"! And FEH! And PUY! Scum SF cops closed down the Mabuhay before the Wednesday Buttholes show even started! "Fire hazard, overcrowding", etc. Hundreds waiting around for refunds... Red Hot Chili Peppers same night at Berk. Sq. but it was pouring rain and no one had a car... Social director at Barrington trying to get the Cramps for party later the semester. Right. Looks like we'll definitely get the Morlocks though. Yes, Rough Trade is an actual store - 326 6th st. sf. sorta small and expensive, lot of video stuff. Paradise records in madison is clearly patterned on it and I'm guessing your favorite store where YOU -> live too. allyn [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (02/09/86)
Love-Hounds Digest Saturday, February 8, 1986, 21:03 Today's Topics: Re: I'm back! Kate explains HoL Re: too much lyrics on my mind [][][][][][][][][][] Date: Sun, 26 Jan 86 00:21:58 est From: nessus (Doug Alan) Subject: Re: I'm back! > [Henry Chai:] There's one thing I had in mind for a while: the "Kate > Who?" syndrome seems not as serious as it is purported to be, as I > gathered from readings, at least here in T.O. (Toronto, Ontario). No one ever said it was *that* bad in Canada, did they? I mean they released "Lionheart" and "Never for Ever" in Canada. In the U.S., they were only readily available as Canadian imports. Her albums charted in Canada, unlike the U.S. They released lots of her singles in Canada. Here, RuTH is the first single released since "The Man With The Child In His Eyes". HoL went platinum in Canada as quickly as it did in England (less than two months). Your KB historian, Doug [][][][][][][][][][] Date: Sun, 26 Jan 86 00:35:43 est From: nessus (Doug Alan) Subject: Kate explains HoL I posted this to net.music a week or so ago, and forgot to send it to Love-Hounds too, where it really belongs. So, here it is now... This is an article Kate wrote for the "Hounds Of Love" album issue of her newsletter. She explains, at least superficially, all of the songs on HoL, so you may want to take this as a spoiler warning. [Begin text of quoted article:] This album is two very separate sides for me. Each side has a title; the first side is called "Hounds of Love" and is 5 separate songs, all individual but in some way are linked because they are forms of love songs. The second side is called "The Ninth Wave" and is a conceptual side consisting of seven tracks that are linked together. It becomes increasingly difficult for me to talk about the content of the songs, I'm not sure why -- maybe it's because the more I go on, the more I feel it's for the songs to say than for me. Especially with the second side on this album I see it very visually -- I would eventually love to see this as a piece of film and so I feel restricted about talking about these songs other than a brief analysis of the story, otherwise I find perhaps too much energy is going into talking about the visual side of it rather than doing it. I will try to give a brief analysis and to fill you in more about some of the people we didn't get round to talking about in the last newsletter. The first track on the first side is "Running Up That Hill" and I'm sure you will have all heard this by now. I am very excited about how it's been received by people, it's so rewarding after working for a long time to see that your work is being received with open arms. This song is very much about two people who are in love and how the power of love is almost too big for them, it leaves them very insecure and in fear of losing each other. It's also perhaps talking about some fundamental differences between men and women. The second song is called "Hounds Of Love" and is really about someone who is afraid of being caught by the hounds that are chasing him. I wonder if everyone is perhaps ruled by fear and afraid of getting into relationships on some level or another. They can involve pain, confusion and responsibilities and I think a lot of people are particularly scared of responsibility. Maybe the being involved isn't as horrific as your imagination can build it up to being -- perhaps these baying hounds are really friendly. The next song is called "The Big Sky". Someone sitting looking at the sky watching the clouds change. I used to do this a lot as a child, just watching the clouds go into different shapes. It hink we forget these pleasures as adults we don't get as much time to enjoy those kind of things, or think about them, we feel silly about what we used to do naturally. It's also suggesting the coming of the next flood how perhaps the "fools on the hills" will be the wise ones. The fourth song on this side is called "Mother Stands For Comfort". It's about a son who has committed a terrible crime and how basically although his mother knows that he's done something wrong she'll protect him and care for him and hide him from the people who are looking for him. It's talking about a mother's love and how sometimes she will actually go against the morality she feels within herself about what is right and wrong if the child is endangered. The last song is called "Cloudbusting" and this was inspired by a book that I first found on a shelf nearly nine years ago. It was just calling me from the shelf and when I read it I was very moved by the magic of it. It's about a special relationship between a young son and his father and the book was written from a child's point of view. His father is everything to him, he is the magic in his life and he teaches him everything, teaching him to be open minded and not to build up barriers. His father has built a machine that can make it rain; a cloudbuster and the son and his father go out together cloudbusting, they point big pipes up into the sky and they make it rain. The song is very much taking a comparison between a yo-yo that glowed in the dark that was given to the boy by a best friend and it was really special to him, he loved it but his father believed in things having positive and negative energy and that fluorescent light was a very negative energy as was the material they used to make glow in the dark toys then and his father told him he had to get rid of it, he wasn't allowed to keep it. But the boy, rather than throwing it away, buried it in the garden so he would placate his father but he could also go and dig it up occasionally and play with it. It's a parallel in some ways between how much he loved the yo-yo and how special it was but that it was considered dangerous. He loved his father (who was perhaps considered dangerous by some people) and how he could bury his yo-yo and retrieve that whenever he wanted to play with it but there's nothing he can do about his father being taken away, he is completely helpless. But it's very much more to do with how the son does begin to cope with the whole lonliness and pain of being without his father. It is the magic moments of a relationship through a child's eyes but being told by a sad adult. "Big Sky" was a song that changed a lot from the first version of it on demo to the end product on the master tapes. As I mentioned in the earlier magazine the demos are the masters in that we now work straight in the 24 track studio when I'm writing the songs but the structure of this song changed quite a lot. I wanted to steam along and with the help of musicians such as Alan Murphy on guitar and Youth on bass we accomplished quite a rock and roll feel for the track. Although this song did undertake 2 different drafts and the aforementioned players changed their arrangements dramatically this is unusual in most cases for the songs. That takes us to the second side where that in itself had 2 or 3 drafts. It was very different for me working conceptually across half an hour's worth of music rather than 5 minutes optimum in a song and it was very interesting but more demanding. It was changed by anything you did to one part of the concept. Once the piece was in context with what was happening before and after it, it would change it's nature dramatically and it was important that the whole side kept a sense of flow and yet kept the interest and kept building and ebbing in the right places. This side is about someone who is in the water alone for the night. "And Dream Of Sheep"is about them fighting sleep, they're very tired and they've been in the water waiting for someone to come and get them and it's starting to get dark and it doesn't look like anyone's coming and they want to go to sleep. They know that if they go to sleep in the water they could turn over and drown so they're trying to keep awake but they can't help it, they eventually fall asleep which takes us into the second song. The second song is called "Under Ice" and is the dream that the person has. They're skating on ice; it's a frozen river and it's very white everywhere and they're all alone, there doesn't appear to be anyone else there. As they skate along they look down at the ice and they can see something moving underneath. As they skate along with the object that's moving under the ice they come to a crack in the ice and as it moves under the crack they see that it's themselves in the water drowning and at that moment they wake up into the next song which is about friends and memories who come to wake them up to stop them drowning. As they wake up and surface they are coming out of the whole feeling of deep subconsciousness. One of the voices tells them there's someone there to see them and here in the water is a witchfinder. This is a sort of nightmare they're having and this monster figure is basically trying to drown them, trying to see if they're innocent or guilty and if they drown then they're innocent. If they don't drown they're guilty so they'll be drowned anyway and it's the trial of this girl who's in the water and all she wants to do is survive and keep her head above water. This song was written through a guitarist -- Alan Murphy -- the track would have had the wrong feel with a keyboard instrument. All he had to work to was the drum track and I tried to hum and point patterns out and everything he came up with sounded great; we spent the day building up the guitars and built vocals, Fairlight, sequencers over the top. Thanks for that Al. The next song is about how she wants to go home, that's really the thing she wants most, just to be in the cosy atmosphere of her belongings all around her and the security of those four walls and the firm ground and being with the one that she loves. She finds that she's there in spirit and there's her loved one sitting in a chair by the fire, but she hadn't conceived the idea that she wouldn't actually be there in real terms, she's not real and although she can see her man, he can't see her, she can't communicate with him in any way, it's more of a nightmare than anything so far because this is the closest she's been to any kind of comfort and yet it's the furthest away. The next song is "Jig Of Life". This is about the future self who comes to her rescue basically -- she says look, I'm the next part of your life and if I am going to survive and enjoy the things that I've enjoyed; having my children, my happy home and my husband then you've got to keep it together, you've got to stay alive, you musn't drown or I will drown with you. It's the future begging her, pleading with her to let her, the future lady live. The song after that is "Hello Earth" and is really the point where she's so weak she relives the experience of the storm that took her into the water. Almost from a view looking down on the earth up in the heavens watching the storm start to form that eventually took her and has put her in this situation. This track features orchestral arrangements by Michael Kaman. It was wonderful working with Michael, he's a very receptive person to work with and the orchestral arrangements that he did for the tracks I felt were very atmospheric. It was wonderful for me to watch the layers of this song go on one by one. It initally had to be written with the verses symbolizing the storm gradually building and the choruses having a great sense of space and atmosphere and this I always hoped to be a male choir. When I first wrote "Hello Earth" I was very much inspired by a male choir that I'd heard in Herzog's film "Nosferatu" and although the versus are a very different piece of music, it was all designed hopefully to eventually link into this male voice choir which would take us to a very different place in the song. They really are meant to symbolize the great sense of loss, of weakness at reaching a point where you can accept at last, everything can change. This takes us into "Morning Fog" and "Morning Fog" is the symbol of light and hope; it's the end of the side and if you ever have any control over endings they should always, I fell, have some kind of light in there. This was originally written to a Linn drum machine and I wrote, on the Fairlight, an instrumental piece of music using the sample of an acoustic guitar. I then later wrote the song on top of this instrumental building up the voices in layers. The piece I'd written on the Fairlight was transcribed by Dave Lawson for an acoustic guitar player and I felt that really one of the best people to play this was John Williams, a superb classical guitarist and who I had met on a couple occasions before when I was working at Abbey Road and it seemed like the perfect opportunity to ask him if he'd like to play on the track. We added Del's fretless bass, Kevin on synth, built up the backing vocals and Pad layered up "Appalachian" fiddles and Fujare. We kept the guide vocal as the master voice and mixed up the last track on the album. Many hours were spent on tiny vocal ideas that perhaps only last half a minute, many hours went on lyrics -- one of the most difficult parts in the process for me in that it's so time-consuming and so frustrating and just always seems to take far too long for something that seems it should come so naturally. One of the difficult things about the lyrics is when I initially write the song perhaps half of the lyrics come with it but it's almost more difficult fitting in the other half to make it match than to perhaps start from scratch where, for instance, you might have just hummed the tune, or where in some cases, I wrote them as instrumentals and then the tunes were written over the top of this. Many times I ring up Paddy and ask him to come over to the studio immediately, to bring in that string driven thing -- to hit that note and let it float. One of the most positive things is now having our own recording studio where we can experiment freely and it's definitely one of the best decisions I've made since I've ben recording albums. We've put a lot of hard work into this album so we've been waiting for it to be finished and ready and I know you've been waiting and I hope that after this time and after all the snippets of information we've been giving you that you don't find it disappointing but that you enjoy it and that you enjoy listening to it in different ways again and again. This album could have never happend without some very special people -- many thanks to Julian Mendelsohn and especially Haydn Bendall and Brian Tench who put a lot of hard work into this project, to *all* the musicians who are a constant inspiration, to Ma who helps with every little thing, to Paddy and Jay for all their inspiration and influences and again to Del for all those moments we've captured on tape together. lots of love Kate X X X [][][][][][][][][][] Date: Sun, 26 Jan 86 03:38:25 est From: nessus (Doug Alan) Subject: Re: too much lyrics on my mind > [Chris Jepeway:] What/Where/Who is Gaffa and how do you get suspended > in it? This seems to be the recurring Kate Bush question.... Gaffa is gaffer's tape, which is what they use to tape down wires and stuff. Before I knew this, I always pictured it as a viscous, sticky liquid that is difficult to move through (like molasses). I don't think I was really missing out on much of the meaning. "I don't know why I am crying" Doug [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (02/09/86)
Love-Hounds Digest Sunday, February 9, 1986, 13:34 Today's Topics: SPIN radio show Re: John Fox and Garry Numan [][][][][][][][][][] Date: Sun, 26 Jan 86 22:32:37 est From: nessus (Doug Alan) Subject: SPIN radio show Once a week, WBCN, the AOR station in Boston, plays good music on a radio show called "Nocturnal Emissions". So, I tuned in and heard something interesting by Dead Can Dance, who sounded strangely reminiscent of The Cocteau Twins. In any case, on right after this was a new show made by SPIN magazine. This show was the first episode, and it was an interview with and pieces of a concert by Husker Du. They were pretty good. The show was written by Andea N'thal (or however you spell that bogus name...). It's probably syndicated on lots of bletcherous AOR stations across the country, so you may want to listen for this show in your neighborhood. -Doug [][][][][][][][][][] Date: Mon, 27 Jan 86 00:23:35 est From: nessus (Doug Alan) Subject: Re: John Fox and Garry Numan > From: Laura Frank Clifford <lcliffor@bbnccm.ARPA> > Please stop putting down Gary Numan. His more recent stuff HAS been > garbage, but in his heyday he was really quite good (The Joy Circuit, > Are Friends Electric?). I've heard some of his new stuff on the radio recently that I actually thought was pretty good. And his little instrumental "Photograph" is actually one of my favorite pieces of music ever. Most of his stuff seems pretty nondescript, however, if you ask me. But what do I know? > He also gave the BEST concert I've ever been to, in 1980. I think > only Kate could outdo him in concert visuals. I saw a piece of one of his concerts in the movie "Urgh! A Music War". He was driving around in little car on the stage for the whole song and all the musicians were playing their instruments inside these things that looked like high-tech phone booths. What I want to know is how he dragged all this junk around with him? -Doug P.S. I have on video tape some of the footage from 1979 British Pop and Rock Music Awards. Garry Numan won best male singer, and Kate gets to give him the award, but he's not there -- he's in Philadelphia and accepts the award over a live satelite link, looking and acting like he's in tenth stage catatonia. Later, Kate wins the award for best female singer, and when she accepts the award she says something like "I'm glad I'm not here over satelite, because it look like it really freaks you out!" [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (02/11/86)
Love-Hounds Digest Tuesday, February 11, 1986, 11:57 Today's Topics: JR/KB/TMC/CT/DCD/TR/RS/and BS Rolling Stone FLAMES slag on rolling stone ... Sonic Youth, Keith Haring and other neat people Re: Holly Sh*t! Re: Love-Hounds digest, 1/27/86 [][][][][][][][][][] Date: Mon, 27 Jan 86 08:35:43 est From: Tim Wicinski <wicinski@nrl-css.ARPA> Subject: JR/KB/TMC/CT/DCD/TR/RS/and BS news from flem city: just finished getting over a dragging flu that left me tired and weak. also with a big list of things I need to get done. Why does anybody still buy Rolling Stone ?? I haven't since high school. I thought everybody stopped reading this piece of sh*t. They called all the previous replacemnets albums (prior to 'Tim') really bad music, with bad sound quality to boot. I guess you need a big label in order to sound good ?? But why put down JR sue ?? It's completely okay for an artist to be compared to Jonathan Richman, and some people probably consider it a complement. In case you don't know, Jonathan Richman first started out in the boston area ages ago (pre -1976 !) with a band called The Modern Lovers whose early members contained Dave Robinson (now of that super group the Cars), and Jerry Harrison (now of course, with the Talking Heads), and someone who now plays with Robyn Lane and the Chartbusters. Most of his stuff is now out of print, but you can still dig some of his early stuff if you look hard enough. I recommend the original album, 'The Modern Lovers'. I do admit the other statement the record reviewer said is pretty stupid. I would suggest Creem over most magazines mainly because they stupid, but at least they know it. They also were the first I remember to point out that Black Flag is going to turn into another Hawkwind (which they pretty much have) as they grow older. Can you believe Creem magazine mentioning Hawkwind ?? I keep listening to the Cocteau Twins and This Mortal Coil, yet I am unmotivated by them completely. Not sure why. I enjoy Magazine though, and I have bought three albums (Play, Second Hand Daylight, and Magic Murder, and the Weather) for less than 4.00 each. I suggest some hard looking in the cut out bins. Also just finished up a sharp letter to my senator, lame duck Charles Mathais, and puppet to the record industry. I urge the same from everyone else. Sorry, Doug I will not be able to attend the Residents festivities. Maybe I'll go down and hang out outside and listen. But at 15.00, It's just too much money for me. I haven't even been able to buy a record all month !! This is getting bad. I guess I'll just have to settle for a tape of it. tim [][][][][][][][][][] Date: Mon, 27 Jan 86 08:58:31 est From: hound!hejira Subject: Rolling Stone FLAMES Rolling Stone Magazine is a RAG. It's pure trash. It's been that way for ten years now (ever since they voted JM's _Hissing_of_Summer_Lawns "worst album of the year"). The people there have no taste. So, don't be surprised that the trashy rag vilified KB's HoL .. look at what they said about Olivia Newton John's and Diana Ross' newest abortions in the very same issue (something along the lines of "they're terrific, modern and up-to-date"). Trash, trash, trash, trash and double that!!! ... and so why do I read the filth??? Rob Preston <ihnp4!hound!hejira> [][][][][][][][][][] Date: Mon, 27 Jan 86 11:16:42 EST From: Jim Hofmann - RAMD-D <hofmann@AMSAA.ARPA> Subject: slag on rolling stone ... So - since everyone else is ... the last rolling stone I bought was the one with the issue on health clubs becoming the single bars of the 80's ... it was then I realized the true irrelevancy of this rag to music. Incidentally, the offending cover story became the quasi-subject of the movie "perfect" starring disco-John and lunatic-victim Jamie ... Rolling Stone is a good metaphor of the institutionaliztion and acceptance into the mainstream of rock music (which one could argue was initially totally oposed to this...) Ah well, I suggest looking to the independent press like Jet Lag out of St Louis and Flipside out of Orange County as well as the Penthouse rag - SPiN (with a terrifying story on Nina Hagen this month) ... For a real treat, find a library that archives Rolling Stone and read he old issues where the Grateful Dead's latest bust was the usual cover ... Tim left a copy he had found on the bus of Rolling Stone's year in review (which undoubtably Greg Searles would LOVE) wherein RS states, "1985 was a good year for rock" and then went into the reasons - Don Johnson, Sly Stallone ... hmmmm. At best, this is a slightly more sophisticated and less ecletic National Enquirer ... I guess next year their reason for a good year in rock will be Mark "Coors" Harmon and Ally Sheedy ... duh! hofmann [][][][][][][][][][] Date: Mon, 27 Jan 86 14:20:52 EST From: hsut@purdue-ecn.ARPA (Bill Hsu) Subject: Sonic Youth, Keith Haring and other neat people Found this neat-looking compilation album last week called A Diamond Hidden in the Mouth of a Corpse, put out by Giorno Poetry Systems, poet John Giorno's label (I guess). If you ever wondered if the National Endowment for the Arts ever finances anything interesting, here it is... This looked like a really interesting album, with a bunch of Keith Haring sketches (he's the guy who draws the stick figures in NY subways) on the cover, and in the background of the photos of the bands. The actual music on the album was a little disappointing, despite some nice tracks (maybe I was expecting too much). Sonic Youth had an ok song (inferior to most tracks from Bad Moon Rising), and there were contributions from Husker Du, David Johannsen and Coil. I enjoyed the Cabaret Voltaire track (my first exposure to CV). The spoken pieces by William Burroughs and Michael Gira were amusing but hardly earthshaking. If anyone else picked up this album, could you identify some of the photos? I recognized Husker Du, David Johannsen and Sonic Youth, and William Burroughs (I think...) but which one is Coil?... Cabaret Voltaire?... Bill Hsu [][][][][][][][][][] Posted-Date: 27 Jan 86 08:30:51 EST (Mon) Subject: Re: Holly sh*t! Date: 27 Jan 86 08:30:51 EST (Mon) From: J Eric Roskos <ll-xn!topaz!peora!jer> X-From: J Eric Roskos <jer@peora.UUCP> > > 1) In "All the Love," you expressed a feeling of fear and > > vulnerability ... [and subsequently changed to a more popular style] > > ... Do you have any regrets at doing this? > > I doubt that this had much to do with it since the British music press > *hates* concept albums. And HoL is certainly still quite weird. But the approach she used would be a good compromise; the British Press would say what they did say about it, viz., that the first side was OK, but the back side was sort of strange (although, naturally, since people bought many copies of the album, they would append "but in a nice way" to it. Also, I don't perceive the Ninth Wave as being particularly "wierd". I detect a subtle change in your philosophies in the following comments. > I am > going to ask her about her purpose in making the first three songs on > the album more commercial than anything on "The Dreaming", but I was > going to put it in a way much more palatable to me, and hopefully to > Kate too. Asking questions that attempt to get to the basis of issues can't always be done in a "palatable" way, if the person you are questioning is accustomed to evading the answers. On the other hand, as I said in the original posting, I doubt I would have asked such questions myself. > Believe me, Kate is not one to be a feminist protester. If she felt so > strongly about the objectification of women, she would probably not lean > towards eroticism so much. This line of reasoning is indeed often used by feminist protesters, i.e., that "eroticism" is equivalent to "the objectification of women," but of course in reality this is not true; it depends on whether what you have written is itself objectified, or whether it is a sort of purely conceptual framework which is applied by the listener to specific people, rather than to "women in general". Some of the better love songs are examples of this. > Also she has said that she thinks women have the better end of the deal. This is why it takes true resolve to be a non-hypocritical feminist, since women *do* "have the better end of the deal," and are merely striving either to achieve equity (in the process sacrificing some good things for other, more just, ones), or else "want it all now". > Because at the end of "Hello Earth", Kate has been rescued and the storm > is over, and she can finally go to sleep. This is an interesting idea. It suggests that the person speaking in "Hello Earth" is not merely an observer, but rather an active entity, if there is any causal relation between her being rescued and the German sentence just before she says "Go to sleep, little earth." For some reason, this causality seems to be suggested by the short amount of time between these two sentences, perhaps because a longer wait would have suggested a sort of futility, that the observer could say "help her" but it wouldn't accomplish anything. This idea of an active, helping entity goes well with the line "I was there at the birth," I think. > > 4) Does the "old lady" in "Jig of Life" represent the folding-of-time > > perceived by a woman who looks in the mirror and suddenly sees a face > > reminiscent of her mother's when she was born? > > She's already said that it means just what I said it means. If you > asked her this, she'd say "That's a really nice interpretation, but what > I really had in mind is [insert my interpretation here]." But that was what she said about the interpretations you did ask her about, which you are fairly certain were correct interpretations she just didn't want to acknowledge. > > 5) Is this folding-of-time represented again by the "you asleep on the > > seat" in "Hello, Earth"? Or who is this "you"? > > I think "you" is Del Palmer. But I could be wrong. I have doubts about this, unless "on the seat" is a British colloquialism. The phrase suggests a small person or animal, much smaller than the seat, such that they are "on" it, like on a table. > > 6) In the phrase "Help this blackbird," there seems to be this > > parallel sound-meaning: "Help this black bard." Yes? > > No. Well, it would certainly fit well with what you had claimed the poem was about, viz., about people accusing her of having evil intentions in some of her poems, about her "singing like a witch," etc. What other interpretations might be associated with a "blackbird"? > > 7) What does the reference to Ireland in "The Big Sky" mean? > > She likes Ireland. This sounds like an answer she would give, to avoid giving the real answer. > > 8) In "Suspended in Gaffa," you seem to suggest the idea that by > > choosing the path of an entertainer, you have bound yourself > > against progress to a higher level of enlightenment; that your > > spiritual progress is "suspended in Gaffa." > > That's not what she's saying. She's saying that in the quest for > perfection, it always feels like you're "suspended in Gaffa". Why "Gaffa"? > > Yet the conclusion of "The Ninth Wave" is quite opposite this idea. > > Does this reflect a change in your ideologies in the past few years? > > You'd really have to argue pretty ****** well to convince me that the > allegory in "The Ninth Wave" has any specific meaning, raher than just > being a colage of impressions from traumas in life. Unfortunately, I have forgotten what I had in mind when I wrote the above, since it was so long ago ... oh, I do remember, too... at the end she says "you know what? I love you better now," which suggests that she has grown in some sense as a result of the traumatic experiences. I don't think of "The Ninth Wave" as an allegory. I am not very fond of allegories. I think "The Ninth Wave" symbolizes personal growth through adversity. > > 9) Don't give up! "The Dreaming" was great, and you shouldn't let the > > critics mislead you. You can have your immortality now or later. > > [Better now.] No, it's better later... now always runs out. [][][][][][][][][][] Return-Path: <earle@gorbag> Date: Tue, 28 Jan 86 00:49:29 pst From: ia-sun2!smeagol!gorbag!earle@csvax.caltech.edu (Greg Earle) Subject: Re: Love-Hounds digest, 1/27/86 Re: SPIN radio show Just from the name "Nocturnal Emissions", you can tell it's gonna be interesting ... Sure hofmann isn't the DJ? :@) BTW, in 1984 the debut Dead Can Dance LP was probably *My Favorite* LP of the year; you can take that with however many grains of NaCl and a twist a lemon... Errm, about the SPIN radio show. It is hosted by a thing that goes by the moniker of Andrea 'Enthal; if you met her you'd know that the 'Enthal must certainly be a diminutive of Rosenthal (why hide your heritage?). Though you'd never guess in a million years from the stuff she plays, in person she is this 200 lb. + behemoth, who wears ankle-length tie-dyed dresses by Omar the Tentmaker (straight out of Haight-Ashbury, I swear!), and my best guess is that she baths as frequently as there are heavy rainstorms out here in L.A. Oh well, enough mud-slinging... She has hosted a show on KPFK in L.A. for the last 5 years (12am - 6am Sat. nights, 90.7 FM for you visitors) called "12 O'Clock Rock" (Hrmpf, musta meditated on L for a while to get that). The one thing that I respect her for, is that of all the people who attempt to assert their opinions/authority over people (musically speaking), at least she goes out and *buys* all of her own records, and she buys *EVERYTHING*. Which means that the Hit/Miss ratio is brought down proportionally, but at least there is something for everyone, and nobody in this city can touch her show for range of stuff (Because she's the only one wacko enough to spend every last dime on musical recordings). I may not agree with her opinions, but at least she has the necessary credentials for me to at least *respect* them. Her major problem is that sometimes she succumbs to gloating and preaching (as in "well, I think that so-and-so sucks donkey dicks etc.", and last week she played a tape of Jesus and Mary Chain live at the Roxy LA 12/22/85, then afterwards gloated "this tape is in a recording studio, and *I* know where that studio is ....", later, "Well, I'm just gonna haveta spend a lot of time mixing down this live JAMC stuff from that tape for the SPIN magazine compilation *I* am putting out"; Gawd, I swear I wanted to reach through the radio and hit her) So to make a long story short - listen, but with a jaundiced ear ... ------------------------------------------------------------------------------- >Subject: Re: John Fox and Garry Numan ^ ^^ Hmmm, do we call this "Double letter Dyslexia" :@) Love-Hounds Trivia Test Number 1: (1) [Easy] Gimme John Foxx' real name. (2) [Not so] Name the band that was the precursor to Ultravox! Mk. I (3) [Massively Difficult] Name the title of the record by said band. If I see any quotes from the book "Volume", you LOSE BIG. Greg Earle sdcrdcf!smeagol!earle (UUCP) ia-sun2!smeagol!earle@csvax.caltech.edu (ARPA) Sorry, no Know Your Culture this time (see my last net.musack posting for latest one) [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (02/12/86)
Love-Hounds Digest Wednesday, February 12, 1986, 05:10
Today's Topics:
/enthal and zines/
"Hounds of Love" U.S. single
not really LH trivia quiz #1
Guitars vs. Synths
[][][][][][][][][][]
Date: Tue, 28 Jan 86 14:38:04 EST
From: Jim Hofmann - RAMD-D <hofmann@AMSAA.ARPA>
Subject: /enthal and zines/
Andrea 'Enthal also had something to do with the Minutemen's
mop-up LP - The_Politics_of_Time (mainly a collection of stuff
they hadn't put on an lp prior to /84). She apparently had a
boot of a new york concert.
Her mailing list isn't really worth it, unless you don't have
addresses to the majors like Rough_Trade and Systematic, etc.
Else you can send her 3 stamps and she'll send you her accumulated
knowledge about mail order (about 4 pages) with such hot tips
as what an IRC is. She also has the most stupid computer list
of band names that she thought are wierd ("these names have
been witnessed or seen by me on record labels or showbills!").
Yawn. The third thing (zine addresses) she never sent me which is
characteristic of hardcore/underground-type mailings - extremely unreliable.
All I can say it's good to her she's putting together a tape, a
mention in her column does a hell of a lot for a band - she pretty
much put Dead Milkmen and Scratch Acid into the green (and deservedely
so) and usually hits the mark.
Greg, it's hard to believe she uses her own money to buy platters.
This is extremely cool in my view. I recently read an interview
with Al Flipside (who puts out the zine Flipside) in which he
shudders in horror about the days when they had to buy their
own records. Somehow, the whole little underground machine feeds
on itself and consequently the zines come up with most uninspired
drivel about platters. No wonder they can't write more than one
or two lines.
hof
[][][][][][][][][][]
Date: Tue, 28 Jan 86 17:56:51 est
From: nessus (Doug Alan)
Subject: "Hounds of Love" U.S. single
For those who care about such miscellaneous things, "Hounds of Love" is
being released in the U.S. as a single on February 9th, which is
apparently before the British release. The B-side is "Burning Bridge"
(which is the B-side to the British "Cloudbusting" single).
"And I'll be two steps on the water"
Doug
[][][][][][][][][][]
Date: Tue, 28 Jan 86 22:34:19 est
From: Tim Wicinski <wicinski@nrl-css.ARPA>
Subject: not really LH trivia quiz #1
You missed the first quiz, !smegma!earl, doug did that one, but no one
could answer the second question. here's 2 of 3:
1) John Foxx - Dennis Lay (or Leigh, but its pronounced 'Lay')
2) Tiger Lilly
3) unknown, but it is a single on Gold Records, is that close enough ???
No, I am not thrilled to tears by Ultravox. Gimmie a guitar over a
Synth any day (ie, Bob Mould over Lionel Ritchie).
"Flying is Trying is Dying" -Hawkwind, Space Ritual
tim
[][][][][][][][][][]
Date: Wed, 29 Jan 86 01:06:33 est
From: nessus (Doug Alan)
Subject: Guitars vs. Synths
> From: Tim Wicinski <wicinski@nrl-css.ARPA>
> No, I am not thrilled to tears by Ultravox. Gimmie a guitar over a
> Synth any day (ie, Bob Mould over Lionel Ritchie).
Mr. Wicinski, it's not what you do it with -- it's what you do with it.
For instance, I'd take KB's synth over The Romantics guitar any day!
(What? The Fairlight isn't a synth? Well...) I'd take Kraftwerk's
synth over REO Speedwagon's guitar anyday. But I'd definitely take Fred
Frith's guitar over Flock of Hairdressers' synths. And I'd take Sisters
of Mercy drum machines over Motley Crue's drums. And King Crimson's
drums over Go West's drum machines. And...
"Your cities lie in dust"
Doug
P.S. Mr. Earl, I think it is understood that one someone says something
is "the best", it is their opinion and not a statement of provable fact.
And there is a difference between stating what one's favorite X is, and
what X he thinks is the best. For example, perhaps my favorite song of
198Y is the Frazen Daz jingle music because it reminds me of the
indescribably wonderful sensation of eating delicious mocha-boysenberry
Fazen Daz ice cream while sand witched with three nubile and naked
eskimo women. But perhaps I think that this experience is far from
universal for this piece of music, and really this is just a little
peculiarty of mine. I might therefore think that for 198Y the song with
the most artistic merit is Sid Rotten's cover version of "Louie, Louie"
even though that is not my favorite song.
[][][][][][][][][][]
Return-Path: <umcp-cs!jhunix!jhunix!ins_aset>
Date: Tue, 28 Jan 86 15:47:58 EST
From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV>
Life...bah, humbug. Call me a bleeding heart, but I'm feeling incredibly
depressed about what happened to the space shuttle. What's more, I'm
trapped here at work unable to watch any news about it. I am also putting
off transcribing an interview with John Lombardo, one of 10,000 Maniacs'
two guitarists. He was rather nice but the interview was nothing spectacular
-- I keep waiting for an interviewee with a wild sense of humor to liven
things up a bit. I will give John credit for his Six Million Dollar Man
lunchbox, though, in which he kept his guitar strings and tools. Maybe I'm
just getting jaded. For the record, though, my favorite interviewees so
far are New Order's Steve Morris, for not taking himself too seriously and
for liking John Waters movies, and Mark Mothersbaugh from Devo, because he
was so weird (this was several years ago when they were still weird and not
putting out crappo like "Shout.")
I am currently listening to the new Public Image Ltd. album, "Album," (I
guess mine would be "Cassette," though -- it's an advance that just says
"Public Image Ltd." on it). I was not looking forward to it, because I am
no big fan of their "Rise" single (ever wondered what it would be like if
John Lydon decided to join R.E.M.? Neither had I). The other songs seem
much better, though, at least on side one. It's perhaps a little too
restrained, being a big major label production and all, and they will never
ever top their "Public Image" single. Bill Laswell (!) produced, and
Ryuichi Sakamoto's supposedly around here somewhere too.
I sent in a response to Village Voice's annual "Pazz and Jop" Critics' Poll.
No, they didn't ask me -- Official Respondent J.D. Considine (oh no, him
again) gave me his Official Envelope since he was sending his Federal
Express, so I just gave my affiliation as Baltimore City Paper/Freelance,
and now we'll see if they're fooled! I'm sure everyone is dying to know
what I voted for (ha ha). Since I'm tired of "10 Best" lists etc. consider
this a "10 Records Which Sue Thought Were Pretty Interesting"
*Albums*
1. The Fall, "This Nations Saving Grace"
2. Zeitgeist, "Translate Slowly"
3. Velvet Underground, "VU"
4. Robyn Hitchcock, "Gotta Let This Hen Out"
5. Suzanne Vega, "Suzanne Vega"
6. Kate Bush, "Hounds of Love
7. Cabaret Voltaire, "The Arm of the Lord"
8. Prefab Sprout, "Two Wheels Good"
9. Bryan Ferry, "Boys and Girls"
10. Microdisney, "The Clock Comes Down The Stairs"
*EPs*
1. The Woodentops, "It Will Come"
2. Cabaret Voltaire, "I Want You"
3. Cocteau Twins, "Tiny DynamiNe"
4. The Three Johns, "Death of the European"
*Videos*
1. Artists United Against Apartheid, "Sun City"
2. ABC, "How to be a Millionaire"
3. A-Ha, "Take On Me"
4. Run-D.M.C., "King of Rock"
5. Shriekback, "Nemesis"
(Note -- I have seen very very few videos in the past year -- no cable)
-Sue
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (02/12/86)
Love-Hounds Digest Wednesday, February 12, 1986, 15:53
Today's Topics:
hofmann is a stick in the mud
Nina Hagen in SPIN
yoyos
[][][][][][][][][][]
Date: Wed, 29 Jan 86 8:55:37 EST
From: Jim Hofmann - RAMD-D <hofmann@AMSAA.ARPA>
Subject: hofmann is a stick in the mud
Show diatribe on Baltimore shows (Jan 26):
10,000 MANIACS - 8X10: Why do I bother? Opening up were two acoustic
guitars singing la-la folksy stuff (Patty Sulivan was one of their names).
10,000 MANIACS should be stripped of that ultra-cool name but I really
didn't get much more than I expected (besides the $5 cover - super sunday
bowl prices) which was cheap beer and a place to drink it.
PHLEGM - The Clubhouse: Now that Flipside and Ink_Disease have printed
pix of the Clubhouse you can all see it for yourselves. This was supposed
to be a 3 band matinee featuring ARTLESS but Mykel and son never showed.
Instead, PLEGM played a free set in front of 20 or so assorted and dead
types. Quite good playing, particularily a raging Bassist, schreeching
guitarist and raw-powerish drummer. But that name would never get them
newsprint in the village voice so all you wankers ought to just skip
the rest of this................. The vocalist was unintelligible but
did a good parody of Mike Muir's Institutionalized and made a couple
of choice comments about punky Jim McMahon, who is a 'good role model
for jocks to go "punk" and come down and ruin our shows like they are
in New York ...'
COMING UP:
THE BROOD/ ST BITUS - Thursday, Jan 30
MARGINAL MAN/ BLACK MARKET BABY - Friday, Jan 31
New Dischord:
SNAKES LP (debut)
Split LP or EP with Sab's LUNCHMEAT and (I think) GRAY MATTER
coming up: DAG NASTY EP
other news:
BEEFEATER is on tour
**************************************************************************
And now for the national news:
Dave Edmunds has produced the new Everly Bro's LP featuring a
Dire Straits cover!
All your American Beatles LP's are soon to be collectors items as
Capitol gets ready to discontinue the line and standardize all the
Mop-top's vinyls into the UK/World mold.
Pat Benatar is a mother! I read it in USA TOADY.
and who cares????
*************************************************************************
[][][][][][][][][][]
Date: Tue, 28 Jan 86 12:58:54 cst
From: ihnp4!sask!zaphod!pault (Paul Tildsley)
Subject: Nina Hagen in SPIN
I just read the article on Nina Hagen in SPIN. What gives?
Is she really this bizarre?
I realize her music is a little off the wall sometimes but does
she really believe in UFO's, out of body travelling, and wishes
coming true.
Has anybody read anything that confirms the SPIN interview.
-pault
[Editor's note from Doug: Where the hell is my issue of the Feb SPIN???
In any case, don't look now, but Kate also believes in UFO's, out of
body traveling, and wishes coming true, etc. Maybe they should do an
album together....]
[][][][][][][][][][]
Date: Thu, 30 Jan 86 14:08:50 EST
From: Hofmann <hofmann@AMSAA.ARPA>
Subject: yoyos
Did Peter Reich really have a glow in the dark Lone Ranger
ring?
jim
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (02/13/86)
Love-Hounds Digest Thursday, February 13, 1986, 11:50 Today's Topics: ? Romeo Void the truth about the maniacs... Kate believes WHAT? (2 msgs) [][][][][][][][][][] Date: Fri, 31 Jan 86 13:21:12 EST From: hsut@ec.purdue.edu (Tsun-Yuk Hsu) We haven't had a "theme" discussion since Sue's "Who are the musicians/groups you love to hate" poll, so let me propose the first love-hounds pseudo-poll of '86, a small variation on a hackneyed subject: WHAT ARE THE 10 ALBUMS RECORDED AFTER 1977 THAT YOU WOULD BRING TO A DESERT ISLAND? The restriction to after '77 is based on two reasons: 1) Sam Rabelsky's (are you still on love-hounds?) album poll on net.music last year was dominated by albums from the early '70s (not on my ballot!) Which I think is understandable because it takes time for some albums to "grow" on you. So let's see what relatively recent albums we enjoy... 2) '77 is around when the punk movement began, without which we wouldn't have half the music we talk about in this mailing list :-) So my ten, in no particular order, are: KATE BUSH THE DREAMING (of course...) BAUHAUS THE SKY'S GONE OUT I'm really fond of this album, from the cover of Eno's "Third Uncle" to the post-Joy Division horror movie music on side 2. I guess you either love it or hate it for its self-indulgence. XTC BLACK SEA XTC's masterpiece before they tried to be more commercial with Mummer (English Settlement was OK). Superb jagged, undanceable rhythms and clashing dissonances. LAURIE ANDERSON BIG SCIENCE What would I give to see Laurie Anderson on tour... ROBYN HITCHCOCK I OFTEN DREAM OF TRAINS Who needs drugs when you have Robyn Hitchcock? The spare production and instrumentation bring out the lyrics, which I feel are the cleverest things in Robyn Hitchcock's music. Irresistable and zany... THE RESIDENTS NOT AVAILABLE PETER GABRIEL III This was the album that showed me what rock can really do... TALKING HEADS FEAR OF MUSIC "Cities", "Life During Wartime", "Heaven", need I say more? TUXEDOMOON HALF-MUTE Chamber music of the future... THE CURE FAITH Gloriously depressing music you can dance to, dance music you can be depressed to... And the ones who almost made the list: David Bowie Scary Monsters Sonic Youth Bad Moon Rising Byrne/Eno My Life in the Bush of Ghosts Talking Heads Remain in Light Kate Bush Hounds of Love Peter Gabriel Security Bill Nelson Vistamix Tuxedomoon Desire King Crimson Discipline Joy Division Closer Looking over my list, I found that most of my choices were released before 1983. Looks like there's no escape from the time factor :-) Bill Hsu [][][][][][][][][][] Posted-Date: 31 Jan 86 10:26:21 PST (Fri) Subject: ? Romeo Void Date: 31 Jan 86 10:26:21 PST (Fri) From: tsung@aero Who did the song that goes: "It might've been better If we'd slept together It might've been better if we'd slept together It might've been better if we'd slept together ..." (It's a female voice). Is it Romeo Void? If so, what do you people think about the group? I thought "Girls in Trouble (is a temporary thing)" was interesting, too. [][][][][][][][][][] Date: Fri, 31 Jan 86 13:41:40 PST From: Jordan Hayes <jordan@ames.ARPA> Really-From: tsung@aero Who did the song that goes: "It might've been better If we'd slept together It might've been better if we'd slept together It might've been better if we'd slept together ..." (It's a female voice). Is it Romeo Void? If so, what do you people think about the group? I thought "Girls in Trouble (is a temporary thing)" was interesting, too. Romeo Void indeed did the song you are thinking of ... however, the lyrics are "I might like you better if we slept together" and it has overtones of incest ... They're from San Francisco, and the lead singer's name is Deborah (that's Dee-boor-ah) ... the first mix of "A girl in trouble" was much better (alas, only a demo tape survives at a few of the local College Stations (KALX, Berkeley ... KUSF, San Francisco ... etc.) The song is the cover track of their first album "never say never" /jordan [][][][][][][][][][] Return-Path: <umcp-cs!jhunix!jhunix!ins_aset> Date: Fri, 31 Jan 86 8:08:41 EST From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV> Subject: the truth about the maniacs... Don't believe Hoffman's opinion about 10,000 Maniacs' show at 8x10. I was dubious at first but found myself really won over by them. I knew several people at the show and all of them thought it was great. Anyway, I'm sort of going through a folk phase at the moment, dusting off the Richard and Linda Thompson, Fairport Convention, etc. Plus, there's lots of neat Brit- folk coming out like The Men They Couldn't Hang and the Pogues. It's getting so that my trendy friends can't even listen to my radio program. Maybe this was inspired by Kate's Celtic touches! sue [][][][][][][][][][] From: think!harvard!bu-cs!sam Date: Fri, 31 Jan 86 16:16:47 EST Subject: Kate believes WHAT? Peel me off the ceiling... Kate believes in UFO's? You mean like that the little lights in the night sky are green men in flying saucers? Don't get me wrong...I certainly believe there is life on other planets...but I don't think they've visited earth. She does? (really, now.) And astral projection? Somebody (Oh DOUUUUUGGGGG????) wanna elaborate on what it really means and in what capacity she "believes" in it? ...as for wishes coming true...well, they do, don't they? (Stayed tuned for Shelli's monologue on the benefits of prayer...just kidding...) --Shelli [][][][][][][][][][] Date: Fri, 31 Jan 86 23:13:47 est From: nessus (Doug Alan) Subject: Re: Kate believes WHAT? > From Shelli: > Kate believes in UFO's? You mean like that the little lights in the > night sky are green men in flying saucers? Don't get me wrong...I > certainly believe there is life on other planets...but I don't think > they've visited earth. She does? (really, now.) Well, I dunno about little green men, but yeah, she believes in all the mystical stuff that one loved to believe in as a little kid, but unfortunately didn't anymore upon growing up, cynical, and realistic: UFO's, ghosts, reincarnation, astrology, the Loch Ness Monster, ESP, precognition, orgone accumulators, synchronicity, ... the works. > And astral projection? Somebody (Oh DOUUUUUGGGGG????) wanna elaborate > on what it really means and in what capacity she "believes" in it? Yeah, astral projection. Listen to "Watching You Without Me" and "Hello Earth". She's admited to believing in most of these things at some point or another, but doesn't seemed to be particularly obsessed with any of them. For example, she says that astrology has been used for such a long time that there must be something to it. But only "real" astrology -- not the "rubbish" that's in the newspapers. She however, says that she doesn't follow astrology. "I've been told, when I get older That I'll understand it all, But I'm not sure if I want to" Doug P.S. I have an interview on tape where Kate talks about her religious beliefs. If anyone cares enough to want to hear it, just drop by sometime... [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (02/14/86)
Love-Hounds Digest Friday, February 14, 1986, 05:43
Today's Topics:
Desert island disks and other junk
Art Zoyd, etc.
[][][][][][][][][][]
Date: Sun, 2 Feb 86 10:25:52 est
From: nessus (Doug Alan)
Subject: Desert island disks and other junk
I made up this list of junk for net.music, but since Bill asked for
people's desert island disks (recorded since 1977), I figure I might as
well pollute Love-Hounds with it too:
Doug Says The 17 Best Records Of 85 He's Heard Are:
--------------------------------------------------
(1) [Can't you guess???] Kate Bush -- Hounds of Love
(2) Roy Harper -- Whatever Happened to Jugula?
(3) Suzanne Vega -- Suzanne Vega
The above three records are in the top-10 of all time.
(4) Kate Bush -- Cloubusting
(5) Kate Bush -- Running Up That Hill (12 inch single)
(6) Throwing Muses -- Throwing Muses (cassette only)
(7) Mission of Burma -- The Horrible Truth About Burma
(8) Sisters of Mercy -- First and Last and Always
(9) Shriekback -- Oil and Gold
(10) The Legendary Pink Dots -- Lovers
(11) Various Artists -- If You Can't Please Yourself You Can't Please Your
Soul (a compilation of Some Bizzarre artists for EMI)
(12) Inner City Unit -- Blood And Bone (EP)
(13) No Trend with Lydia Lunch -- Heart of Darkness (10 inch EP)
(14) Einsturzende Neubauten -- 1/2 Mensch
(15) Siouxsie and the Banshees -- Cities in Dust (12 inch single)
(16) German Shepherds -- Music for Sick Queers
(17) Sting -- Russians (12 inch single)
Doug Says The 36 Best Records He Bought In 85 Are:
--------------------------------------------------
(1-3) identical to above
(4) Robyn Hitchcock -- I Often Dream of Trains
(5) Klaus Schulze -- Trancefer
(6) Hawkwind -- Warrior On The Edge Of Time
(7) Bill Nelson's Red Noise -- Sound On Sound
(8) Jean Michel Jarre -- Zoolook
(9) Kate Bush -- Cloudbusting (12 inch single -- for B-side, "Burning
Bridge" and "My Lagan Love")
(10) Kate Bush -- Running Up That Hill (12 inch single -- for B-side,
"Under The Ivy")
(11) Birdsongs of the Mesozoic -- Magnetic Flip
(12) Birdsongs of the Mesozoic -- EP
(13) Brian Eno and David Byrne -- My Life in the Bush of Ghosts
(14) Roy Harper -- The Unknown Soldier
(15) Roy Harper -- Come Out Fighting Ghengis Smith
(16) Psychic TV -- Unclean (EP)
(17) Eric Lindgren and others -- The Arf Arf Contemporay Music Sampler
Volume 1
(18) Robyn Hitchcock -- Black Snake Diamond Role
(19) Gary Numan -- Photograph (7 inch single B-side)
(20) Talking Heads -- Remain In Light
(21) Tuxedomoon -- Time To Lose - Blind (EP)
(22) Coil -- Tainted Love (12 inch single)
(23) Massacre -- Killing Time
(24) Tuxedomoon -- Half Mute
(25) Godley and Creme -- Freeze Frame
(26) Throwing Muses -- Throwing Muses (cassette only)
(27) The Velvet Underground and Nico
(28) Hunters and Collectors -- Hunters and Collectors
(29) Ron Geesin and Roger Waters -- Music from "The Body"
(30) Laurie Anderson -- United States Live
(31) Colin Newman -- A-Z
(32) Bauhaus -- Ziggy Stardust (EP)
(33) Nico -- The Marble Index
(34) Nico -- Drama of Exile
(35) Cocteau Twins -- Treasure
(36) William Ackerman -- Passage
Doug Says The 11 Best Videos He Saw For The First Time In 85 Are:
----------------------------------------------------------------
(1) Kate Bush -- Running Up That Hill
(2) Peter Gabriel -- I Don't Remember
The above two videos are the two best videos of all time.
(3) Coil -- Tainted Love
(4) Shriekback -- Nemesis
(5) (lots of miscellaneous Kate Bush stuff)
(6) Kate Bush -- Cloudbusting
(7) Frank Zappa -- (something from "Baby Snakes")
(8) Hunters and Collectors -- Talking to a Stranger
(9) Robyn Hitchcock -- The Man with the Lightbulb Head
(10) Art of Noise -- Close to the Edit
(11) Colin Newman -- B
Doug Sez The 5 Best Radio Stations Of 85 He's Listened To Are:
-------------------------------------------------------------
(1) WZBC (Boston College)
(2) WMFO (Tufts)
(3) WHFS (Commercial, Annapolis MD)
(4) WMBR (MIT)
(5) WFNX (Commercial, Lynn MA)
Doug Says The Best Piece Of Music He Heard On The Radio Today Is:
----------------------------------------------------------------
Something off of the album "Easy Listening for the Hard of Hearing".
Doug Sayz The 11 Best Live Performances He Saw Of 85 Were:
--------------------------------------------------------
(1) The Residents
(2) Suzanne Vega
(3) Hawkwind
(4) Robyn Hitchcock
(5) Birdsongs of the Mesozoic
(6) Roger Miller
(7) Einsturzende Neubauten
(8) Roy Harper
(9) Throwing Muses
(10) Uzi [Okay, well I just saw these today, but it's
(11) John Cale still close enough to '85 in my book.]
Doug Says The Ten Albums Recorded Since 1977 He'd Take To A Desert
Island Are:
------------------------------------------------------------------
(1) Kate Bush -- The Dreaming
(2) Kate Bush -- Hounds Of Love
(3) Pink Floyd -- Animals
(4) Peter Gabriel III
(5) Suzanne Vega -- Suzanne Vega
(6) Roy Harper -- Whatever Happened To Jugula?
(7) Robin Hitchcock -- I Often Dream of Trains
(8) Klaus Schulze -- Trancefer
(9) Bill Nelson's Red Noise -- Sound on Sound
(10) John Foxx -- Metamatic
Doug Says The Five Best Movies He's Seen Of All Time Are:
--------------------------------------------------------
(1) Brazil
(2) Pink Floyd -- The Wall
(3) Eraserhead
(4) Monty Python and the Holy Grail
(5) Time Bandits
So there you have it. Everything you need to know to lead a happy,
fulfilled life.
-Doug
[][][][][][][][][][]
Date: Mon, 3 Feb 86 00:50:11 est
From: nessus (Doug Alan)
Subject: Art Zoyd, etc.
I forwarded Bill's request for info on Art Zoyd to a friend and this is
the reply:
From: Robert Stanzel <apollo!rps>
Subject: Re: Anyone heard of...
From: hsut@purdue-ecn.ARPA (Tsun-Yuk Hsu)
Subject: Anyone heard of...
Has anyone heard music from Univers Zero, Art Zoyd or However? Wayside
was out of some stuff I ordered (no Bill Nelson --- AAAARRGHHHH) and I
need some recommendations for alternatives.
Bill Hsu
Grump. I ordered the Bill Nelson double from Wayside too, and didn't get it.
I'm surprised; I wouldn't think he was that much in demand.
Art Zoyd is intense chamber music. Highly recommended. If you're into CD's,
the one Wayside advertised is their best effort in a while. (Another grump --
the one I received from them was defective!) Most of "Generation sans Futur"
is also good.
Rob
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (02/16/86)
Love-Hounds Digest Saturday, February 15, 1986, 21:27
Today's Topics:
going to a desert Island ?? I'll take these with me.
minor threat as rock stars?? ... untrendy stuff
10 albums to take to an island
New Stuff by Suzanne Vega (bad news)
[][][][][][][][][][]
Date: Mon, 3 Feb 86 07:12:34 est
From: Tim Wicinski <wicinski@nrl-css.ARPA>
Subject: going to a desert Island ?? I'll take these with me.
Here are my 10 albums, all post 1977. I guess I have problems with
this because I do listen to many albums that were put out before
1977 that never were quite 'with it' (ie, Mothers of Invention, Hawkwind, etc).
But I gave it a shot to see what I could come up with off the top of my
head. Here goes (in random order).....
1. Laurie Anderson - United States I-V.
Five records, this would keep the most sane man busy for months
listening to. Everything you need out of her, and then some.
2. Joy Division - Still
This is not Wham!
3. Husker Du - Zen Arcade
The gurus of electricfied folk music rip down everything.
Listen to side 2 for catharis, and side 4 for 'Reoccurring Dreams'.
4. Minor Threat - Out of Step
Beyond their rock-star image was a band with more intensity than
i've seen in awhile. This ep is the Threat at their peak, with decline
being immiment.
5. Motorhead - No Remorse
I wanted 'Space Ritual' but it was pre-77, so this will do quite nicely.
And this one does get played quite loud.
6. Soft Boys - Invisible Hits
7. Velvet Underground - VU
But this album was released in 1985 !! Whew, I needed to get a VU
album on my list somehow. Not the best, but the only one released
after 1977.
8. Brian Eno/David Bryne - My Life in the Bush of Ghosts.
9. Robert Fripp - Exposure
The Best King Crimson Album. Ever.
10. Jonathan Richman and the Modern Lovers - Modern Lovers
This one was recorded in 1977 when the Modern Lovers still had Dave
Robinson. Album contains 'New England' 'Here Come the Martian Martians'
and 'Abomidable Snowman in the Market' among others. But what I would
give for a version of 'Roadrunner'.
Pre-77 releases which caught my eye:
Hawkwind - Space Ritual
Velvet Underground - White Light/White Heat
Mothers of Invention - Freak Out
Brian Eno - Another Green World
King Crimson - A Young Person's Guide to King Crimson
tim
[][][][][][][][][][]
Date: Mon, 3 Feb 86 11:33:11 EST
From: Hofmann <hofmann@AMSAA.ARPA>
Subject: minor threat as rock stars?? ... untrendy stuff
rock star image? tim? gee I never got that impression ... maybe Lyle Preslar
but I thought they were anti-cockrock star .... guess I never saw them live
being in the dregs of Virginia at the time...
As for 10,00000000 MAniacs - don't believe Sue - these guys have little
intensity or energy and showed supreme disrespect for the audience. And
I thought they *were* trendy, gee ...
If a band called DOGGY STYLE comes through your town - go see! These guys
are hilarious ... color coordinated because they explain it makes them
feel like men they even revised the pogo getting everyone in the place
to jump up and down. How untrendy! as if I care. If you saw the Debby
Harry Spin - you might have noticed them demonstrating their dance ... well,
the last song, they got everyone who wasn't confused jumping around yelling,
"Doggy Style" when the singer yelped "How ya gonna do it?" ... They did a
bunch of go-go styles tunes which is Really untrendy and even a Beastie Boys
tune,, "She's On It" and, gawd, the Beasties are Super-duper untrendy ... I
even got one of the Tootsie Pops they threw out to the audience - By the time
I got to them, they had sold out their LP (Side By Side on Flipside Records)
but I'm gonna send away for it as soon as I get a money order - and what they
hell, if I don't like it I'll just give it to my Kid Sister...
Marginal Man, Black Market Baby and Urgent Fury - - - Marginal Man is on
tour and you'd better go see them - you won't forgive yourself when they
become the next big trendy thing and you can then say "I saw them when they
were untrendy" -- as for Black Market and Urgent Fury - well 2 good bands outta
4 ain't bad... Black Market Baby told alot of good jokes ... Urgent Fury was
way too serious - but what do you expect from a Puerto Rican hardcore band
from the Bronx?
hof
[][][][][][][][][][]
Date: Mon, 3 Feb 86 12:18:17 EST
From: think!harvard!bu-cs!sam (Shelli Meyers)
Subject: 10 albums to take to an island
> WHAT ARE THE 10 ALBUMS RECORDED AFTER 1977 THAT YOU WOULD BRING
> TO A DESERT ISLAND?
No particular order:
Kate Bush: The Dreaming (* no comment necessary *)
London Philharmonic: Tchaikovsky Spectaculars
(**************************************************)
(** no flames, PLEASE! I'm gonna be on a desert **)
(** island, don't I need some REAL CULTURE? **)
(**************************************************)
Andrew Lloyd Webber, etc: "Jesus Christ Superstar"
Requiem
(**************************************************)
(** We'll need to be praying heartily to get off **)
(** this damn island... **)
(**************************************************)
The Bee Gees: Saturday Night Fever (** JUST KIDDING! **)
Madonna: Like A Virgin (** Put in to aggravate Doug **)
(** and to subdue restless **)
(** natives. **)
** If the desert island happens to be off the coast of Australia: **
Goanna: (oh damn I can't remember the name of the damn album but
it's the one with "Solid Rock" on it and probably their
only album)
(** For the folk song in my heart... **)
Anything by Midnight Oil (** for those heavy metal moods **)
** Seasonal choices: **
John Denver and the Muppets: A Christmas Together
(***********************************************************)
(** Kills two birds with one stone! Celebrate Christmas, **)
(** and entertain any impending kids (depending on who **)
(** you're stranded on said desert island with). **)
(***********************************************************)
Zula: Next Year in Jerusalem
(** The obvious alternative for Jews **)
...Wait a minute...you mean my 10 FAVORITE albums? Oh.
--------
"When in Rome, do as the Romanians do!"
*Shelli*
[][][][][][][][][][]
Return-Path: <umcp-cs!jhunix!jhunix!ins_aset>
Date: Mon, 3 Feb 86 15:56:05 EST
From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV>
Subject: New Stuff by Suzanne Vega (bad news)
Someone just gave me the advance cassette of the "Pretty in Pink" soundtrack.
"P.i.P." is the new film by the guy who directed "The Breakfast Club" and
"16 Candles" -- I think his name is John Hughes, but I'm not positive -- and
it stars Molly Ringwald, one of the more appealing of those horrid brat pack
people. Still, I doubt I'll rush out to see it.
It has a new song by Suzanne Vega, "Left of Center," which is pretty crummy
(for lack of a better descriptive adjective) -- she did it in concert and
I didn't like it then, either. One expects more from SV, one of the coolest
women in the universe. It sounds like a stab at the Top 40.
Fortunately, there's also a brand new one from New Order, "Shell Shock,"
which I like quite a bit. What else? The Psychedelic Furs REMADE "Pretty
in Pink" -- blasphemy!!! The A&M rep told me that it had a "punkier edge"
but it really sounds like a second-rate cover version. Or it would, if it
weren't for Richard Butler's voice.
The rest -- "Round, Round" (Belouis Some); "Wouldn't It Be Good" (Danny
Hutton Hitters -- would you believe a cover version of a Nik Kershaw
song??????); "Bring On The Dancing Horses" (Echo and the Bunnymen); "Please
Please Please Let Me Get What I Want" (The Smiths); "If You Leave" (OMD);
"Get To Know Ya" (Jesse Johnson); and "Do What You Do" (INXS). Better than
most soundtrack LPs, but that's not saying much, is it?
Do you ever wonder what your fellow Love-Hounders and net.music contributors
look like? I do. Perhaps we could put together some kind of photo album!
Then I can find out if Larry Palena is really green and slimy or if he only
writes that way.
A Morgan Fairchild look-a-like,
-Sue
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (02/16/86)
Love-Hounds Digest Sunday, February 16, 1986, 14:00
Today's Topics:
Junk from new fanzine and lyrics to "Jig Of Life"
Roadrunner Twice
Hofmann on a desert island? Never!!!
Fish
maniacal
Talk, Talk about Pretty in Pink
[][][][][][][][][][]
Date: Tue, 4 Feb 86 15:20:12 est
From: nessus (Doug Alan)
Subject: Junk from new fanzine and lyrics to "Jig Of Life"
I just received issue two of "Under The Ivy", yet another Kate Bush
fanzine (British). It says that "Hounds of Love" is being released as a
single in England on Feb 24th and the B-side is "Jig Of Life". (I guess
this means we don't get a new song from Kate. Oh well! Maybe on the
next single....)
It also contains some pieces of trivia:
Did you know that Kate was invited to be a presenter at the
recent Fashion Aid show at the Royal Albert Hall?
Did you know that Paddy Bush writes music for "Take Hart" on
T.V.?
Do any of our British correspondants know anything about this show?
Did you know that in circulation there is a Dutch mispressing of
"Running Up That Hill" with Baltimora's "Tarzan Boy" on the
B-side?
Did you know that when asked recently what was her favourite
track, Kate replied "Infant Kiss"?
Did you know that Kate backed No. 1 singer Whitney Houston on
German Top Of The Pops last week?
Anyone know who Whitney Houston is?
Did you know that Kate was a guest at the wedding of Kate St.
John of Dream Acadamy fame?
Did you know that Kate has donated the "Wedding List" to the new
Prince's Trust L.P.?
Did you know that Fish of Marrillion has said that the person he
would most like to work with is Kate?
Oh, boy!
Did you know that Kate was 10th in a poll of producers recently
produced by Music Week?
Well, wasn't that stuff exciting? In any case, the rag also printed
the words to John Carder Bush's narration in "Jig of Life". I'm not
sure if they are official, but they sure seem like it to me. If they
are not, whoever transcribed it sure has a much better ear than me:
Can't you see where memories are kept bright
Tripping on the water like a laughing girl
Time in her eyes is spawning past light
Run on the ocean and the woman unfurls
Holding all the love that waits for you here
Catch us now for I am your future
A kiss on the wind and we'll make the land
Come over here to where when lingers
Waiting in this empty world
Waiting for then when the life spray cools
For now does ride in on the curl of a wave
And you will dance with me in the sunlit pools
We are of the going water and the gone
We are of water and the holy land of water
And all that's to come runs in
With the thrust on the strand
-Doug
[][][][][][][][][][]
From: Jeff Dalton <jeff%aiva.edinburgh.ac.uk@cs.ucl.ac.uk>
Date: Tue, 4 Feb 86 19:09:16 GMT
Subject: Roadrunner Twice
Date: Mon, 3 Feb 86 07:12:34 est
From: Tim Wicinski <wicinski@nrl-css.ARPA>
Subject: going to a desert Island ?? I'll take these with me.
10. Jonathan Richman and the Modern Lovers - Modern Lovers
This one was recorded in 1977 when the Modern Lovers still had Dave
Robinson. Album contains 'New England' 'Here Come the Martian
Martians' and 'Abomidable Snowman in the Market' among others.
But what I would give for a version of 'Roadrunner'.
I wanted one too, so I asked for it the last time I was in the Virgin
Megastore in London. The result was a single with two versions of the
song -- called "Roadrunner Once" and "Roadrunner Twice". One of these
is produced by John Cale, and I believe both were on the original album.
-- JD
[][][][][][][][][][]
Date: Tue, 4 Feb 86 16:13:01 EST
From: Hofmann <hofmann@AMSAA.ARPA>
Subject: Hofmann on a desert island? Never!!!
First of all, I try to take all means available to
avoid being on a desert island ... I'd much prefer
a jungle island or a fantasy island ... you know
there is nothing but sand on a desert island????
Second of all, ahem, you people are ALL lame for
taking records to a desert island! You think they
have stuff like electrical power and shit on a
desert island??? Jeez, I guess it's just typical
of libruh, humanist type thinking that would come
out of a Kate Bush mailing list.. Oh you said re-
cordings, didn't you - Hsut? Furthermore, I we are
talking about a desert island - post 1977 (right,
Shelli??? Jesus Christ Superstar, my foot (OUCH!)
thass hippy musak from the 60's or some other lame
decade) ... so I guess, hsut, you mean casettes
(the future saviour of music) on a desert island...
in which case from my very own casette collection
I pick (along with a crate of C-batteries):::
New York Thrash Comp (from ROIR) with Bad Brains,
AOD, Agnostic Front - and this is NOT TWO CHORD
TUNES!!!! DAMNIT THIS SHIT IS INTRICATE NOIZE!!
p.s. in case you don't know, ROIR
has put out about 20-30 cassettes of music you won't
find anywheres else, including tracks of Suicide,
Television, New York Dolls, and (hsut, remember this
name) Bill Lazur (that might be the wrong spelling
though) who mentored Thurston Sonic Youth and variety
of other noisemakers ... ROIR has a copy of his symphony
with like 19 guitars - don't have it tho.
MEAT PUPPETS/BLACK FLAG favorites - all on one 90-minute
tape made by yers truly - includes early Flag favorites
not on any Flag record (when Morris was wailing with
them) and faves from Damaged, My War, Loose Nut and
In My Head ... Meat Puppets includes little early
stuff - mostly stuff from the last album, Up On The
Sun... this is for the mellow times when I'm smoking
coconut leaves ... bzzzzz
Kate Bush (Dreaming)/ Kate Bush (Hounds of Love) - well
what do you expect from someone on a K Bush mailing list?
Charles Bukowski (hostage)/Naked Raygun (Throb, Throb) -
Strangely these two recordings complement each other, tho
I'll be damned how I got them there ... what I should have
done was intersperse Raygun recordings with Bukowski rants -
can you imagine No Sex following Bukowski talking about college
girls (leer, leer) ... I also booted Potential Rapist
off the radio - probably my fave Raygun song now.
HUSKER DU (Metal Circus)/ Various Artists (Bad Brains, Lydia
Lunch, Volcano Suns) made for me by Tim - MC is running up that
hill as the Husker Du recording I've got the most interest
in (mainly in deciphering the words - which may take a
lifetime itself on a desert island) ... the other stuff is
all post-77 (except for some of the Iggy Pop stuff I think -
so I'll like stop up my ears when it comes on)
Grateful Dead - Bootlet from Morgantown, WV, May, 1983 ...
includes Terrapin Station Suite...yow!
King Crimson (3 of a perfect pair)with Apspic.../ REM (Murmur) - possibly
the best Crimson and REM music on one small cassette. This
is music to sleep or ... y'know by.
Appropriate Soda (Jam in our basement)/ Livestock (intimately
dead) ... remaining tapes from my band(s)
Sex Pistols (Never Mind the Bollocks...)/Damned Damned Damned/ The
Replacements Stink ....
lots of good stuff here folks...should be able to draw any airplane
within a 50 mile radius for rescue.
Derek Jacobi reading 1984 by George Orwell (books on tape) ...
well this way I can feel real smug knowing that all you other
toads are wanking away for the machine state ...
-----------------------------------------------------------
hofmann
[][][][][][][][][][]
Date: Tue, 4 Feb 86 16:26:18 EST
From: hsut@purdue-ecn.ARPA (Bill Hsu)
Subject: Fish
So Fish of Marillion wants to work with Kate? Too bad Marillion
has been kind of disappointing. I thought their first album Script For
A Jester's Tear was kind of an '80s streamlined version of the Gabriel/
Genesis sound, tho maybe a little too derivative and rigid. Fugazi
was AWFUL: turgid, pretentious and unimaginative. The few tracks I've
heard from the 3rd album sound rather "safe" and commercial, so I've
given them up for lost. Any Marillion fans out there?
Bill Hsu
[][][][][][][][][][]
Return-Path: <umcp-cs!jhunix!jhunix!ins_aset>
Date: Tue, 4 Feb 86 15:30:19 EST
From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV>
Subject: maniacal
I will not flame back about the virtues of 10,000 Maniacs. I'm sure that
hof and I could argue for days about the merits or lack thereof of various
bands.
"Creem" magazine gave a thumbs-up to HOL...I guess KB really knows how to
"kick ass." No, really, they even featured an interview with Morrissey in
the same issue! Maybe they're going for the old "Trouser Press" crowd.
-Sue
[][][][][][][][][][]
From: ihnp4!mtgzy!seb
Date: 3 Feb 1986 10:35 EST
Subject: Talk, Talk about Pretty in Pink
Two items to bring up. One is a new movie soundtrack that should
be released real soon if the dj's on the radio station get accurate
information. It's the soundtrack to "Pretty in Pink" a new movie starring
Molly Ringwald (of "The Breakfast Club" and "Sixteen Candles" fame). The
music is exceptional - cuts by Suzanne Vega (Joe Jackson on the piano, I
believe), OMD, Echo and the Bunnymen, and some others. I've heard the
Suzzane Vega cut, and I really like it. It kind of grows on you. It's called
"Left of Center", I think. I can't remember the names of any of the other
cuts. I think it's something that love-hounds readers would be interested
in picking up.
Second, anyone out there follow the band Talk,Talk? They have a
new single out (off an album, I imagine) called, damn, I can't remember
the title! (Doug, you know the title?) [No, sorry... The last one I
heard was "Talk, Talk" -- Doug] But it's great! The last single that
they released which is called "Talk,talk" is also excellent. Anyone know
any history about this band?
Sharon Badian
ihnp4!mtgzz!mtgzy!seb
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@eddie.UUCP (Greg Skinner) (02/17/86)
Love-Hounds Digest Monday, February 17, 1986, 13:10 Today's Topics: Desert Island miscellanea, Left Of Center, Morgan Fairchild, etc. folk/Creem/Husker/Kraut II/Christian Death Kerrang! Talk Talk (2 msgs) Siouxsie in US; Brazil Christian Death/rock seminar whitney and if your lips which i have loved, should touch [][][][][][][][][][] Date: Wed, 5 Feb 86 07:10:14 est From: nessus (Doug Alan) Subject: Desert Island miscellanea, Left Of Center, Morgan Fairchild, etc. > From: Tim Wicinski <wicinski@nrl-css.ARPA> > 9. Robert Fripp - Exposure > The Best King Crimson Album. Ever. Yeah, great album! But it's nothing like King Crimson. And Daryl Hall (oh boy!!!) co-wrote and sings on several of the songs -- can you dig it? > From: Shelli [Re desert island] > Andrew Lloyd Webber, etc: .... Requiem Planning on a funeral? With that attitude, you'll never get off. > Madonna: Like A Virgin (** Put in to aggravate Doug **) Why not just bring the 12 inch single for "Material Girl", and play it over and over again? Quite appropriate for a desert island. The song "Like a Virgin", might strike too close to home if stranded alone. > Zula: Next Year in Jerusalem > (** The obvious alternative for Jews **) You're not thinking of converting are you? And you really want to brainwash the impending kids to *your* religion, don't you? > From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV> > It has a new song by Suzanne Vega, "Left of Center," which is pretty > crummy (for lack of a better descriptive adjective) -- she did it in > concert and I didn't like it then, either. One expects more from SV, > one of the coolest women in the universe. It sounds like a stab at > the Top 40. I only heard "Left of Center" once -- in concert, but I liked it. And I have to agree with Jimmy H about A Lot Of Maniacs -- they sure don't do much for me. > Do you ever wonder what your fellow Love-Hounders and net.music contributors > look like? Yeah, so I went and visited some of them. They always look totally different than you expected. > I do. Perhaps we could put together some kind of photo album! Then I > can find out if Larry Palena is really green and slimy or if he only > writes that way. He's probably really mottled blue and slimy.... > A Morgan Fairchild look-a-like, > -Sue Did you bleach your hair recently? -Doug [][][][][][][][][][] Date: Wed, 5 Feb 86 8:39:59 EST From: Hofmann <hofmann@AMSAA.ARPA> Subject: folk/Creem/Husker/Kraut II/Christian Death re: CREEM Yeh, Sue - we can probably argue for years as to just what is folk music ... I would probably argue that acoustic guitars are passe for folk music and you would argue etc etc etc ... stick to your guns, tho and don't belive my horseshit. as for CREEM - this has always been a good prozine - not exactly for who and what they cover but for the level of humor, they don't take themselves seriously like Rolling Stone or Musician or for that matter a whole bunch of fanzines like Max R&R and the like. And unlike the other prozines they aren't afraid to take chances on new writers (ya oughta send them some of yer stuff ...) I think you are confusing the "kick ass" type attitude with Kerrang! which reviewed Hounds of Love too, ain't? Well, got my Husker Du tix last night ... Kraut is playing on Saturday in B-more (which in case you don't know it they've picked up the UK SUBS old string breaker and are now Kraut II (yet another band with two guitars)) Has anyone heard of Christian Death? [][][][][][][][][][] Date: Wed, 5 Feb 86 09:33:56 est From: nessus (Doug Alan) Subject: Kerrang! > I think you are confusing the "kick ass" type attitude with Kerrang! > which reviewed Hounds of Love too, ain't? Yeah, they did. But it wasn't just a review -- they guy rambled on for three pages about how Godlike Kate Bush is. So you see, Kate is kick ass.... "I'm gonna fill your head with lead" Doug [][][][][][][][][][] Date: Wed, 5 Feb 86 10:03:27 EST From: think!harvard!bu-cs!sam (Shelli Meyers) Subject: Talk Talk Isn't the name of that new Talk Talk song "Life's What You Make It"? Or am I confused? ----- Shelli :-) [][][][][][][][][][] Date: Wed, 5 Feb 86 10:03:00 PST From: valerie%sdcc13@sdcsvax.ucsd.edu (Valerie Polichar) Subject: Re: Talk Talk You're not confused; it's Life's What You Make It. Interestingly, the song has been likened to Tears for Fears. [][][][][][][][][][] Posted-Date: 05 Feb 86 09:00:34 PST (Wed) Subject: Siouxsie in US; Brazil Date: 05 Feb 86 09:00:34 PST (Wed) From: tsung@aero Heard on the radio a few days ago that Siouxsie and the Banshees are "putting finishing touches" on their new album, and as soon as that's done they'll do concerts here in the U.S. Just saw "Brazil" yesterday. Good movie, very disturbing. Near the end of the movie I suddenly realized that, hey, this is just like a recurring nightmare I have (recurring in theme, not situations) -- ************************************************************** MAY BE A SMALL, SMALL SPOILER ************************************************************** in which I go from watching somebody being chased to suddenly become the person being chased, and everytime I think I had escaped, I am found (and have to start running again). ******************************************************** END OF POSSIBLE SMALL SPOILER ******************************************************** Any resident psychologist like to comment on that? I think I've read that this movie is a nightmare that Gillem has. Is it nightmare as in an actual dream? More info anybody? (sorry it had nothing to do with KB or even music ...) Fu-Sheng p.s. Doug, if you were not joking, Whitney Houston is a black singer, who is some relative of Dionne Warwicke's, and had a big hit (a coupla hits?) last year. She's probably won some "best newcomer" awards or something. I doubt you'd be interested in her music, though. [Whitney Houston is Dionne Warwick's cousin. --gregbo] [][][][][][][][][][] Date: Wed, 5 Feb 86 15:35 MST From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA> Subject: Christian Death/rock seminar Reply-To: Lippard@MIT-MULTICS.ARPA Yes, I've heard of Christian Death, though I haven't heard much by them. That reminds me of an article I wrote in October for ASU's "Campus Weekly" (alternative campus newspaper) about a rock seminar I went to, and here it is. The article was never printed, as the newspaper folded. (Note: There was originally an additional paragraph about a fourth type of backwards message--the kind that's at the end of the first side of "The Dreaming".) Druids were Satanists. Van Morrison reads Celtic literature. Therefore, Van Morrison's music is evil. I had hoped this kind of feeble guilt-by-association reasoning applied to rock music by religious fanatics had died off. No such luck. The above was typical of the reasoning presented at a seminar on rock music on October 21 by Christian Life. Not only is the first premise false, the conclusion is a non sequitor. Things looked promising enough at first. A quote from the Confucian philosopher Mencius about how the multitudes "act without clear understanding" was projected on the large screen in Neeb Hall before the presentation began. When the show finally started, the speaker gave some facts about the size of the music industry and its influence on society. For a while things were rational. Since the seminar was focusing on the seamy side of rock, it seemed reasonable to show slides of Lou Reed shooting heroin on stage, Sid Vicious, Kiss, and so forth. Still, the impression was given that this was representative of the majority of rock music. Obscure groups such as Demon, Lucifer's Friend, and the Flesh Eaters say nothing about rock in general. Apparently the writers of the seminar were aware of this, because it then shifted to analyzing album covers of fairly popular groups. But this analysis was taken to a ridiculous extreme, pulling interpretations out of a hat. If an album cover had a cross on it, it was automatically blasphemous. Any other religious symbols on an album along with a cross were putting down Christianity by calling it "just another religion." Other symbols also drew criticism. From the following Bible verse, Luke 10:18, it was concluded that lightning bolts are a demonic symbol: And He said to them, "I was watching Satan fall from heaven like lightning." Since all lightning bolts are evil, the lightning bolts in the logos of Kiss and AC/DC show that they are in league with the devil. Interestingly, on the backs of many electrical appliances is a symbol which serves as a warning of potential shock hazard--a yellow triangle containing a lightning bolt exactly like the one in AC/DC's logo. Surely this is a more obvious source than the Bible for AC/DC's lightning bolt, given the electrical symbolism in their name and many of their album titles. As the Jesuits knew, if you teach a child your ways early, he will likely follow them for the rest of his life. But to conclude from this that Led Zeppelin is trying to influence children because there are children on the cover of their _Houses of the Holy_ album is absurd. In the interest of "fair play", quotes from several artists denying any involvement with the occult were given. But these were shrugged off, including the disclaimer at the beginning of Michael Jackson's _Thriller_ video which says, in part, "this film in no way endorses belief in the occult." Michael Jackson is a devout Seventh Day Adventist, so I seriously doubt he had any more intent in promoting the occult through _Thriller_ than the creators of Caspar the Friendly Ghost. Finally, the seminar got to its most entertaining subject: backwards messages on rock albums. There are several types of messages commonly referred to as "backmasking," most of which were covered. The first is a message recorded normally, then placed on an album in reverse. The example given was from ELO's Face the Music album, which says "The music is reversible, but time is not. Turn back, turn back..." There is little doubt about the content of such messages. The second type of backwards message is where words are sung backwards, phonetically. On Black Oak Arkansas' live album _Raunch and Roll_, there is no question about what they are trying to do when the singer shouts "Natas!" The conference speaker seemed to imply that this message was unintentional, however, when he gave an example of a song by Christian Death. The words are sung backwards (as seen on the lyrics sheet), but pronounced in reverse letter-by-letter rather than phonetically. He seemed surprised that this resulted in nonsense when reversed. The third type of backwards message is where a perfectly ordinary record album is played in reverse to produce gibberish and creative imaginations supply the translations for supposed messages. According to the speaker, this must occur in one of three ways. Either they are intentional, accidental, or spiritual. They can't be intentional, because creating such a message is unimaginably complex. They can't be accidental, otherwise we would hear messages saying such things as "God is love" or "the elephant is on the back burner" as often as we hear messages about Satan. Therefore, the messages must be spiritual (i.e., Satan caused them to occur). This completely ignores what has already been well-established as the source of these messages. Someone person plays his records backwards, listening for evil messages, and hears something that sounds like the word "Satan". He then tells his friends to listen for the message, and plays it for them. Since they have been told what to hear, their mind fills in the difference between the noises on the album and the alleged message. This explanation was mentioned, but was dismissed out of hand because, the speaker claimed, the backwards messages are as clear as most rock lyrics are forwards. He played the first message, in Queen's "Another One Bites the Dust", without telling the audience what to hear. I heard no message, but he told us that we clearly heard "start to smoke marijuana". When the tape was played again, I could hear it. The rest of the messages of this type played at the seminar were accompanied by text on the movie screen telling the audience what to listen for. I closed my eyes to ignore the hints, and was unable to hear anything but gibberish. The same method was used and the same results obtained by several other audience members I questioned after the presentation. In addition, an anti-rock program aired a few years ago on the Trinity Broadcasting Network stated that there were several messages on Led Zeppelin's "Stairway to Heaven", including "here's to my sweet Satan" and "there is power in Satan". The rock conference, on the other hand, combined these two into one large message which began "my sweet Satan" and ended "whose power is in Satan". Having heard the TBN version first, those were what I heard when they were played at the conference. If the words "there is" can be mistaken for "whose", isn't it possible that the same is true for the rest of these messages? Even the transcriber of the backwards messages had problems coming up with words to fit the message. The slide for Rush's live version of "Anthem" played backwards read: Oh, Satan, you--you are the one who is shining, walls of Satan, walls of (sacrifice?) I know. As any ventriloquist knows, many sounds can be mistaken for many other sounds. An m for an n, a t for a d, a c, a z, or a th for an s. Given that the most frequent letters in the English language are ETAOINSHRDLU, it is no surprise that something sounding like "Satan" is quite common. With enough effort, evil symbolism and backwards messages can be found anywhere. Try visiting a record store and finding satanic symbols on Christian album covers, or listening to some Christian albums backwards. I'm sure much can be found with little difficulty. It is true that most rock is not Christian. It is even true that much of it conflicts with the Christian faith in some way. But to bury these points in a mire of fuzzy logic and fanaticism by engaging in a witch hunt is counter-productive. Before the conference, I commented to a friend that if "Stairway to Heaven" was played backwards, the presenters would have destroyed any credibility they had. That, unfortunately, was the case. Jim (Lippard at MIT-MULTICS.ARPA) [][][][][][][][][][] Return-Path: <umcp-cs!jhunix!jhunix!ins_aset> Date: Wed, 5 Feb 86 12:23:12 EST From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV> Subject: whitney WHO is Whitney Houston? Gee, Doug, don't you follow Top 40 Radio? Whitney is the voice behind "pop hits" like "You Give Good Love" (a soggy ballad). I believe this was a Billboard #1 hit (altho from what I've heard about the reliability of Billboard rankings, this may not mean much). Her debut album sold about a zillion copies. In her new video, she is dressed sort of like Madonna, only she's black. My favorite Top 40 song is Billy Ocean's "When The Going Gets Tough (The Tough Get Going)" because it has a great synth hook. -Sue [][][][][][][][][][] Date: Wed, 05 Feb 86 16:01 PST From: MAILMAN <MAILMAN%LADC@CISL-SERVICE-MULTICS.ARPA> References: Christian Death/rock seminar Randomness: He who spends a storm beneath a tree, takes life with a grain of TNT. [][][][][][][][][][] From: ittatc!sii!mem Date: Thu, 6 Feb 86 04:10:51 est Return-Path: <ittatc!sii!mem> Apparently-To: mit-eddie!love-hounds Shortly after the Challenger explosion, I was listening again to some Suzanne Vega (actually making a tape that I had promised and forgotten about), and heard some lyrics in a totally new context: " I am falling down the stairs .. I am thrown against the sky I am raining down in pieces I am scattering like light ... scattering like light " talk about your unintentional meanings. Anyway, my 8-year-old son gave me a true interpretation of this song-- a view from a person who is a possession that somebody doesn't take care of very well (letting it fall down the stairs, throwing it into the air until it breaks). Sigh, I'm getting too old to think by myself... -mm- [][][][][][][][][][] Date: Thu, 6 Feb 86 04:30:43 est From: nessus (Doug Alan) Subject: and if your lips which i have loved, should touch Valerie sent me a whole bunch of wonderful poems by e. e. cummings (thanks Val!) and they are really great, so I'm postinging one for you to read and be converted to an e. e. cummings fan: it may not always be so; and i say that if your lips, which i have loved, should touch another's, and your dear strong fingers clutch his heart, as mine in time not far away; if on another's face your sweet hair lay in such a silence as i know, or such great writhing words as, uttering overmuch, stand helplessly before the spirit at bay; if this should be, i say if this shoule be-- you of my heart, send me a little word; that i may go unto him, and take his hands, saying, Accept all happiness from me. Then i shall turn my face, and hear one bird sing terribly afar in the lost lands. -Doug [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@eddie.UUCP (Greg Skinner) (02/18/86)
Love-Hounds Digest Monday, February 17, 1986, 20:55
Today's Topics:
J. Lippard/MJ
Michael Jackson's religious beliefs
stuff...
Jello on MTV
[][][][][][][][][][]
From: ambar@ATHENA.MIT.EDU
Date: Thu, 6 Feb 86 09:06:48 EST
Subject: J. Lippard/MJ
Just a note: Michael Jackson is a devout Jehovah's Witness, NOT
a Seventh-Day Adventist! (Definitely not the same thing, nor even
close--)
Jean
[][][][][][][][][][]
Date: Thu, 6 Feb 86 14:13 MST
From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA>
Subject: Michael Jackson's religious beliefs
Reply-To: Lippard@MIT-MULTICS.ARPA
Oh well. Thanks for the correction. I can't remember for sure, but I
think I got that piece of misinformation out of the newspaper--the
Arizona Republic, which is not exactly the paragon of accuracy.
Jim (Lippard at MIT-MULTICS.ARPA)
[][][][][][][][][][]
Date: Thu, 6 Feb 86 18:43:18 EST
From: hsut@ec.purdue.edu (Tsun-Yuk Hsu)
Subject: stuff...
Re: desert island cassettes
Hey hofmann, no fair using C90 cassettes! This way I could have
squeezed all my "2nd 10" selections in too. Well, I guess since I got
to name my 2nd 10, and Tim included lots of multiple album sets, makes
it even :-)...
Where can I find Bill Lazur's stuff? Is he in that Rough Trade
catalog that I should be getting in the mail any day now??
Thanks to Doug for forwarding my Art Zoyd request. Since I didn't
get any responses to my Univers Zero and However requests, I assume
the two albums I'll review will not be old hat to everybody:
HOWEVER SUDDEN DUSK
However is on the Random Radar label, which I have never heard of
before this. They included a little brochure with the album. Fred Frith
does some stuff for them, so they're probably cool... :-)
Anyway, However plays acoustically flavored chamber music/rock,
almost like Birdsongs of the Mesozoic. 3 or 4 of the 10 tracks have
lyrics. The songs are the strong points, since the band seems more
focussed with lyrics to work from. Most songs are fast, zany and clever,
kind of like free jazz and Captain Beefheart. The instrumentals have some
nice sounds, but tend to wander and the bad parts have a dangerous
tendency to resemble the worst of Wyndham Hill/New Age things. (This is
NOT a slight of WH in general, please note!)
UNIVERS ZERO HERESIE
Imagine the world disintegrating around you. The heat death of the
universe approaches. On a barren windswept desert plain, a group of
musicians play a quiet music of death and decay. This is Univers Zero...
Purple prose aside, Univers Zero plays relatively lowkey, rock
and jazz influenced modern chamber music. If you're into comparisons,
they sound like a mixture of Arnold Schoenberg, Joy Division and Chrome,
without a dominant beat. They play pretty depressing and dissonant music
on mostly acoustic instruments. Their sound is not very varied, so the
long pieces sound really LONGGGGGG (their tracks are timed at 12, 13
and 25 minutes!) My French is not good enough to decipher the few lyrics.
Despite all this, I feel they're still worth looking into for a unique
experience. At least they have cool band pictures...:-)
By the way, thanks to hofmann for the Plan 9 recommendation.
FRUSTRATION was a nice neo-psychedelic fix...
Bill Hsu
[][][][][][][][][][]
Date: Thu, 6 Feb 86 19:09 MST
From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA>
Subject: Jello on MTV
Reply-To: Lippard@MIT-MULTICS.ARPA
I got this off a local BBS.
Absolute message # 934
Author: HAYSI FANTAYZEE
Date: Feb 06, 1986 Time: 05:18:55 Pm
Title: Jello Biafra on MTV
We have a song, "MTV Get Off the Air." MTV is the worst thing to happen
to music since Saturday Night Fever. It's bringing back every stupid cliche',
sexism, racism. For example, word has it they wouldn't play anything by
anybody unless their skin was white until CBS threatened to yank all their
other videos off the air unless they played Michael Jackson. The Rick James
suit didn't hurt either,
I'm sure. The crux of MTV was stated by one of the guys running it in an
interview in the Sunday Chronicle-Examiner. When he was asked why there
wasn't any black music on MTV, his answer was, "We don't want to cater to
fringe groups." And the color of a person's skin determines whether or not
they are a fringe group. That kind of attitude is just the glitzy neon
version of trying to bring back the Eisenhower era.
Rock 'n' roll is a tool of the state at this point. Look what kind of
rock 'n' roll gets on the radio: "I love you, baby. Suck my dick." Or if
you're female and you want to get on the radio: "I'll love you baby. I'll
suck your dick."
Part of the line in "MTV Get Off the Air" is when the DJ says, "Don't
create, be sedate." That's what they're pushing: don't think, consume! Don't
go outside and see what our country's like. Sit inside and watch television.
They've finally figured out a way to get people to watch television
commercials 24 hours a day!
-- Jello Biafra, of the Dead Kennedys
Jim (Lippard at MIT-MULTICS.ARPA)
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (02/18/86)
Love-Hounds Digest Tuesday, February 18, 1986, 06:14 Today's Topics: Glenn Branca Entropy Jello and MTV Oh England My Leotard Re: Talk, Talk about Pretty in Pink More Dead Kennedys on compact disc! Re: Desert Island miscellanea, Left Of Center, Morgan Fairchild, etc. [][][][][][][][][][] Date: Fri, 7 Feb 86 7:32:01 EST From: Hofmann <hofmann@AMSAA.ARPA> Subject: Glenn Branca Screwed! I'm sh*tforbrains ... Bill Lazur doesn't exist - I meant to say Glen Branca - he's the dude who mentored Thurston of Sonic Youth - and his stuff is available through that NMDS catalog (the address/phone number of which was posted on the net a while back) or through ROIR ... which I'll get on this list someday ... "...your heart is like an ocean, mysterious and dark" Hofmann [][][][][][][][][][] Date: Fri, 7 Feb 86 07:57:25 est From: nessus (Doug Alan) Subject: Entropy > [Bill Hsu:] Imagine the world disintegrating around you. The heat > death of the universe approaches. On a barren windswept desert plain, > a group of musicians play a quiet music of death and decay. This is > Univers Zero... Sounds just like "Timewind" by Klaus Schulze! -Doug [][][][][][][][][][] Date: Fri, 7 Feb 86 08:19:14 est From: Tim Wicinski <wicinski@nrl-css.ARPA> Subject: Jello and MTV Hey Jim - Those Jello words came from the January's issue of Spin, with the Dead Kennedy's interview. If you that is god-like, you should read the other things he sez. tim [][][][][][][][][][] Date: Fri, 7 Feb 86 08:54:46 est From: nessus (Doug Alan) Subject: Oh England My Leotard Fu-Sheng said I should post this, so don't blame me. This song is from a British TV show called "Not The Six O'Clock News". It was sung by Pamela Stevenson, now of ex-Saturday Night Live fame. The lyrics included are only as accurate as my ears. If anyone thinks they know how "aresh aresh tomp pare hairdo" should really read, or knows what a "Cop Boutique" is, please let me know: OH ENGLAND MY LEOTARD (To be sung roughly to the tune of "Them Heavy People") ---------------------- I was into yin and yang and half of yoga Ginsing and carroway seeds and being a non-smoker My carrot quiches were better than the board's were And they were thicker than two short ones People bought my latest hits cause they like my latex tits Everyone is trying hard to get inside my leotard Went to my hairdresser to have a hairdo He asked if I him knew an aresh aresh tomp pare hairdo That's how I was introduced to Gollette, Coctau, and Marcel Brust Now whole food cookery is just a sideline La la la la la ... I went to Cairo and I read the Gnostic A corporate form of joining the original Cop-Boutique ah Cause I cuff psychosis berries And a fibonacci series Studied acupuncture and the bible Opened the windows in my mind "It's not your mind -- it's your body they're into" My business manager said He said I need an intellect like I need a Hole in the, hole in the, hole in the head Though I'm an honorary member of Mensa now I'm going to try and keep up the pretense some how Would you buy my latest hits because you like my latex tits And you're all trying hard to get inside my [...Music changes to "Violin"...] Leotard, leotard, leotard [][][][][][][][][][] Date: Friday, 7 Feb 1986 12:49:42-PST From: hall%beta.DEC@decwrl.DEC.COM Subject: Re: Talk, Talk about Pretty in Pink > Second, anyone out there follow the band Talk,Talk? They have a >new single out (off an album, I imagine) called, damn, I can't remember >the title! (Doug, you know the title?) [No, sorry... The last one I >heard was "Talk, Talk" -- Doug] But it's great! The last single that >they released which is called "Talk,talk" is also excellent. Anyone know >any history about this band? > >Sharon Badian >ihnp4!mtgzz!mtgzy!seb Sounds like you both missed (or forgot) the 1984 release by Talk Talk called _It's My Life_. The title tune is very nice, and so is "Call In the Night Boy" and "Such a Shame" and "Tomorrow Started" and "Dum Dum Girl" and....well, you get the idea. This is one of those records that I burned out in record time (pun intended?) but it's been long enough now so that I can enjoy it again. Mark Hollis is still the singer, and the band still has a keyboard dominated sound, although Robbie McIntosh does add some guitar to this album (the album that had "Talk Talk" on it, called _The Party's Over_, had no guitar). Also features my favorite percussionist, Morris Pert. Nice cover art too, done by the same guy who did _The Party's Over_, James Marsh. "Well did I tell you before when I was up Anxiety was bringing me down" --"Talk Talk" Dan [][][][][][][][][][] Date: Fri, 7 Feb 86 14:33 MST From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA> Subject: More Dead Kennedys on compact disc! Reply-To: Lippard@MIT-MULTICS.ARPA Today I bought "Plastic Surgery Disasters" and "In God We Trust, Inc." on a single CD. What else besides "Frankenchrist" is left? ("Fresh Fruit for Rotting Vegetables" has been available on CD for a while already.) Tim: Thanks for the pointer to the source of those Jello comments. I'll have to pick up a copy of that issue of Spin, if it's still available. Jim (Lippard at MIT-MULTICS.ARPA) [][][][][][][][][][] Date: Friday, 7 Feb 1986 13:17:45-PST From: hall%beta.DEC@decwrl.DEC.COM Subject: Re: Desert Island miscellanea, Left Of Center, Morgan Fairchild, etc. >Really-from: nessus (Doug Alan) > >> From: Tim Wicinski <wicinski@nrl-css.ARPA> >> >>9. Robert Fripp - Exposure >> The Best King Crimson Album. Ever. > >Yeah great album! But it's nothing like King Crimson. And Daryl Hall >(oh boy!!!) co-wrote and sings on several of the song -- can you dig it? I wouldn't slag off Daryl Hall (no relation) so quickly. Sure most of his stuff with Oates is pure pap for modern morons, but the tunes he sings on on _Exposure_ (You Burn Me Up I'm a Cigarette, North Star, Chicago <--(does he sing this one?)) are first rate. His solo album _Sacred Songs_, produced by and featuring Fripp, also has great stuff on it, like "The Farther Away I Am", "Why Was It So Easy", "Babs and Babs" and "NYCNY" (the transition from the tranquil "Urban Landscape", a nice little piece of Frippertronics, to the frenetic "NYCNY" is great for getting people to jump out of their chairs). "At least I know what's happening and I know where I stand." --Babs and Babs Dan [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (02/21/86)
Love-Hounds Digest Thursday, February 20, 1986, 18:57
Today's Topics:
Husker Du is happening !!
[][][][][][][][][][]
Date: Mon, 10 Feb 86 03:38:05 est
From: Tim Wicinski <wicinski@nrl-css.ARPA>
Subject: Husker Du is happening !!
Just got ack from the Washington Edition of Minneapolis Music./
Soul Asylum were great, and according to hofmann, they had there Blue
Cheer imitation down pat. Highlights: Cover of a Neil Young song (from uma),
an Aerosmith song from Get Your Wings, and"Play that Funky music White
Boys" by I forget now.
Husker Du was everything Big Rock stars should be plus some. They showed
what they and why there trendy now. The 2nd encore, 15 + minutes of
"Reoccurring Dreams" plus whatever other noise they made was awesome.
The next Jerry Garcia was what I was told.
So, If these mashers from Minneapolis come to your town, check these
dudes out.
tim
ps - ZZ Top is coming to the Capital Center soon. Another rumor from
someone at the Capital Center (I hear these cause I buy lots of Hockey
tickets) is that the next Stones Tour is going to be starting up again.
Time for real trendy geeks to get together and spend 30.00 + dollars
a ticket.
Uber alles
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (02/21/86)
Love-Hounds Digest Friday, February 21, 1986, 10:00
Today's Topics:
Uzi and John Cale at The Rat in Boston on 1 Feb 86
"Play that funky music"
KB 12-inches (2 msgs)
Dead Kennedys lyrics
Maryland strikes again
lock wicinski up !! he's going mad !
[][][][][][][][][][]
Date: Mon, 10 Feb 86 09:10:31 est
From: nessus (Doug Alan)
Subject: Uzi and John Cale at The Rat in Boston on 1 Feb 86
You are lying in a trench -- a soldier in the Psychic Wars. Bursts of
automatic weapons fire defines the rhythm of your existence. Next to
you a woman dying of emotional wounds chants... moans a healing mantra
"The sun is black to me... The sun is black to me..." Is there
anything you can do to help? You hear strange noises in the distance.
The sounds of heavy machinery and strange backwords things. You don't
want to know what they are. The psychic weapons are starting to wear on
you. You are suspended in time. Your mind drifts back.... back....
back to a time when the world was just as crazy, but not as obviouly so.
You were watching a band called Uzi...
You had gone to the Rat in Boston to see John Cale, driving in a snow
storm -- laughing in death's face. You slithered on into The Rat,
shedding your Mighty Mac tertiary skin and hiding it in some hopefully
overlooked cranny. Then you were assaulted with Uzi. You no longer
laughed. The four member band created a dense musical cloud of
psychedelic gloom. The lead guitarist crunched and swirled -- his feet
pounding over an array of 12 or 13 effects boxes nearly as fast as his
hands pounded over the strings. The drums are a fire squad of automatic
rifles, and power chords blast from the bass guitar. The singer chants
words of pain. Her voice is nothing special, but it is quite
appropriate. She also plays guitar, to add another piece to the sonic
attack. On tape, strange sounds add an eerie background texture.
The croud is fascinated, but is too drained to ask for an encore. The
most urgent thought in your mind as they leave the stage is "Why don't
they have an album out???"
John Cale appears after a while, bearing little resemblance to a
revolutionary 60's acid rock hero. Here is a middle-aged
avant-traditional songster. The Rat is now packed like a packed rat.
The audience is dedicated and enthusiastic. He sings with only his own
guitar playing or piano playing to accompany him. The guitar is
acoustic with an electric pick-up and the piano is a Yamaha electric
grand -- the kind that Roger Miller plays. He can't match the sonic
assualt of Uzi, but there is a depth of sincerity to his songs that
makes all other considerations vanish. After each song that goes over
really well, he stands up and takes a cute little British bow. Women
are swooning right and left.
The first set is perfection. You hear the most stirring version
possible of "Heartbreak Hotel" and much other heartrending music. The
second set isn't as good. At times, Cale falls into a pattern in his
piano playing that is annoying -- continously playing the chords with
his right hand in a steady metronome beat. When he breaks from this
cliche, however, the music is once again stirring and inspirational.
When he is done you trudge back to your car through the cold snow with
a fresh beer stain on your tertiary skin and a warm feeling in your
heart.
Unfortunately, you are shocked back to the present as a neuron bomb
explodes overhead. Jagged light pentrates your soul, and as your
nervous system dissolves, inevitable mortality becomes apparent. You
hallucinate a lifetime's worth of torture: reality. The wounds are on
the inside.
-Doug
[][][][][][][][][][]
From: ambar@ATHENA.MIT.EDU
Date: Mon, 10 Feb 86 12:06:06 EST
Subject: "Play that funky music"
by Wild Cherry.
Jean "Trivia that should be forgotten" Diaz
[][][][][][][][][][]
Date: Sat, 08 Feb 86 16:07 PST
From: ROBB LEATHERWOOD <ROBB-LEATHERWOOD%LADC@CISL-SERVICE-MULTICS.ARPA>
Subject: KB 12-inches
Randomness: Some men are discovered; others are found out.
Does the 12" of Running Up That Hill have a re-mix of RUTH or just the
album version? ALso, is the re-mix any good? I really don't like the
"Organon Re-Mix" from the 12" of Cloudbusting, or, rather, I like it, but
not nearly as much as the album version. Anyway, if there's not a decent
re-mix of RUTH or a third song, I'm just going to buy the single to get
"Under the Ivy."
Later,
-Shoo
(Robb L. Leatherwood)
-Shoo
[][][][][][][][][][]
Date: Mon, 10 Feb 86 16:01:31 est
From: nessus (Doug Alan)
Subject: Re: KB 12-inches
> Does the 12" of Running Up That Hill have a re-mix of RUTH or just the
> album version?
The 12" has a re-mix and an instru-mental version.
> ALso, is the re-mix any good?
Yeah, it's nice.
> I really don't like the "Organon Re-Mix" from the 12" of Cloudbusting,
> or, rather, I like it, but not nearly as much as the album version.
I actually like the Organon Re-Mix better, but if I had to only have
one, would take the album version.
> Anyway, if there's not a decent re-mix of RUTH or a third song, I'm
> just going to buy the single to get "Under the Ivy."
The 12" is worth it just for the difference in fidelity. 7" records
sound pretty awful in general.
"It woudn't take me long
To tell you how to find it"
Doug
P.S. What really pisses me off is that there was a 12 inch for "Sat In
Your Lap", but EMI decided at the last moment not to release it.
Oooohhhhh! Kate has one. I wonder if she's into trading....
[][][][][][][][][][]
Date: Mon, 10 Feb 86 20:25 MST
From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA>
Subject: Dead Kennedys lyrics
Reply-To: Lippard@MIT-MULTICS.ARPA
Does anyone have the lyrics sheets for either or both of the In God We
Trust EP and the Plastic Surgery Disasters LP? The CD didn't come with
them. If somebody who has them would be willing to copy them and mail
them to me (I'll send a SASE if you want), I'd appreciate it.
Jim (Lippard at MIT-MULTICS.ARPA)
[][][][][][][][][][]
Date: Mon, 10 Feb 86 23:06:09 est
From: Tim Wicinski <wicinski@nrl-css.ARPA>
Subject: Maryland strikes again
This state called Maryland (you know the one with the commercial "Ohhh,
the state I'm in". I always thought it was the state of mind of the
scantily clad wench singing the song, but forget it) is trying to amend
an already existing law that would outlaw the sales of all obscene
records and tapes to minors. This article is from Saturday, Feb. 8
Washington Post. My comments are in [].
X-RATED-LYRICS BILL ON MARYLAND SLATE
Measure Would Outlaw Sales to Minors
Richard Harrington, Washington Post Staff Geek [actually okay dude,
always trys to push the Hardcore shows, recommneded Descendent, etc]
The Maryland state legislature is considering a bill that would make it a
crime, punishable by a fine or jail term, to sell records, tapes, or
laser discs with state-determined obscenity values to anyone under 18.
[This is like the Film censor gone mad.]
The bill would force retailers to segregates materials along the lines
of X-rated videocasettes or explicit magazines. Young consumers would need
identification to buy such material. Under the measures, introduced in
the Maryland Assembly's Judicary Committee by state Del. Judith Toth
(D-Montgomery) [picture also. Looks like she's been visited by some
kind of hofmann in the dead of night who was chanting "anal vapors, anal
vapors."] in early January, first time penalities would be a maximum $1,000
fine or a year in jail, while repeat offenses could bring $5,00 fines
and three years in jail.
If the bill passes before the Maryland legistature adjourns on April 7,
it will be the first such state law in the nation. [wow, darned trensetters]
Toth says that House Bill 111 [should be 666] simply amends Maryland's
existing codes prohibiting the sale of pornographic materials
to minors.
[...blah..]
The rest says no one should up to testify at the hearings, The record
chains said they were never notified and called it "a repulsive concept."
Wow, heavy duty. Also the article says this Toth wanker gets all her
materials from, guess who ?? that's right, the PRMC. Now you know where
she's coming from.
What I want to know is how are they going to decide what's obscene
and what's not ?? Will Prince's "Erotic City" or Sheena Easton's "Sugar
Walls" be labeled obscene, even though these songs were HITS. Now,
maybe the Mentors might just be banned all together, but I have a
felling (I don't know why, I just do) that's this will be very biased.
This is what the PRMC wants !! They want to put some panel to rate
records just like the Maryland Censor board used to rate and censor
films.
tim
[][][][][][][][][][]
Date: Mon, 10 Feb 86 22:17:46 est
From: Tim Wicinski <wicinski@nrl-css.arpa>
Subject: lock wicinski up !! he's going mad !
I just heard the all-new version of "Pretty in Pink" and I think it stinks!
How low can the Psychedelic Furs be to let some movie people talk them
into readoing an already great song into something that sounds more
'punkier'. (First explain what this means to me). I was completely
disapointed.
Also heard "Left of Center" with Suzanne Vega and Joe Jackson. Hmmmm.
so-so. It wasn't that BAD. It was quite suzanne actually.
10,00 Manic Depressives: There's this guy I work with from Jamestown NY,
the reputed home of this band. He asked me last week if I heard about them,
he wanted my opionin on them. I had none. He summed his opionin up on the
band like this (Hoffman, this sounds like you): "I knew most of the band
members since we all went to the same .
ee cummings: Doug, didn't you ever take English Lit classes at school ??
or does MIT can't afford English Lit ?? That's one of the advantages of
having English maors as roomates: Not only do you have lots of cool books
to read, they also take great classes. Myslef, I'll take Shelley, Keats,
or Byron. Not sure why though.
Fripp: I read this interview with Mr. Fripp, and he said he quite enjoyed
making the Daryll Hall album "Sacred Songs", as well as that one Roches
album. He said "Daryll's album went much smoother and was finished much
quicker than we ever imagined. Unlike the King Crimson days, everyone
put their egos aside for awhile and did some really fine work." I think
Fripp hates to have people second-guess him is what he's saying. I
do like "Sacred Songs", good stuff. And I enjoy Exposure too. I still
think it's the best Crimson album. Prove me wrong.
Butthole Surfers come to town in a few weeks. I'll go if I got the buckage.
tim
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (02/22/86)
Love-Hounds Digest Friday, February 21, 1986, 16:13
Today's Topics:
ramblings...
KB on Night Flight again
[][][][][][][][][][]
Date: Tue, 11 Feb 86 12:07:08 EST
From: hsut@ec.purdue.edu (Tsun-Yuk Hsu)
Subject: ramblings...
A brief respite from moving out of the office, hacking and applying to
grad schools (blecch)...
I guess I'll take back some of the nasty things I've said about Spin.
This issue they have a Robyn Hitchcock interview; any rag with a Robyn
Hitchcock interview can't be all bad. Only three pages tho, and that's
with humongous photos of Robyn. I wanted something resembling the
multi-page ramblings of Sting and Pete Townsend (also in this ish),
but I guess Robyn Hitchcock is not really a *STAR* yet. Maybe he'll
sell more records after this exposure.
Brazil came to town last weekend, just when I had given up on any good
new movies coming here. It's like Orwell's 1984 on drugs, one of the
most interesting movies I've seen since Liquid Sky. If either Brazil
or Liquid Sky come into your area, see them AT ALL COSTS!!
Sounds like Tim's really into the romantic poets. I enjoy some Keats,
but I have a low tolerance for romantic verse. I guess that's the price
I pay for being brought up :-) :-) on modern stuff like T.S. Elliot.
Anyone into Marilyn Hacker? She was married to science fiction writer
Samuel Delany and writes brilliant, spare poetry that's alternately
inspiring and painful to read. Definitely worth checking into if you're
into 20th century verse.
Bill Hsu
[][][][][][][][][][]
Return-Path: <umcp-cs!jhunix!jhunix!ins_aset>
Date: Mon, 10 Feb 86 16:21:28 EST
From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV>
Subject: KB on Night Flight again
>From the current issue of "CMJ NEW MUSIC REPORT" --
On tap for February 22 at 1:00 AM is an interview with Kate Bush...
(on the USA Network's Night Flight program.)
Also, "HoL" made it to #18 on the CMJ Radio Top 100 of 1985, and #18 on the
College Radio Top 100. CMJ readers voted "HoL" the #9 album of the year
(R.E.M.'s "Fables of the Reconstruction" topped the list); KB was voted the
#1 female vocalist too. For those of you who missed (or forgot) my earlier
posting on CMJ, that's short for College Media Journal, and it compiles
charts from college stations all over the country. It's a pretty boring
read unless you're really into charts, and I mean LOTS of 'em! A sample--
here are the top ten college albums for this week.
1. Hoodoo Gurus "Mars Needs Guitars"
2. The Cult "Love"
3. Alarm "Strength"
4. Replacements "Tim"
5. Long Ryders "State of our Union"
6. Echo and the Bunnymen "Bring On The Dancing Horses" 12"
7. Minutemen "Three Way Tie For Last"
8. Golden Palominos "Visions of Excess"
9. Blow Monkeys EP
10. INXS "Listen Like Thieves"
A pretty dull roster, if you ask me. Only one of the above would count as
one of my big faves.
sue
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (02/22/86)
Love-Hounds Digest Saturday, February 22, 1986, 11:04
Today's Topics:
time for hofmann to ramble ...
kb on tv gb, desert island disks, NTNON, backwards messages
kate makes it to ET ! (2 msgs)
Desert Island Ten
[][][][][][][][][][]
Date: Wed, 12 Feb 86 09:13:00 est
From: Tim Wicinski <wicinski@nrl-css.ARPA>
Subject: kate makes it to ET !
last nite, while flipping thru the tv channels looking for anything of
value, I caught the end of Entertainment tonight. Ever-so-perky Mary Hart
was babbling, then she said: (Let me try this from memory)
"Last Nite at the British Music Awards held in London, England's newest
POP star Kate Bush performed her new single "Hounds of Love". And here's
a clip from that show...."
then they showed about a minute of Kate on stage Lip-Synching HoL on ET
while the credits rolled by. You could tell it was Lip-Synch cause
at the end she was dancing with this man and she was being twirled around
and I know she couldn't be singing then. The band had two chello
players, along with a synth player. That's all I saw since they mostly
showed Kate for the whole minute + of PTK (Prime Time Kate).
You missed it Doug !! How could you ???
tim
[][][][][][][][][][]
Date: Wed, 12 Feb 86 9:09:49 EST
From: Hofmann <hofmann@AMSAA.ARPA>
Subject: time for hofmann to ramble ...
first off, at the husker du concert - they did do a 15 minute
encore of reoccuring dreams (though it was pretty remote from
the lp version) - I was bored and left - did they finally do
hate paper doll and divide and conquer as I was waiting for that?
Tim? Jim cracked his kneecap at that show, so I guess there won't
be too much dancing for me in awhile ...
--------
Just when I thought I hated videos I saw this really cool one
between acts at the 9:30 - it's entitled "tainted love" by coil
and is a cover of that soft cell top 40 hit of a while back ...
coil does it r--e--a--l s--l--o--w and the video isn't nuthin to
laugh about ...
---------
I saw H.R. (former bad brainster) down in baltimore on saturday.
he has an album out on his own label, olive tree. If you see him
in town, I would say go see. H.R. has one of the finest set of
vocal chords in the dc area - he can really belt them out. The
set ranged from some bad brains oldies, funky stuff, go-go tunes,
a little reggae and rock and finally some slow, r&bish jazz. Don't
write this guy off just because he left the brains ... his band
features two members from Outrage, that hot go-go band from d.c.
--------
well, enough said
[][][][][][][][][][]
From: COBLEY A (on DUNDEE DEC-10) <A.Cobley%dundee.ac.uk@cs.ucl.ac.uk>
Date: Wednesday, 12-Feb-86 14:02:47-GMT
Subject: kb on tv gb, desert island disks, NTNON, backwards messages
--------
first kate on British tv.
monday night saw the annual british music industry awards on the bbc 1 channel
, Kate got three nominations, best video, best single, and best female singer
BUT she didn't win any of them, (i'm not surprissed, shes much too independant
for this sort of award) For a concilation prise she did get to ding the
new single HOUNDS OF LOVE so at least that should boost the sales.
sorry I dont have this on video as i was away on a course watching in a hotel
room
SECOND
desert island disks.
on the way to said course i had the misfortune to sit on a train for
seven hours which in England is much the same as a desert island,
here's what i listened to ( which since my tastes change would be different
in six months time. sorry some are older than 1977 but what the hell no one
else would vote for them so i'll have to)
1: HAWKWIND CRONICLES OF THE BLACK SWORD.
I listened to this so that i could listen to the other side of the
tape with out fast forwarding and running down the bateries (sp)
which was
2: SHOCK TREATMENT the ssound track.
From the film by Richard O'BRIEN just the songs
this put me in the mood for
3: THE ROCKY HORROR PICTURE SHOW AUDIENCE PARTICI -- PATION ALBUM
great fun whatching people trying to work out what you are
listening to.
then some trendy bastard got on and sat down next to me so i
listened to the next two really loud.
4: HAWKWIND QUARK STRANGNESS AND CHARM
5: HAWKWIND WARRIOR ON THE EDGE OF TIME.
time to slow down (the trendy had gone)
6: KATE BUSH HOUNDS OF LOVE.
best album of this year and last and last (and so on till you get
to the year that rocky horror or hawkwinds space ritual where
released)
time to liven it up as we reach jouneys end.
7: INNER CITY UNIT THE PRESIDENTS TAPES.
wonderfull rock and roll almost rockerbilly.
then that was it.
THIRD
doug the title of the show was NOT THE NINE OCLOCK NEWS
not not the six oclock news.(it was shown at nine oclock
so as to coincide was the nine oclock news).The named track
may be available on a bbc record called HEDGEHOG SANDWHICH.
FORTH
thinks: re backwards messages
Why not look for good (or christian ) messages in music, lets see
if we can come up with any in really heavy music that will show
the christain bregade that it is just subbjective.(of course if we cant
find any then we will have to conclude that the devil did put the
messages there wont we ???)
love and peace
andy
cobley%dundee.micro%dundee@ucl-cs
--------
[][][][][][][][][][]
Date: Wed, 12 Feb 86 10:09:50 EST
From: Laura Frank Clifford <lcliffor@bbnccm.ARPA>
Subject: Re: kate makes it to ET !
The British Music Awards will be shown on V66 this Friday at 8.
Laura
[][][][][][][][][][]
Posted-Date: 12 Feb 86 09:00:29 PST (Wed)
Subject: Desert Island Ten
Date: 12 Feb 86 09:00:29 PST (Wed)
From: tsung@aero
Well, just to show that not everyone was into punk/progressive music since
day one, here are some of my favorite post-77 releases. Heck, 1977 was the
year I STARTED listening to western music! Just because some of them became
massive commercial successes doesn't mean their quality was sacrificed in
anyway, I feel.
(What do you mean, the deadline has passed?)
1 & 2. Kate Bush, Hounds of Love & The Dreaming
3. David Bowie, Scary Monsters and Super Creeps
4. Pink Floyd, The Wall
5. Pretenders
6. Fleetwood Mac, Tusk
7. Lindsay Buckingham, Law & Order
(one of the most overlooked pop gems)
8. Kyung Wha Chung, Tchaikovsky & Mendelssohn Violin Concertos, Dutoit
(two of the best performances on the same disc!)
9. The Best of Liona Boyd
11. Leinsdorf, Prokofiev: Excerpts from the Ballet, Romeo & Juliet
(Sheffield Lab)
12. Pollini, Chopin Etudes
10. I'll find some post-77 release of Chopin's Nocturnes right before I get
on the trip that'll strand me on a desert island.
"The number of thy counting shall be
three, not two, not four"
Fu-Sheng
p.s. Some of you morally untainted :-) David Byrne fans may miss his interview
(actually "20 Questions") in the March issue of Playboy. Nothing outrageous,
but worth reading.
[][][][][][][][][][]
Return-Path: <genrad!decvax!linus!uw-beaver!entropy!fetrow>
Date: Tue, 11 Feb 86 23:43:12 PST
From: David Fetrow <genrad!decvax!linus!uw-beaver!entropy!fetrow>
Posted-Date: Tue, 11 Feb 86 23:43:12 PST
> "Not the Six O'Clock News"
Strange, when I was there it was "Not the Nine O'Clock News". That's why
the British lost the empire: always three hours behind.....(except in
music of course).
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (02/24/86)
Love-Hounds Digest Monday, February 24, 1986, 05:50
Today's Topics:
Screwed up stickers...
I'm no longer one of the idle masses
[][][][][][][][][][]
Date: Thu, 13 Feb 86 15:23:48 EST
From: hsut@ec.purdue.edu (Tsun-Yuk Hsu)
Subject: Screwed up stickers...
So there's a copy of RUTH with "Tarzan Boy" on the other side? Is
it worth money :-)?
My most screwed-up album is Chrome's Raining Milk, tho it's screwed
in a different way. First there's the not-unusual error: side one and side
two have their stickers switched. Of course with Chrome, you can't
understand the lyrics anyway, so it's kind of hard to tell before the
4th or 5th hearing :-). Also, some of the song titles on the stickers
don't agree with the titles on the album cover. One song is listed as
both "Legende de Fantom Futur" and something like "Sentence du Legende
Futur" (ugh, excuse my hopeless memory and minimal French).
Mistakes aside, Chrome has some great depressing music and impressive
song titles. There are two songs with the placename (?) Gehenna in them.
Anyone can point me to a reference? I assume it's biblical, since one
of the songs is "Gehenna and Canaan". And of course, Chrome had the bad
taste to do a song called "Anorexic Sacrifice", supposedly on Karen
Carpenter.
Bill Hsu
[][][][][][][][][][]
Date: Fri, 14 Feb 86 00:35:56 est
From: nessus (Doug Alan)
Subject: I'm no longer one of the idle masses
Your ill lust rust mailing list maintainer has finally been hired for
the job that he was promised six months ago. So now instead of sitting
around, sleeping, vegetating, flaming on the net, and watching my bank
balance shrink, I have to become a responsible member of society. I
don't know if I'll have as much time to post lots of ridiculous stuff,
but hopefully I'll be able to maintain the mailing list adequately.
On the positive side, I now have my very own MicroVax workstation. What
should I name it? How about NEVER-FOR-EVER.MIT.EDU? Or maybe
DREAMTIME.MIT.EDU? Or maybe THE-DREAMING.MIT.EDU? (There are a bunch
of machines at MIT named after dead rock stars. I don't want to tempt
fate by naming it KATE-BUSH.MIT.EDU...)
"Welcome, my son
Welcome to the machine"
Doug
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (02/26/86)
Love-Hounds Digest Tuesday, February 25, 1986, 17:27
Today's Topics:
Re: Love-Hounds Digest (2 msgs)
Re: The Victims && Young Marble Giants
Trivia
Kiss ...
A quasi-Greg Earle anti-critic flame :-)
((((((((((((($$$)))))))))))))))
Music!
[][][][][][][][][][]
Date: 18 Feb 1986 18:51-PST
Sender: CDONALDSON@USC-ISIF.ARPA
Subject: Re: Love-Hounds Digest
From: CDONALDSON@USC-ISIF.ARPA
For the curious, what follows is the results of the Village Voice Annual
Pazz and Jop Critics Poll.
**Albums**
1. Talking Heads: Little Creatures 1078(99)
2. The Replacements: Tim 865(82)
3. John Cougar Mellancamp: Scarecrow 637(53)
4. Tom Waits: Rain Dogs 607(59)
5. Artists United Against Apartheid: Sun City 569(43)
6. Husker Du: Flip Your Wig 535(51)
7. R.E.M.: Rables of the Reconstruction 526(52)
8. Husker Du: New Day Rising 457(43)
9. Aretha Franklin: Who's Zooming Who? 407(41)
10.John Fogerty: Centerfield 392(37)
11.Sam Cooke: Live at the Harlem Sqare Club 391(34)
12.The Velevet Underground: VU 370(31)
13.Richard Thompson:Across a Crowded 321(13)
14.Sade: Diamond Life 283(30)
15.Go Go Crankin' 264(29)
16.Bob Dylan: Biograph 263(22)
17.Lost in the Stars: The Music of Kurt Well 252(22)
18.Kate Bush: Hounds of Love 236(24)
19.The Blasters: Hard Line 235(25)
20.Dire Straits: Brothers In Arms 223(23)
21.Sting: The Dream of the Blue Turtles 223(22)
22.Jason and the Scorchers: Lost and Found 212(23)
23.Meat Puppets: Up the Sun 186(20)
24.Lone Justice:Lone Justice 186(17)
25.The Jesus and Mary Chain: Psychocandy 175(15)
26.The Mekons: Fear and Whiskey 168(16)
27.The Golden Palominos: Visions of Excess 165(16)
28.Prefab Sprout: Two Wheels Good 162(17)
29.Don Henly: Building the Perfect Beat 161(13)
30.Luther Vandross: The Night I Fell in Love 161(14)
31.Bryan Ferry: Boys and Girls 154(15)
32.Run-D.M.C. 151(15)
33.Robyn Hitchcock and the Egyptians: Fegmania 150(18)
34.Ruben Blades y Seis del Solar: Escenas 149(15)
35.Marshall Crenshaw: Downtown 148(16)
36.Professor Longhair: Rock'n'Roll Gumbo 134(13)
37.L.L. Cool J: Radio 132(12)
38.Marti Jones: Unsophisticated Time 131(15)
39.Suzanne Vega: Suzanne Vega 130(14)
40 The Minutemen: 3-Way Tie (for Last) 130(11)
This poll compiles ballots from 238 critics, each of whom
divided 100 points among 10 1985 LPs. Maximum points per album: 30.
Minimum 5. Points determined placements, with the total mentions
(indicated in parentheses) used to break ties.
... inter alia, "Running Up That Hill" placed 10th in the
singles poll where "Sun City" was voted number one.
Gerry
Additional Queries
Doug, what is KB's current hair style? Is it similar to the picture
on the imported 12'' "Cloudbusting" single? Apparently she is sporting
a rather short haircut these days.
Jordan, being that you are residing in the Bay Area, can you relate the recent
history ( or the past demise) of The Victims, a band whose single
"100% White Girl" amused me a few years back.
Anyone:
What has become of the Young Marble Giants? I have in my possession
"Colossal Youth" on Rough Trade records. What else did they record?
[][][][][][][][][][]
Date: Tue, 18 Feb 86 19:18:47 PST
From: jordan@ucbarpa.berkeley.edu (Jordan Hayes)
Subject: Re: The Victims && Young Marble Giants
I don't know anything about the Victims ... never heard of the
weenies ... I only have Collosal Youth as well, although I usta have
a 7"er of looking for mr right b/w cakewalking ... if anyone else
knows the whereabouts of Young Marble Giants, send it along.
cluBLAND sf style ... saw blanc MANGe the other night at wolfgangs ...
too much hairspray at that one ... haven't seen this many trendies
since FLOck of haircuts ... opening band was definitely something
to YAWN home about ... bourgeois tagg ... with two g-eeze ... the
word dick-whACK comes to mind ... copacabana gone to its LOGICal
extREMITies ... too many dotz for me ... why do i even try ...?
/jordan
[][][][][][][][][][]
Return-Path: <earle@gorbag>
Date: Tue, 18 Feb 86 17:01:19 pst
From: ia-sun2!smeagol!gorbag!earle@csvax.caltech.edu (Greg Earle)
Subject: Trivia
Wrigley's Fun Fact:
If I'm not mistaken, the "Shel Talmy" who posted a request for
a CompuPro system (article <36@randvax.UUCP>) from Rand Corp. in Santa
Monica CA (posted to net.micro.*, net.wanted, na.forsale) is the same
"Shel Talmy" who produced the early Kinks ("You Really Got Me") and
Who ("I Can't Explain") records. I vaguely recall seeing an article
in the NME or somewhere saying he'd pissed off to California and was
now into computers ...
You can look it up.
Hey hof ...
Wrigley's Fun Fact #2:
Get an L.A.-ite to send ya a copy of the latest Scratch Magazine
(chronicles the lifes and times of the Hollywood/Melrose Ave. Elite)
Has two not-to-be-missed features: (1) Article/Pix of SAMHAIN (would
I lie to you?), and (2) the infamous 1986 Scratch Magazine Hollywood
Pin-Up Calendar (!!!!) - features Texacala Jones (tex & The Horseheads)
as Miss October, and Pleasant Gehman (Screamin' Sirens) as Miss May.
But forget them, check out Miss(es) January and Miss February ... YOWZA!!
Greg Earle
JPL Spacecraft Data Systems group
sdcrdcf!smeagol!earle (UUCP)
ia-sun2!smeagol!earle@csvax.caltech.edu (ARPA)
[][][][][][][][][][]
From think!harvard!uwvax!astroatc!gtaylor Wed Feb 19 12:56:14 1986
Received: by EDDIE.MIT.EDU (5.31/4.7)
id AA05495; Wed, 19 Feb 86 12:56:04 EST
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id AA00592; Wed, 19 Feb 86 08:43:57 cst
Date: Wed, 19 Feb 86 08:43:57 cst
From: think!harvard!uwvax!astroatc!gtaylor (Greg Taylor)
Message-Id: <8602191443.AA00592@astroatc.UUCP>
To: harvard!think!mit-eddie!gds
Subject: Re: Love-Hounds Digest
Newsgroups: mod.music
In-Reply-To: <225@mit-eddie.UUCP>
Organization: Astronautics ATC, Madison, WI
Status: R
>If anyone thinks they know
>how "aresh aresh tomp pare hairdo" should really read, or knows what a
>"Cop Boutique" is, please let me know:
I'm surprised that a dedicated obscurantist such as yourself
could miss where "aresh" comes from.....after all, the author's
name is right there in the song! Yep, good old Marcel Brust
-oops, that's Proust. The real title is "A la Recherche du
Temps Perdu", translated in English as "The Remembrance of Things
Past." It's a 3 volume set of 7 "books" in the most elliptical
Frogspeak you can imagine whose siren charms are known to all.
It is the novelistic equivalent of very good brandy. It will
either entirely captivate your or put you right to sleep, just
like you-know-who.
Je pense, donc j'essuie,
gtaylor
[][][][][][][][][][]
Date: Sat, 15 Feb 86 15:01:00 EST
From: Hofmann <hofmann@AMSAA.ARPA>
Subject: Kiss ...
Picked up the new prince 45 yesterday entitled kisses - if you like
the erotic city minimalist funk, you might want to check it out, it's
even more minimal than that ... though you may want to wait for the
dance mix 12" ... this 45 is apparently the precursor to his next album
and includes a b-side not slated for that work...
----------------------------------
"you have arms/you have legs/you have freedom" - Robyn
hofmann
[][][][][][][][][][]
Date: Mon, 17 Feb 86 14:23:27 EST
From: hsut@ec.purdue.edu (Tsun-Yuk Hsu)
Subject: A quasi-Greg Earle anti-critic flame :-)
In last week's Village Voice you will find a misinformed and
uninformative review of a concert given by everyone's favorite synth-
eccentrics, the Residents. Just who is this Mary Passantino who wrote
the article??? It's people like her who give critics a bad name :-) :-)
(Oops, that should be Rosemary, not Mary. None of us is perfect :-)
In her cursory overview of the Residents' work (in that self-righteous
all-knowing style typical of many critics, of course), she completely
neglects what is generally considered the Residents' technical masterpiece,
the concept album ESKIMO. She also mentions in passing the infamous
album cover with Dick Clark's head on Hitler's body, and makes the
incredible blunder of attributing it to NOT AVAILABLE, when in fact
it was on the cover of THIRD REICH AND ROLL. Then Rosemary condemns the
Residents' "dinosaur antics" (her exact words) after the COMMERCIAL ALBUM,
citing as examples the Mole Trilogy, VILENESS FATS and RESIDUE. Of course
self-respecting Residents fan knows that VILENESS FATS contains music
from a video the Residents made back in the early '70s, while RESIDUE
is a compilation of leftover tracks from many albums, so these two
albums are hardly representative of recent trends in the Resident's
work. AND of course she neglects to mention the hilarious GEORGE AND
JAMES, whose freshness and zaniness would dispell any fears that the
Residents are taking themselves too seriously.
And I thought misinformation was only a symptom of the sickness
of net.music :-) :-)
Bill Hsu
[][][][][][][][][][]
Return-Path: <umcp-cs!jhunix!jhunix!ins_aset>
Date: Mon, 17 Feb 86 17:56:05 EST
From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV>
Subject: ((((((((((((($$$)))))))))))))))
Well, I logged onto my account after three days away, expecting the usual
loads of Love-Hounds messages, and was appalled at how few there were. Is
this what we can expect with Doug Alan taking on some (gasp) respectable
job? Anyway, I got a laugh out of this column in Melody Maker. But then
again, maybe I'm just strange. Hee.
SOUND-ALIKES
1. PRINCE AND PHIL COLLINS
Well, they're both tiny and we don't like either of them and...could
*you* tell the difference between "Sussudio" and "1999"? Thought not.
2. PET SHOP BOYS AND AL STEWART
We wondered what had happened to Al Stewart, former bard of the
bedsits (brit word for suburbs - st) and hey presto, he turns up as
the Pet Shop Boys. "West End Girls" is "Year Of The Cat"...but shorter.
(has anyone actually heard "West End Girls"? -st)
[It's playing out here in the Bay Area. --gregbo]
3. DAVID SYLVIAN AND BRYAN FERRY
Suave, sophisticated, cultured and...wallies the pair of them. The
only difference is that Ferry is a better dancer. (them's fightin'
words - st)
4. FINE YOUNG CANNIBALS AND AL JOLSON
It's only a matter of time. The remarkably tonsilled and preposterously
named Roland Gift is already halfway there with "Suspicious Minds." Next
single just has to be "Mamie."
5. MARILLION AND GENESIS
The old ones are still the best. Fish gets very upset if you even
*think* about Genesis in the same minute as Marillion. So just for you,
Fish baby...MARILLION SOUND LIKE GENESIS!
6. ROD STEWART AND BONNIE TYLER
They sound similar because they had their throats sandpapered at the
same voice clinic. In fact there are many theories that they are one
and the same person. Have *you* ever seen them together?
7. GREEN ON RED AND NEIL YOUNG
If it wasn't bad enough having the real thing plaguing us for most of
last year, we also had to suffer imitations by the likes of Green On Red.
Hang 'em high.
8. ROBERT SMITH AND DEPUTY DAWG
Sometimes it's just impossible to tell the difference. Mad Bob squawking
and Deputy Dawg yapping...one and the same if you ask us. But Deputy Dawg's
slimmer. (R.S. is the Cure's lead singer by the way - st)
9. JULIAN LENNON AND JOHN LENNON
If we didn't know better we'd think these two were related.
-sue
[][][][][][][][][][]
Date: Tue, 18 Feb 86 00:17 EST
From: S7YLF4%IRISHMVS.BITNET@WISCVM.WISC.EDU
Subject: Music!
Hello all,
(Apologies to digesters who hate reading "I'm new on the block"
messages, you'll have to either sit through this one or skipped
the rest of the digest...I love that feeling of power! :-)
In any case -- I'm nj, and have been getting onto ARPAnet
mailing lists like crazy lately. My music is, I'm afraid, a little
more mundane than what seems to be floating around here. To keep
it short and simple, here are (some of) my musical likes/dislikes:
Likes: Bach (the original J.S., must confess I haven't really
listened to P.D.Q.), Rush, Dire Straits, R.E.M., Talking Heads,
a little heavy metal (very little), some Alan Parsons (just heard
Stereotomy on CD), a little Peter Gabriel, some ZZ Top (depending
on my mood), a l...
Dislikes: Wham! (ugh!), Madonna (double ugh!), Prince & Boy George
& Duran Duran and all those make-up-wearing people (I know I'm
alienating quite a few people here), most heavy metal (I know I'm
alienating even more), practically all country (there go the rest
of them), in faquite a bit of Top 40 stuff (especially Bruce Springsteen;
there goes thBe whole female popoulation).., ...
In any case, I'm probably going to sit back and watch for awhile and
find out how many people hate me. Until then, adieu...
nj <s7ylf4%irishmvs.BITNET@wiscvm.wisc.EDU>
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (02/26/86)
Love-Hounds Digest Wednesday, February 26, 1986, 11:45 Today's Topics: Re: Love-Hounds Digest a nasty night Obscure cover version I'd like to see... Dreaming (not really...) Old and orphaned responses Stan Ridgeway?? (3 msgs) Rites of Spring Hair Style (2 msgs) YMG ; Spazz & Slop Funhouse Pazz & Jop Poll / Bragging British Music Industry Awards and Kate [][][][][][][][][][] Date: Thu, 20 Feb 86 06:36:05 est From: John Kitamura <floyd!clyde!watmath!utcsri!kato> Subject: Re: Love-Hounds Digest Re: Fripp, Exposure, Daryl Hall, King Crimson Although credited as co-composer, Daryl Hall isn't the vocalist on "Chicago". It is sung by the amazing Peter Hammil, of Van Der Graff Generator fame, and lately of the "K" Band. Hammil and Fripp have collaborated on several other projects (Two VDGG albums, "H to He, Who am the Only One", and "Pawn Hearts", and a couple solo Hammil albums (I think)). On exposure, Hammil also sings on "Disengage" and "I may not have had e..." Another interesting point; "Exposure" has been recently (end of last summer) re-released in Canada with a foldout cover. The tracks are listed as the same but there are noticeable differences in the songs. A different vocal track is used on "Disengage", the Frippertronics pieces are a lot longer (some by several minutes), and some of the between track conversations have been shortened. As for "Exposure" being a Crimson album, I have to agree. Most of the material was written while Crimson was still together (The Wetton/Bruford/ Cross line-up) and it sounds much more like Crimson than Fripp's later works. (But not the `new' Crimson - the Belew infested one). A postscript: For those of you who really enjoy the hard-edged material on "Exposure" and "Starless and Bible Black", and are Wayside Music corresponders, I heartily recommend the two "Bi Kyo Ran" albums that they are currently offering - a Japanese Crimson-cover band. Perhaps not the most inventive music ever recorded, but the guitarist/composer is a dead ringer for that era of Fripp. John Kitamura/ Univ of Toronto [][][][][][][][][][] Date: Wed, 19 Feb 86 8:08:22 EST From: Hofmann <hofmann@AMSAA.ARPA> Subject: a nasty night A nasty night Yep, I dreamed last night that I bought that Fine Young Cannibals LP. What a nightmare! I woke up in a cold sweat only to find out that I hadn't woke at all! Surrounding my bed were these strange, skinny creatures with upright weedstalks in their hair ranting, "We Care! We Care Alot! - we care about our video, we care bout it alot! we care about our contract and the money we have got! we care about our single and if billboard thinks its hot. We care about a Grammy and that next lid of Pot! We Care! WE CARE ALOT!!" Aggghh! With my head in hands I ran downstairs only to be confronted by more skinny people with weedstalks in their hair...they had taken over while I was sleeping! The Jesus Marry Chain, the Creeping Walls, The 10,000 Maniacs!!! And there was nothing I could do except lock myself in my basement with my ghetto blaster... Whew... I was glad when I woke up to find it was only a dream, the attack of the poser punks... I gotta quit watching those Japanese movies and David Letterman... "Ohhh, mama, can you hear that blowing?" - Tex & the Horseheads [][][][][][][][][][] Date: Wed, 19 Feb 86 10:12:47 EST From: hsut@purdue-ecn.ARPA (Bill Hsu) Subject: Obscure cover version I'd like to see... Wouldn't this be a great single to introduce the general public to alternative music: Frank Sinatra sings Dirty Old Man (The Fugs) b/w I'm an old pervert (Soft Boys) :-) Or how about Laurie Anderson and William Burroughs doing Top 40 rap like J. Geils' Centerfold or Blondie's Rapture? William Burroughs, of course, will get to do all the spoken parts :-) Bill Hsu [][][][][][][][][][] Date: Wed, 19 Feb 86 11:16:12 EST From: hsut@ec.purdue.edu (Tsun-Yuk Hsu) Subject: Dreaming (not really...) C'mon, Jim, there're worse groups to dream of than Fine Young Cannibals! (Then again, I've only heard one of their songs, so...:-) Last time I dreamt about music it was Death Valley '69 by Sonic Youth... great song, but boy, it was a bad night... Has anyone heard of a group called Bolshoi? I heard their song "Fly" on the Beggars Banquet compilation and it had some interesting things in it. Apparently they have this mini LP out called Giants. Is it any good? "Brave men run in my family" Bill Hsu [][][][][][][][][][] From: think!harvard!bu-cs!sam Date: Sat, 15 Feb 86 18:18:42 EST Subject: Old and orphaned responses > post 1977 (right Shelli??? Jesus Christ Superstar my foot (OUCH!) > thass hippy musak from the 60's or some other lame decade)... Oops, sorry...I was just being BORN in the late sixties... >> Zula: Next Year in Jerusalem >> (** The obvious alternative for Jews **) > You're not thinking of converting are you? And you really want to > brainwash the impending kids the *your* religion, don't you? Oooo...low blow, Doug! Just because not all of us are hedonistic pagans...! [Blessed be. --Doug] By the way..correction: it's Zola, not Zula. I know you'll all be rushing out to buy the album. Suzanne Vega, Left of Center: Yikes! How can you not like it, Susanne? I love it...but then again I like Madonna, so I suppose my opinion doesn't carry much weight... :-) [Well, I like it too, and I can't stand Madonna, so maybe that carries some weight. -- Doug] >> Do you ever wonder what your fellow Love-Hounders and net.music >> contributors look like? > Yeah, so I went and visited some of them. They always look totally > different than you expected. WHAT? You mean I wasn't as cute and charming as you expected???? [No, at least 52.7% more cute and charming than expected. But then liking Madonna is at least -31.8%... --Doug] Marillion: Are they the ones that do "Kayleigh"? [Yes --Doug] Great song, except for the chorus. Cute video, too. What's that other song of theirs? Other questions: I heard a song on WFNX (Boston) today that I loved, except I was in the shower and really didn't hear the DJ when he said who it was. I could've SWORN I heard the word "October". Does this ring a bell to anybody? What movie is "Left of Center" from? Question about somebody who's not really down our alley of conversation: Does Bob Dylan have a song called "Desolation Row"? And if so, what the heck IS Desolation Row referring to? If anybody wants, I can post the lyrics for somebody's wise interpretation. I really like the lyrics...I hope the song's as good. ------------ "When I first heard there were problems in the Middle East, I thought they were talking about Pittsburgh!" --Shelli [][][][][][][][][][] Return-Path: <bdmrrr!potomac!jsl> Date: Wed, 19 Feb 86 12:09:58 est From: bdmrrr!potomac!jsl@seismo.CSS.GOV (John Labovitz) Subject: Stan Ridgeway?? [This is also posted to net.music; sorry if you see it twice.] I was in my local record store the other day, and they were playing an album by a guy named Stan Ridgeway. Sort of poppish, but with strange lyrics (for some reason reminded me of a cross between Robyn Hitchcock and Tom Waits). The voice sounded a lot like the singer from Mission of Burma. Does anyone know anything about this guy? I'll probably go out and buy the album, but I'm just curious. John Labovitz ..!{rlgvax,seismo}!bdmrrr!potomac!jsl -- I've got you under my skin where the rain can't get in And if the sweat pours out, just shout, I'll try to swim and haul you out. -- The The [][][][][][][][][][] Return-Path: <bdmrrr!potomac!jsl> Date: Wed, 19 Feb 86 12:13:27 est From: bdmrrr!potomac!jsl@seismo.CSS.GOV (John Labovitz) Subject: Rites of Spring Well, in case none of you have heard, one of the best hardcore bands in the world -- Rites of Spring -- have broken up. Mike Fellows, the bassist, decided to leave (for reasons unknown). Instead of trying to find a new bassist, the three remaining members (Guy, Eddie, and the drummer (whose name I can't remember right now)) are forming a new band. I don't know if they're going to have a bassist or not. We'll see. Buy Rites of Spring's record anyway (I think it's on Fountain of Youth Records). It's really good. John Labovitz ..!{rlgvax,seismo}!bdmrrr!potomac!jsl -- I've got you under my skin where the rain can't get in And if the sweat pours out, just shout, I'll try to swim and haul you out. -- The The [][][][][][][][][][] From: Jeff Dalton <jeff%aiva.edinburgh.ac.uk@cs.ucl.ac.uk> Date: Wed, 19 Feb 86 19:14:47 GMT Subject: Hair Style Not that this provers anything, but Kate had long hair on the BMI awards show. [][][][][][][][][][] Return-Path: <earle@gorbag> Date: Wed, 19 Feb 86 11:35:05 pst From: ia-sun2!smeagol!gorbag!earle@csvax.caltech.edu (Greg Earle) Subject: YMG ; Spazz & Slop Young Marble Giants broke up a ways back (~1983, I believe?). Out of the ashes came The Gist (who had something on RT), and Weekend (Alison Stratton joined that one, I don't remember if the Moxham bros. were involved; a nagging suspicion sez yes, but Don't Quote Me On That). There was a Weekend LP on RT as well. As for now, ???? Sorry, no discography - I'm at work right now, not at home in front of the Archives. Re: Spazz and Slop Pole Yes, folks, another irrefutable piece of evidence in support of the All Music Critics Are Wankers theory ... Disclaimer: I am not now nor have I ever been a Music Critic; in any shape or form (i.e. writing for or to a periodical), unless you count posting to net.musack :@) :@) :@) "grege" [][][][][][][][][][] Return-Path: <bdmrrr!seismo!SRI-NIC.ARPA!KNIGHT> Date: Wed 19 Feb 86 14:09:47-PST From: Bob Knight <bdmrrr!seismo!SRI-NIC.ARPA!KNIGHT@seismo.CSS.GOV> Subject: Re: Stan Ridgeway?? Aaah. Stan Ridgeway, of the legendary Wall of Doo..., oops, Voodoo. Actually, I like Stan A LOT, he's real quirky, and has one hell of a sense (strange) of humor. I plan to snarf that sucker as soon as the weather clears up and all the geeks on the road get back to just being bad drivers instead of being scared homicidal maniacs... Bob ------- [][][][][][][][][][] Date: Wed, 19 Feb 86 17:31:16 EST From: nessus (Doug Alan) Subject: Re: Hair Style Kate is wearing a short-hair wig on the cover of Cloudbusting and in the Cloudbusting video. This is because she is playing the part of Peter Reich as a little boy. When I met her, she had her normal long hair, and it was quite real, I am sure. "Give me a head with hair Long beautiful hair!" Doug [][][][][][][][][][] From: genrad!decvax!utzoo!aesat!djm Date: Mon, 17 Feb 86 21:07:03 est Subject: Funhouse Since someone brought up the best record issue... "Funhouse" by Iggy Pop and the Stooges is the best record that can ever and will ever be made. I have a cassette with it on both sides so I don't have to rewind. [No, it isn't. "The Dreaming" is! The other side of my cassette is blank, so that I have time to recover. -- Doug] [][][][][][][][][][] Date: Wed, 19 Feb 86 15:48 MST From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA> Subject: Re: Stan Ridgeway?? Reply-To: Lippard@MIT-MULTICS.ARPA Stan Ridgeway used to be the singer for Wall of Voodoo, he worked on the soundtrack to the Coppola movie "Rumblefish" with Stuart Copeland of the Police. Jim (Lippard at MIT-MULTICS.ARPA) [][][][][][][][][][] was I would say). Even my close friend Pascal Languirand (aka Minos; aka TRANS-X) has traded in his noise generators, various sound modification devices and other interesting 'sounding' items for multiple layered MIDI overglorified rhythm boxes (with 127 part harmony), and an actual live performing band. What gives. Isn't anyone out there doing cosmic exploration anymore. With the current crop of multi-tracking devices (including the, gulp, midi stuff). You would think that we would have uncovered the essense of musical consciousness by now (of course I realize that we might have but Sylvester Stallone just couldn't understand it so it was forgotten). I would appreciate communicating with those overaged individuals who are interested in the music of the mind (not the echos thereof), those who maybe sometimes pull out there old Moog-10, Synthi VCS3 or AKS, EML 101,200, various sound modification devices and an old TEAC 3340A (or maybe gust an older 3340) to try to open the doors of cosmic conciousness in a way that even a Rosicruscian never thought of). Reply to ROSSI@NUSC.ARPA. Sorry, Doug, if this was the incorrect channel through which to send this message, notify me if that is the case and Ill send mail to a better address. By the way, has anyone heard from Ash RA lately (after their disco album)? John [][][][][][][][][][] Return-Path: <umcp-cs!jhunix!jhunix!ins_aset> Date: Wed, 19 Feb 86 15:47:46 EST From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV> Subject: Pazz & Jop Poll / Bragging Since the results of the Village Voice Pazz and Jop Poll were printed, I thought I'd mention that if you look at the very very very tiny miniscule print at the very end of the article, where they list all the contributors, you can see my name. It is my one claim to fame. If anyone has an enlar- ging copier, perhaps they could enlarge the list about 10x so I can put it in my clipping file. (PS - I am the rock critic for the Johns Hopkins Univ News-Letter. This should prove that anyone can participate in the Pazz and Jop Poll. Next January, be subversive and send in an entry yourself!) Hip media celebrity, Sue [][][][][][][][][][] Date: Thu, 20 Feb 86 00:51:06 EST From: nessus (Doug Alan) Subject: British Music Industry Awards and Kate I caught the British Music Industry Awards on TV last Friday. (See, I didn't miss it, Tim! "England's newest pop star"???? "England's newest pop star"??? "England's newest..."??? ...) In any case, for those who missed it, you didn't miss much. Most of it was a complete farce. The highlight of the night came when the award for "Best International Group" was presented. Among those nominated were The Talking Heads and Hewey, Dewey, Lewey, and The News. Needless to say Hewey, baby, won. And later this beautiful human being came out to give this wonderful speech about how the music industry is so competitive these days, and how this is such a wonderful thing for everyone. Sign me up on the ideology! I wanna be a record company executive now. In any kase, Kate was nominated for three awards, Best Album, Best Single, and Best Female Artist. She lost all three. Best Album was won by Fill Colon for "Faith Valueless". Best Single was won by Spears for Queers for "Everybody Wants To Rule The Whirlpool Refrigerator". And Best Female Artist was won by Annie Eunuchs. There were pseudo-live (lip-synched) performances by Fill Colon, Spears for Queers, Hewey, and Kate Bush, among others, who I've probably forgotten. It's good to see Kate thrown in among so much talent in front of 100 million viewers. Kate performed "Dogs of Lust". The lighting and the eclecticness of the band and the clothes the band members wore were quite impressive. There were Kate, two cello players (one of them Paddy), a keyboardist (Del Palmer), and three (yes, that's right -- *three*) drummers. The drummer in the middle played sampled electronic drums (he was dressed rather formally and acted very mechanical and precise, as if playing the part of a human drum machine) and the other two drummers played normal acoustic drum sets. Still, it was a bit disappointing because Kate basically just stood there and sang (or pretended to sing, rather). I've also seen live appearances for RuTH and Cloudbusting, and in neither of these did Kate do the strange dancing she is famous for. Kate's dancing and choreography ability for live appearances reached a peak after "The Dreaming". Once she appeared on the Italian equivalent of "Solid Gold" and had to perform the song "The Dreaming" on a transparent disco stage with rotating and flashing lights -- but the stunning power and quality of her bizzare dance for this song is so amazing that the video clip is a classic just for the superposition of such class and such tackiness. And the dance routine she did for live appearances of "Suspended In Gaffa" is bizzare, cute, and wonderfully charming. In videos, her dance skills reached a peak in the video for "Running Up That Hill", which is beautiful and wrenchingly poignant. But the dancing disappeared for "Cloudbusting" and in her recent live appearances. It's almost as if she's saying "I achieved my goals in dancing -- my live appearances for 'The Dreaming' and the video for RuTH are the conclusion of what I have to say in that area, and now it's time for me to go on to something different." On the other hand, maybe in her old age, she's just become more self-conscious about appearing foolish with dancing, because she's not a professional dancer, and wants to appear more in total control and be the target of less ridicule for her "poncy" dancing. She certainly appears more "impressive" and mature recently, but it this necessarily a good thing? What happened to the youthful spunk and naivity? Is this what three years can do to you? Don't grow old too quick, Kate! ("Stay young. And keep in touch.") Then again, Kate risking appearing silly by playing a little boy in the "Cloudbusting" video helps restore my faith. (Hear that Hofmann!) "Moving stranger, does it really matter? As long as you're not afraid to feel" Doug P.S. Newsflash: The U.S. 7" single for "Hounds Of Love" appeared in the record stores around here today. And the British single for "Hounds Of Love" was released on Monday. Unlike in the U.S., release dates in England are when you can actually buy the record in the stores, so better import record stores should be getting the import by Friday. The British single has a new song on it -- an a cappella cover of "The Handsome Cabin Boy". (Wasn't this done by Bert Loyd and Ewan MacColl? Or am I totally off the wall?) The 12" single will also have "Jig Of Life" on it. The U.S. single has "Burning Bridge" on it. [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (02/28/86)
Love-Hounds Digest Friday, February 28, 1986, 03:17
Today's Topics:
Song.
Stan, bud.
Yet another Pazz and Jop flame :-)
October (the band, not the month or the song)
Rites of Spring and hip media people
Re: Stan Ridgeway??
Re: Music!
Groove Decay songlist
silliness
ZAP Music
[][][][][][][][][][]
Date: Wed, 19 Feb 86 21:46 PST
From: ROBB LEATHERWOOD <ROBB-LEATHERWOOD%LADC@CISL-SERVICE-MULTICS.ARPA>
Subject: Song.
References: Old and orphaned responses [0929]
Randomness: The world is round.
PETE CONRAD, Aboard Gemini XI
This is in response to someone (Shelli?) who said that they heard a song
that they liked and they thought they heard the word "October"
Well, U2 does a song called October on their (you guessed it) October
album. It's all piano and vocal, and is rather short. The lyrics are:
October
And trees are stripped bare
Of all they wear
What do I care?
October
And kingdoms rise
And kingdoms fall
But you go on
And on...
Do those lyrics ring a bell?
Later,
-Shoo
(Robb L. Leatherwood)
[][][][][][][][][][]
Date: Wed, 19 Feb 86 21:56 PST
From: ROBB LEATHERWOOD <ROBB-LEATHERWOOD%LADC@CISL-SERVICE-MULTICS.ARPA>
Subject: Stan, bud.
References: Stan Ridgeway?? [0932]
Randomness: The door is the key.
I believe Stan Ridgeway used to be the lead singer for Wall of Voodoo.
-SHoo
[][][][][][][][][][]
Date: Thu, 20 Feb 86 09:00:05 EST
From: hsut@ec.purdue.edu (Tsun-Yuk Hsu)
Subject: Yet another Pazz and Jop flame :-)
Village Voice has really been aggravating lately. Just saw the cover
for this week's rag (haven't even read it yet): what's this about
Talking Heads winning "FINALLY"????????????????? As if it's not bad
enough that David Byrne and fellow eccentrics are becoming mega-popular
for the one Heads album that has no right to exist (read: I HATE IT, it's
unadventurous, condescending and a prettied-up rubber bone thrown to
the Top 40 masses), but almost everyone is behaving as if "Little Critters"
is FINALLY the masterpiece (puke) they should have made all along,
oh gee whiz isn't this great avant garde stuff (yes, I heard that on
a radio station here and might have attacked the car stereo, but I
was in the back seat.)
FA
*FLAME OFF*
(By the way, Doug, Byrne has always insisted on not having the "the"
in front of Talking Heads. Nobody's perfect:-)
"And you may ask yourself
My God! What have I done?"
Bill Hsu
[][][][][][][][][][]
Date: Thursday, 20 Feb 1986 07:53:12-PST
From: hall%beta.DEC@decwrl.DEC.COM (DAN HALL - DTN 264-5879 - MKO1-1/M37)
Subject: October (the band, not the month or the song)
>Really-From: think!harvard!bu-cs!sam (--Shelli)
>Other questions:
>I heard a song on WFNX (Boston) today that I loved, except I was in
>the shower and really didn't hear the DJ when he said who it was.
>I could've SWORN I heard the word "October". Does this ring a bell
>to anybody?
I heard that tune on FNX too. Yes, the band's name is October, but I
know nothing about them. Bop over to Newbury Comics and ask someone
there - they're bound to know.
Dan
"Radi-i-o-i-o-i-o-i-o"
[][][][][][][][][][]
Date: Thu, 20 Feb 86 11:24:51 EST
From: Hofmann <hofmann@AMSAA.ARPA>
Subject: Rites of Spring and hip media people
Rites of Spring album is on Dischord rather than Fountain of Youth
records but I'm sure if you sent a note to Fountain of Youth (and
some $) they would probably get it to you being as they are close
in both idealogy and friendship. Rites of Spring was one of my
favorite albums of 1985 (along with Beefeater on Dischord also) but
was spurned by Hip, Media Celebrities in the Village Voice. But
then they are all part of the "establishment" they so ranted about
in the 60's and Dischord is definitely anti-"establishment" and
they sell their records for silly prices like 5 bucks postage paid.
So Village Voice and all the other wankers who "contribute" to it
is in the record industry hip pocket helping to bring "the next wave"
out of the underground and into recording contracts (see the REplacements
and Husker Du...) and spurn anyone who doesn't tow that line so
you Won't be seeing any Dischord releases talked about in the VV (also
Dischord sends out very, very, very few promo copies and this PISSES
off critics like Christgau who feel the music world should send
them like two copies so Bobby can have the best record collection
outside of Midnight Sun in NYC - certainly Dischord DOESN'T send
promos to such crass (the name of an English simililarly minded group
of individuals) commercial Murdochish things like Village Voice) [Whew]
So don't feel so "hip" about helping Rupert Murdoch's paper out, Sue.
Go find the Beefeater or Rites of Spring release or better yet check
out the new Snakes release on that label. Or buy HR's album on Fountain
of Youth.
"you have arms/you have legs/you have
freedom" - jim hofmann (hey, I know it's wrong but
I LIKE that
quote better!)
[][][][][][][][][][]
Date: Thursday, 20 Feb 1986 08:23:14-PST
From: hall%beta.DEC@decwrl.DEC.COM (DAN HALL - DTN 264-5879 - MKO1-1/M37)
Subject: Re: Stan Ridgeway??
I have a 12-inch 45 that has "Drive, She Said" "Salesman" and another
tune by Stan Ridgeway on it. There's none of that crazy percussion
or the silly rhythm machine WoV used. "Drive" sounds reminiscent of
WoV. "Salesman" is more minimal (<--paradox?) than that, with a bass
line that won't quit. It is easily the lowest bass that I have on a
vinyl recording (Oh dear, my audiophilia is showing). 8^)
I've heard the new Wall of Voodoo album. Yawn.
Dan
P.S. Twelve inch singles recorded at 33.3 rpm should be banned!
"Salesman, salesman, why don't you sell me something?"
[][][][][][][][][][]
Date: Thursday, 20 Feb 1986 08:35:22-PST
From: hall%beta.DEC@decwrl.DEC.COM (DIGITAL DAN)
Subject: Re: Music!
>Really-From: S7YLF4%IRISHMVS.BITNET@WISCVM.WISC.EDU (Try pronouncing that!)
> My music is, I'm afraid, a little
>more mundane than what seems to be floating around here. To keep
>it short and simple, here are (some of) my musical likes/dislikes:
>
>Likes: Bach (the original J.S., must confess I haven't really
>listened to P.D.Q.), Rush, Dire Straits, R.E.M., Talking Heads,
>a little heavy metal (very little), some Alan Parsons (just heard
>Stereotomy on CD), a little Peter Gabriel, some ZZ Top (depending
>on my mood), a l...
>
>Dislikes: Wham! (ugh!), Madonna (double ugh!), Prince & Boy George
>& Duran Duran and all those make-up-wearing people (I know I'm
>alienating quite a few people here), most heavy metal (I know I'm
>alienating even more), practically all country (there go the rest
>of them), in faquite a bit of Top 40 stuff (especially Bruce Springsteen;
>there goes thBe whole female popoulation).., ...
>
>In any case, I'm probably going to sit back and watch for awhile and
>find out how many people hate me. Until then, adieu...
I don't know - sounds like you fit in just fine.
Dan
"It's only water in a stranger's tears"
[][][][][][][][][][]
Date: Thu, 20 Feb 86 13:09:10 est
From: Tim <wicinski@nrl-css.ARPA>
Subject: Groove Decay songlist
Okay, you people who own a copy of 'Groove Decay' by Mr. Hitchcock.
I have a tape of it but I do not have the song list. Anybody want to send it to me ?? this is the old
album, not the re-issue of it (which has different songs I am told).
-- I'm not even gonna put my two measly cents in - If sue wants to
be the trendy hip media star, interview the grateful dead. There a hell
cooler than the fine young geeks, 10,000 manic depressive, or whoever is
becoming 'in' (as oppossed to 'out'). Me ?? I'm goona try to dig up all
this change I have and cruise downtown to see the real trend, the
Butthole Surfers. Don't have much money, but it's better than the other
slop around here.
tim
[][][][][][][][][][]
Date: Thu, 20 Feb 86 15:41:29 EST
From: Hofmann <hofmann@AMSAA.ARPA>
Subject: silliness
> Then again, Kate risking appearing silly by playing a little boy in the
> "Cloudbusting" video helps restore my faith. (Hear that Hofmann!)
I KNEW IT! One iota of Kate-critisism doesn't get by Doug! When are
you going to get a T-shirt (and patent it) that says, "NUMBER ONE
KATE BUSH FAN IN THE WHOLE WORLD"?
And you shouldn't hold faith in pop stars, Doug. Save it for plumbers
and car mechanics.
"I won't love you (till you're more like me)"
or
"There are meager dreams, lofty desires and still
silliness"
or
"You know, I think we're all Bozos on this bus!"
Jim-bo
[][][][][][][][][][]
Date: 18 Feb 86 13:53:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: ZAP Music
Apparently-To: Love-Hounds
[Part of this message got lost in the digests because of my wonderful
non-locking software, so here it is again.... --Doug]
What with nearly all of the creative electronic ZAP artists now doing
scores for motion pictures (most notably Tangerine Dream), and other
Berlin schoolies such as KKlaus Schulze teaming up with 60's misfits
such as Arthur Brown, we are at the brink of something (if i knew what
it was I would say). Even my close friend Pascal Languirand (aka Minos;
aka TRANS-X) has traded in his noise generators, various sound modification
devices and other interesting 'sounding' items for multiple layered MIDI
overglorified rhythm boxes (with 127 part harmony), and an actual live
performing band. What gives. Isn't anyone out there doing cosmic
exploration anymore. With the current crop of multi-tracking devices
(including the, gulp, midi stuff). You would think that we would have
uncovered the essense of musical consciousness by now (of course I realize
that we might have but Sylvester Stallone just couldn't understand it so
it was forgotten).
I would appreciate communicating with those overaged individuals who
are interested in the music of the mind (not the echos thereof), those
who maybe sometimes pull out there old Moog-10, Synthi VCS3 or AKS,
EML 101,200, various sound modification devices and an old TEAC 3340A
(or maybe gust an older 3340) to try to open the doors of cosmic
conciousness in a way that even a Rosicruscian never thought of).
Reply to ROSSI@NUSC.ARPA.
By the way, has anyone heard from Ash RA lately (after their disco album)
John
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.UUCP (Greg Skinner) (03/01/86)
Love-Hounds Digest Saturday, March 1, 1986, 13:47 Today's Topics: Re: silliness "Love and Rockets" (2 msgs) product announcement Re: Octobre [][][][][][][][][][] Date: Fri, 21 Feb 86 8:16:33 EST From: Hofmann <hofmann@AMSAA.ARPA> Subject: Re: silliness > Date: Thu, 20 Feb 86 15:41:29 EST > From: Hofmann <hofmann@AMSAA.ARPA> > Subject: silliness > "There are meager dreams, lofty desires and still > silliness" Ahem, I'm truly sorry and am going to have to start building a quote database (any good software out there?) so I quit messing up these quotes ... The true lyric (from Minutemen's 3 Way Tie For Last) is: "There are _still_ meager dreams, lofty desires and still silliness" Makes quite a diff, huh? [][][][][][][][][][] Subject: "Love and Rockets" Date: Fri, 21 Feb 86 13:05:47 -0500 From: jdarnold@ATHENA.MIT.EDU No, that's a group, not the opening line of electronic erotica! After reading a glowing review of Love and Rockets' newest (only?) record in (of all places!) the Boston Globe, I decided to have a look see. The review mentioned that "Dreams of a Teenage Heaven" was only available as an import, as their deal with RCA had fallen through, but that it was well worth the extra bucks. After meandering down to the nearest CO-OP, I found not only the album, but that it was on sale! So I said, sure, let's give it a shot. Boy, was that every a good idea! Despite the somewhat boring title track (as was mentioned in the review), this is one listenable record, bringing to mind the best of OMD and other of the British synth-pop groups. Intricate instrumentals, wry lyrics and intriguing guitar "breaks" all contribute to one of the best album purchases I've made since Yaz's "You and Me Both". To give you a better idea of my tastes, here's my quicky "7 records to a desert island" list: 1) Yaz - You and me both 2) Goanna - Spirit of Place 3) Alan Parson's Project - I Robot 4) Rubber Rodeo - Scenic Views 5) The Bongos - Numbers with Wings 6) "Popeye" soundtrack by Nilsson (to satisfy my whimsical moods) 7) Pink Floyd - The Wall -- Obligatory Kate Bush note -- The Boston Phoenix even liked HoL! Of course, it got only 3 stars and who really cares what the Boston Phoenix thinks, but it just goes to show you that even critics aren't TOTALLY wrong ALL the time! Jonathan Arnold MIT - Project Athena She took his gun, She took his knife, He took his drugs, They took his life. - "Amplifier", the dBs [][][][][][][][][][] Date: Fri, 21 Feb 86 10:01:07 EST From: Hofmann <hofmann@AMSAA.ARPA> Subject: product announcement Coming soon from Beefeater: release forthcoming on olive tree records of the new beefeater vinyl ... a six song ep entitled, "need a job" -you-heard-it-here-first [][][][][][][][][][] Date: Friday, 21 Feb 1986 13:54:41-PST From: hall%beta.DEC@decwrl.DEC.COM (DIGITAL DAN) Subject: Re: "Love and Rockets" Really-To: jdarnold@ATHENA.MIT.EDU 8^) Just for the record, the debut L+R album is called _Seventh Dream of Teenage Heaven_. Since you really like it, there's a couple of singles you may want to get. The first L+R tune that got airplay around here was "Ball of Confusion". It's a good long funky version with lots of ganky bass and Ash's screaming guitar. The B side is "Inside the Outside", the tune they opened with when I saw them at the Paradise a few months ago. The second single is a longer version of "If There's A Heaven Above" with an instrumental version on the B side called "Mr. Smith", I think. Also consider checking out Tones on Tail. They were the members of L+R plus David Jay (who were all members of Bauhaus). There are two versions of their last album, "`POP'" and "The Album Pop", with a few songs differ- ent between the two. I also have a compilation (the title escapes me) of stuff from three other TOT albums; "Tones on Tail", "There's Only One" and another title I forget. Plus, many many singles. -Dan "Living it up is a big kick - it's good for you!" --TOT [][][][][][][][][][] Date: Fri, 21 Feb 86 17:01:38 cst From: TDAS Development(chris) <ots!chris515> Subject: Re: Octobre I haven't heard the song you're talking about, but I do know of a French band called Octobre (or maybe October). I don't have any album name, since what I heard was a friend's cassette. One of the songs on the album that I recall is `Acteur du Monde.' And, pulling the last scrap of almost knowlege from a fogged mind, I heard a song about a year ago by Mark somebody who was undoubtedly the lead singer of Octobre. Chris Jepeway [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (03/02/86)
Love-Hounds Digest Saturday, March 1, 1986, 23:24 Today's Topics: HoL and "Small Blue Thing" in the British rags [][][][][][][][][][] Date: Sat 22 Feb 86 19:02:00-EST From: Doug Alan <Nessus@DEEP-THOUGHT.MIT.EDU> Subject: HoL and "Small Blue Thing" in the British rags I decided to browse through the British music rags at the record store today to get my weekly dose of humour, and found a review of the HoL single and Suzanne Vega's new "Small Blue Thing" single.... >From Melody Maker (22 Feb 86?): The Jazz Butcher is joined at the altar by the extraordinary burning Kate Bush. At the age of 12 she translated the complete works of Alexei Sayle into English, and at 16 she was rumoured to be the first explorer to circumnavigate the M25. Bush has always strived to be different, but this quest has often led her astray -- an olive stone in the ashtray of life. `Hounds of Love' eschews the lentil nightmare as Bush reaches notes most groups never even dream of. The lentil nightmare? Besides, what better to be than an olive stone in the ashtray of life? >From Sounds (18 Feb 86?): Thousands of copies of Dirkheims's *The Division of Labour* hit rag rugs in halls of residence nationwide as `Small Blue Thing' occupies the microturntable. Nice. Celery, knickers on radiators, Snoopy posters, and Suzanne. She takes you down alright... I think I'm gonna be ill.... "Today I am a small blue thing" Doug P.S. My picture is in the current issue of "Boston Rock" -- I'm there watching John Cale. Hey, are these my fifteen mintutes of fame? ------- [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.UUCP (Greg Skinner) (03/02/86)
Love-Hounds Digest Sunday, March 2, 1986, 15:40
Today's Topics:
Octobre
Children in Adult Jails
[][][][][][][][][][]
Date: 22 Feb 86 22:08:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: Octobre
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>
In actuality, the French band Octobre, is really a Quebec band. In the
mid to late 70's, the4 band was quite popular throughout Quebec and they
made substantial inroads to other markets. Like most good Quebequois rock
acts, they fell prey to the local idology that all good is French. This
was probably the only mistaker the band made, since they did appeal to the
English speaking public. I believe that their final demise came soon after
their live appearance at the St. John Baptiste festival in Montreal in 1976.
Since this was the highpoint of the new 'FRENCH' government in Quebec, too
much political emphasis was placed on the band's worth. At the same time,
other bands with promise (Harmonium being the easiest to recall) also
started to flounder. Contemporary acts which were English based, and not
nearly as good (e.g., Mahogany Rush) did well as they defied the French
influence. Annette Workman is probably the only top performer of that
period to go on to go from French to English and then back to French
(now apparently doing jean comercials on CTV).
Sorry, to go through this as a history lesson, but I still live in that
musical period. If Tom Waits (who is one of my favorite performers, by the way)can have his period, I can have mine.
John
------
[][][][][][][][][][]
Date: Sun, 23 Feb 86 20:58:37 EST
From: nessus (Doug Alan)
Subject: Children in Adult Jails
Really-Really-From: Jim Hofmann
I thought I sent a review of their last and first album to lhounds ...
I'll dig up a copy before I trash my copy --- what I noticed was that
the cover is a still from Brazil (when he is in the police van behind
a wired fence) and inside is the still where his mother was having her
face pulled (there is one song called lady with the elastic face - i think) ...
there is also a song about a guy named Sam Miami (sort of like Sam
Langley?) ... I'll tack on the review here:
Subject: I'm dying in a house of weenies (it's the nitrate maaaan)
*************************************************************************
Children In Adult Jails (Buy Our Records)
"Man Caught In Waffle Iron"
So after hearing these guys on N.J.'s Got It? comp - I was expecting
more of what I had termed Northeastern Industrial Tex & The Horseheads
only to have my egomaniac and stupid assumptions gummed up and smeared
back on my face like play makeup or sumpin. So like I was saying,
but not really, I was laying on my sofabed ruminating about how much
Sam Miami sounded like X in their Desperate stage and was getting all
excited about this new band to carry on where X left off and ...
like I wuz thinking, these guys went ahead and stole that riff from
Trucking and stuck it in this song called Displacement Blues which
rags on the parochialism of the NY Band scene so like maybe these
are the true post-punk reincarnations of the dead ... what I really
was thinking these guys are came to bear on the first cut of
side two complete with mixmasters and cartoon sound effects and I
thought like this is the recording that could bring a smile onto
the face of the as of late solemn Butthole Surfers when and if
they'd ever get a chance to hear this before they prematurely die
or sumpin ... so like, I was REALLY thinking that here be the
noize band of the 80's who would crystalize everything Frith was
trying to do on those Japanese recordings with songs about lizards
and houses of weenies (which goes quite well with the sound turned
down on that Madonna video - Material Girl) ... NO KIDDING - these
guys can funk out like no posthardcore types ever, maaaann - with their
very own cover of Brickhouse (incidentally co-penned by our favorite
father-figure/pepsi drinker/live-aider Lionel Richie - and i betcha
you thought you'd never see HIS name on one of yer LP's huh?).
IT was at this point, when the needle left the groove and returned
itself back to point zero - normalcy that I said fuggit and went to
go find my rounded scissors, construction paper and rubber cement
to have some real fun instead of this phoney, asinine, pseudointellectual
bullshit search for a label and/or explanation for Children in
Adult Jails while replaying this 12" (grind, grind)
Oh fershure excellent bordering on professional production job by
Sblendorio and CIAJ on this lump of vinyl (and lyric sheet) - manages to
keep in the weirdness without muddying up the mix 'n message.
And I'd sure like to find out the answer to 18 ACROSS sometime, Diane.
******************************************************************************
"The mind industry can take on anything, digest it, reproduce it,
and pour it out. Whatever our minds can conceive of is grist to
its mill; nothing will leave it unadulterated: it is capable of
turning any idea into a slogan and any work of the imagination
into a hit.. . .The mind industry's main business and concern is
not to sell its product: it is to 'sell' the existing order, to
perpetuate the prevailing pattern of man's domination by man, no
matter who runs the society, and by what means. Its main task is
to expand and train our consciousness--in order to exploit it."
--hans magnus enzensberger
"the industrialization of the mind"
1962
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (03/05/86)
Love-Hounds Digest Wednesday, March 5, 1986, 03:27 Today's Topics: Love and Rockets / Tones on Tail Tones on Tail music Bauhaus/ToT/Love and Rockets (also Math Bats) Iggy and the Stooges The Singing Fish Re: Love-Hounds Digest (Very) Obscure groups question Re: Flamming Lipps [][][][][][][][][][] Date: Sat, 22 Feb 86 11:52 PST From: ROBB LEATHERWOOD <ROBB-LEATHERWOOD%LADC@CISL-SERVICE-MULTICS.ARPA> Subject: Love and Rockets / Tones on Tail Randomness: This fortune soaks up 47 times its own weight in excess memory. Love and Rockets just released "Seventh Dream of Teenage Heaven" on another label (possibly domestic) and the new release contains the U.S. remix of "Ball of Confusion" on it, though no songs were removed for it to be there. If you already have the album, apparently there is another version of the 12" single of "Ball of Confusion" that has the US Re-mix on it. The order number for it, from Beggars Banquet records, is BEG 132 TP. The 12" single without the remix is BEG 132 T. The B-Side to the "If There's a Heaven Above" single is called "God and Mr. Smith", if the sleeve that came with my Bauhaus 1979-1983 record is correct. About Tones on Tail, their first album (the compilation of their first 3 EPs) is called (surprise, surprise) "Tones on Tail." There are 3 songs on "Pop" that aren't on "The Album Pop", and vice-versa. The 3 songs that are not on "Pop" are available on EPs. The reverse is not true. Still, it's cheaper to buy the album of "The Album Pop" that it is to buy the 2 EPs, unless you can find the 7" singles. However, if you are a fan of novelty items, as I am, you may want to buy the 12" singles, as I know that the 12" of Christian Says is on blue vinyl. I suspect that the 12" of Lions is on red vinyl. But, if you're on a budget, and you want all of Tones on Tail's songs at the lowest price, here's what to get: Tones on Tail - Situation Two records - SITU 12 'Pop' - Beggars Banquet - BEGA 51 The Album Pop - sorry, no label or order number Performance / Shakes - Beggars Banquet - BEG 106 (T) Nuff said, -Shoo "There is no truth, just news." [][][][][][][][][][] Date: Sat, 22 Feb 86 21:12 PST From: ROBB LEATHERWOOD <ROBB-LEATHERWOOD%LADC@CISL-SERVICE-MULTICS.ARPA> Subject: Tones on Tail music Randomness: The world is coming to an end... SAVE YOUR BUFFERS!! I just picked up the "Lions" 12" single and yes, it's on red vinyl. It also poses a problem to those of you who want all of Tones on Tail's songs without buying all of the 12-inches. The version of "Go" that's on this single is the Club mix, so, if you really want EVERY song they've released, you have to buy The Album Pop AND the Lions single. Then again, maybe the 7-inch single has the original version of "Go!" Hmmm. Anyway, the order number for the 12" is BEG 104 T and the 7" is BEG 104 On another subject... My friend just got this FABULOUS R.E.M. live bootleg called "We Are Having a Heavenly Time!" It was recorded live at Page Auditorium, wherever that is, and has the following songs: 7 Chinese Bros. Catapult Radio Free Europe Khoetek Letters Never Sent So. Central Rain (I'm Sorry) Driver 8 (don't go back to) Rockville Carnival of Sorts (Box Car) Hyena - New track Old Man Kensey Second Guessing The sound quality is absolutely great. It sounds like a very profession- ally recorded live album. It has a message on the side, saying: THIS FAN CLUB ALBUM IS NOT INTENDED FOR SALE, COMMERCIAL DISTRIBUTION OR AIR PLAY. ALL RIGHTS RESERVED ENTIRE CONTENTS AND PACKAGING (C) 1985 P.F.M. RECORDS A DIVISION OF W.B.S.(SPECIAL PRODUCTS) COVER PRINTED IN U.S.A. I found this interesting. Anyway, he got it for 16 bucks. Not bad for a great bootleg. Later, -Shoo "Slender Fungus kissed a fish inside a stolen jeep." [][][][][][][][][][] Date: Mon, 24 Feb 86 11:17:02 EST From: hsut@ec.purdue.edu (Tsun-Yuk Hsu) Subject: Bauhaus/ToT/Love and Rockets (also Math Bats) Being a rabid Bauhaus addict, I was pretty mad when they broke up. I picked up POP! a year ago but was rather disappointed. I liked some of the songs like Slender Fungus, Rain and Real Life, but they sounded a little like redone Bauhaus classics like Slice of Life or Silent Hedges, but without Peter Murphy's powerful voice to give the music focus. I wasn't expecting to warm up to Love and Rockets, but the few songs I've heard so far I've really liked, in particular the intricate non- Bauhaus guitar work. Does anyone know when Peter Murphy's solo album will be out? I've seen a few 12"s (and of course The Light Pours Out of Me) and a small picture of what might be the album cover (on the Beggar's Banquet compilation). I got curious about the Indiana band Math Bats after Greg Earle's query awhile back, and after some poking around found their mini-album. (I bought the store copy; they weren't carrying the things anymore.) No label is listed, tho the songs are supposedly copyright BMI. The music is pretty uneven. The most interesting passages sound like nice Pornography-era Cure with more rough edges, but there are some repetitive and unruly instrumental parts. I'll certainly try to hear these guys when they come into town. Bill Hsu [][][][][][][][][][] Date: 23 Feb 86 21:51:00 PST From: "ROSSI J.A." <rossi@nusc.ARPA> Subject: Iggy and the Stooges To: "love-hounds" <love-hounds@eddie.mit.edu> Reply-To: "ROSSI J.A." <rossi@nusc.ARPA> This is a reiteration of a prior message concerning the Funhouse album by Iggy and the Stooges. I was relatively shocked when I saw mention of Funhouse in the Love-Hounds Digest. With all the talk of current stuff, I was taken aback by the mention of a 1970 album (especially as 'The Geratest of All time'), well, actually I am quite fond of that album and even though I don't consider it near the bottom of my top 50 list. It is, in my memory, however, the most erotic album to trip by which I ever heard. I can remember a discussion with friends when it was released concerning twe thought) obvious intention of the album to get the whole world balling in beat. Are you out there Gary Gray. Anyway, since the subject came up, for the last 16 or so years I have been ]trying to decipher the lyrics to DIRT on that LP (this happens at least once a year when I play the album). I would, therefore, appreciate it if anyone has acurately deciphered them to send them to me so I can finally find out what happened to Iggy after He'd been HURT and didn't care. Thanks John <ROSSI@NUSC.ARPA> ------ ------ [][][][][][][][][][] Date: Mon, 24 Feb 86 13:50:32 est From: tim <wicinski@nrl-css.ARPA> Subject: The Singing Fish with all this chit-chat about Wire and Colin Newman, I want to know wheter or not I should buy Colin Newman's album 'The Singing Fish'. It's only 3.50 from wayside, and since i have a good number of $$ in credit, I might as well use it up. Comments ?? --Funhouse OW! what an album !!! can't get enough of it myself, even though it was put out in 1970... grroove-a-thon, tim [][][][][][][][][][] Date: Mon, 24 Feb 86 13:29:45 EST From: Hofmann <hofmann@AMSAA.ARPA> Subject: Re: Love-Hounds Digest > Subject: Children in Adult Jails > Really-Really-From: Jim Hofmann > Children In Adult Jails (Buy Our Records) if anyone needs the BOR address, speak up. I think they put adds in OPtion and various other publications and zines (whoops more redundancy) > "Man Caught In Waffle Iron" > side two complete with mixmasters and cartoon sound effects and I > thought like this is the recording that could bring a smile onto > the face of the as of late solemn Butthole Surfers when and if ACTually, I heard later that one of the members of the B. S. has a children in adult jails sticker in their guitar cases ... so THEY have heard them ... don't know if they smiled that night as they were reportadly setting their hands on fire and beating on each other ... > And I'd sure like to find out the answer to 18 ACROSS sometime, Diane. I'm still looking! (actually this is in reference to the crossword puzzle included on the lyric sheet ...) hofmann@amsaa.ARPA Hey let's take bets on whether this Rowly dude who flamed mod.music (i.e. love-hounds) is really Palena on another account. He probably is too afraid to stand behind his own lame opinions so has to hide behind an alias. [Since we all know you are reading this Larry, you can reply with collaborating evidence to the contrary (assuming there is any) that you are in fact NOT Rowly ... oh, and stay lame, dude] [][][][][][][][][][] [][][][][][][][][][] Date: Tue, 25 Feb 86 15:09:06 EST From: hsut@purdue-ecn.ARPA (Bill Hsu) Subject: (Very) Obscure groups question Does anyone have info on: Couch Flambeau Flaming Lips (from Oklahoma, I think)? I haven't heard anything from Couch Flambeau, but their reviews sound pretty interesting. The only Flaming Lips I've heard is at Rough Trade in SF. Some clever guitar noise, tho quite different from my current obsessions Sonic Youth... Speaking of Rough Trade, what's the right address to write to? I wrote their store in San Francisco but still haven't got my catalog after many weeks... Bill Hsu [][][][][][][][][][] Date: Tue, 25 Feb 86 13:15:20 PST From: jordan@ucbarpa.berkeley.edu (Jordan Hayes) Subject: Re: Flamming Lipps I saw them here in Berkeley over xmas -- they opened for Wall of BooBoo. Pretty fun guys ... I hear they've put on MUCH better shows, but they wound up doing some 60's and 70's "hits", and even an impromptu Doors track that 'split-muh-seams' ... The lead singer was on the edge of lyrangitis (sp?) and remarked "If this voice goes, then we're just gonna hafta do some shitty instrumentals, so WATCH OUT" ... /jordan [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (03/06/86)
Love-Hounds Digest Thursday, March 6, 1986, 01:51
Today's Topics:
Various (2 msgs)
re: literary references in music
[][][][][][][][][][]
From: Jeff Dalton <jeff%aiva.edinburgh.ac.uk@cs.ucl.ac.uk>
Date: Sat, 22 Feb 86 18:01:38 GMT
Subject: Various
I mailed this before but, as sometimes happens with X-Atlantic mail, it
just vanished into the void. Sorry if anyone gets it twice.
---
(1) Thanks to tsung@aero for mentioning Liona Boyd. (Warning: classical
guitar, but can be great ...)
(2) BMI Awards: According to the gossip on Radio 1, Kate was a replacement
for Sade, who was supposed to sing but couldn't do it given tour, &c. At
least they got it right the 2nd time.
The award for best female artist went to Annie Lennox.
Also, it's just possible that Kate might not have been lip-sync -- she had
a cordless mic and was holding it in her hand even while being spun
around. (Or at least it looked that way to me.)
(3) From NME, 15 Feb 1986:
KATE BUSH releases the title track from her 'Hounds of Love' LP
as her new EMI single next Monday, coupled with the traditional
and unaccompanied 'The Handsome Cabin Boy'. She's recorded a
completely new vocal for the 12" extended version, which is called
'Alternative Hounds of Love', and this also has the bonus of 'Jig
of Life'. And to complete the action, Kate has directed her own
video of the single.
[][][][][][][][][][]
Date: Wed, 26 Feb 86 16:10:57 EST
From: hsut@ec.purdue.edu (Tsun-Yuk Hsu)
Subject: re: literary references in music
Anyone ever finish Remembrance of Things Past? I gave up around page 20,
but then Christmas break has never been a good time for big reading
projects... Another big book I'll get to soon (I hope) is Pynchon's
Gravity's Rainbow, which is referenced in Laurie Anderson's "Gravity's
Angel" from the Mister Heartbreak album. Pynchon writes hilarious
fake lyrics in his books --- try Crying of Lot 49 for a great read
and some sharp lyrics.
There are also lines from T.S. Eliot's Waste Land in another Laurie
Anderson song from Mister Heartbreak (I think it's Blue Lagoon). It's
the part that goes "...those are pearls that were his eyes...", about
a drowned man. I don't recall any quotes from Big Science (don't have
the lyrics with me); anyone has pointers?
Bill Hsu
[][][][][][][][][][]
Return-Path: <bdmrrr!potomac!jsl>
Date: Thu, 27 Feb 86 11:41:53 est
From: bdmrrr!potomac!jsl@seismo.CSS.GOV (John Labovitz)
Subject: Re: Various
On the subject of the BMI awards...
I got my brother to tape it, and when watching it later, I fast-forwarded
through *everything* except Kate Bush. What a junky show. Not quite as
bad as the Grammys, but pretty close (at least Kenny Rogers didn't host
BMI).
Kate looked bored as hell, and like she wasn't having much fun. I think
she was lip-syncing, cuz otherwise the song would have sounded like shit
(no excitement or effort on her part). She also looked pretty awful --
someone put about an inch of makeup on her.
Note that I'm not cutting down Kate, because I'm sure that it wasn't all
her idea. Just that I wasn't very impressed, and I'm pissed that I had
to sit there for an hour fast-forwarding thru the shit to get to her. Oh
well. Such is life, and TV, and business, and...
John Labovitz ..!{rlgvax,seismo}!bdmrrr!potomac!jsl
--
I've got you under my skin where the rain can't get in
And if the sweat pours out, just shout,
I'll try to swim and haul you out. -- The The
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.UUCP (03/06/86)
Love-Hounds Digest Thursday, March 6, 1986, 15:32 Today's Topics: Last Word on Tones On Tail ; Random 1986 Observations Re: literary references in music No more Sisters? and Palena pictures... DK's lyrics Jane Siberry [][][][][][][][][][] Return-Path: <earle@gorbag> Date: Thu, 27 Feb 86 19:12:08 pst From: ia-sun2!smeagol!gorbag!earle@csvax.caltech.edu (Greg Earle) Subject: Last Word on Tones On Tail ; Random 1986 Observations To DIGITAL DAN: You got it backwards. David Jay is in Love and Rockets, NOT in Tones On Tail. Also, the members of Tones On Tail were NOT all members of Bauhaus; see below. To ROBB LEATHERWOOD (shoo): The L & R LP with 'Ball of Confusion' added is the Canadian release. To Everybody else: Here's the Bird's Eye Low-Down On This Caper (whatever that means): Tones on Tail was formed in 1981 by Daniel Ash of Bauhaus, and Glenn Campling (Bauhaus' Lighting/Road manager). The first two singles (EP's) were the product of these two alone. Starting with single #3, Kevin Haskins (also ex-Bauhaus) joined. Discography follows (7" versions omitted) : Tones On Tail EP 4AD BAD 203 (1982) (Tracks: A Bigger Splash / Copper // Means Of Escape /Instrumental) There's Only One / Now We Lustre 12" Beggars Banquet BEG 85T (1982) [Wrigley's Fun Fact #1: 'Now We Lustre' is subtitled: "(Beam Me Up Scotty, There's No Intelligent Life Down Here)"] [Wrigley's Fun Fact #2: Ash is credited with 'Accoustic' (sic) guitars] Burning Skies / OK, This Is The Pops // When You're Smiling / You The Night and The Music 12" Situation Two SIT 21T (1983) [Wrigley's Fun Fact #3: This is the first record with Kevin Haskins] [Wrigley's Fun Fact #4: These 3 EP's are what the compilation is culled from] Performance / Shakes Beggars Banquet BEG 106T (BLACK VINYL) Lions / Go! (Club Mix) Beggars Banquet BEG 109T (RED VINYL) 'Pop' LP Beggars Banquet BEGA 51 (1984) Christian Says / Twist Beggars Banquet BEG 121T (BLUE VINYL) [Wrigley's Fun Fact #5: When Love and Rockets played in L.A., they did an acoustic version of "Lucifer Sam"; also "Go!"] ---------------------------------------------------------------------------- Random Musical Observations of 1986 From Yours Truly: First Record of '86 to qualify for 'Who would have believed it, 9 years ago?': Public Image Ltd. - "Album" First Record of '86 to qualify for 'Who would have believed it, 7 years ago?': Feargal Sharkey - "Feargal Sharkey" First Record of '86 that makes all other '86 releases completely irrelevant: Princess Tinymeat - "Wigs On The Green" (B-side of "A Bun In The Oven") First Record of '86 to remind me "When's the next Test Dept. record?": Swans - "Time Is Money (Bastard)" Reasons To No Longer Avoid All Double Albums Like The Plague: Hula - "1000 Hours" Severed Heads - "Clifford Darling, Please Don't Live In The Past" Most Hilarious Quotations of '86: "Rich Rosen accounts for 2% of the net! Ban Rich Rosen!!!" (To Larry Palena) "Stay Lame, Dude" [ Thanks to hof for these gems ] Biggest Disappointments of '86: (1) Missing the reunion of the Original Christian Death (aside to hof: not only have I heard of 'em, you should find the 1982 LP "Only Theatre Of Pain" (Frontier) Right Away - features Rikk Agnew, guitarist for Adolescents and now DI). They opened for Flesh For Lulu - it was advertised but the next ad saw C.D. removed. So I decided to bag it; they showed up anyway. SHUCKS. (2) Missing Youth Brigade and the Weirdos reunion due to ice-pick-pounding shit-I'm-gonna-die-fer-sure-level headache. SHUCKS 2. Biggest Waste Of Newsprint In '86: Village Voice - "Spazz and Slop Pole" Biggest Wanker Of '86: Robert Christgau (for including partial examples of random Poll ballots, but including ALL of his own under the pompous heading, "The Dean's List" - I could go on and on about his idiotic commentary, but (a) you're bored ; and (b) I don't want to waste the time. See hof's treatise from Feb. 20th for the general idea. HOTTEST NEWS FLASH OF '86 (Just received *10 minutes* ago): Return of Siouxsie & The Banshees to Irvine Meadows Amplitheatre (BOO - Mini Stadium) and Hollywood Palladium (Ehh... well) Return of Jesus and Mary Chain Return of Echo & The Bunnymen (first show in 3 years) --------------------------------------------------------------------------- Best Album Of All Time: Boston "Boston" (HEY! Fugg you too - my brudder went to High School with the bass player, and 3 of them lived in my hometown, so piss off) What? Sarcasm? Moi? NOW, CAN WE END THIS SILLY DISCUSSION? Hey Sue T. - An easier way to get your 15 minutes of fame would be to write a disertation on why Spazz and Slop Polls are completely STUPID and a waste of time, and send it to the Voice editor. Then you can see your name in the 'Letters to the Editor' column in a helluva lot bigger typeface than that 3-point face (was it even 1/10" tall?) *your* name got put in ..... [][][][][][][][][][] Subject: Re: literary references in music Date: Fri, 28 Feb 86 14:22:34 -0800 From: alfke@csvax.caltech.edu hsut@ec.purdue.edu (Tsun-Yuk Hsu) writes: > There are also lines from T.S. Eliot's Waste Land in another Laurie > Anderson song from Mister Heartbreak (I think it's Blue Lagoon). It's > the part that goes "...those are pearls that were his eyes...", about > a drowned man. I don't recall any quotes from Big Science (don't have > the lyrics with me); anyone has pointers? > Bill Hsu ummmm ... actually, that quote rather predates Eliot. It's from Shake- speare's "The Tempest". About half of "The Wasteland" is literary ref- erences of varying degrees of faithfulness, so attributing quotes from it to Eliot is a risky thing to do; I suggest checking a good annotated version of the poem first. (I know; I've embarrassed myself on this before...) --Peter Alfke alfke@csvax.caltech.edu PS: Another two-levels-of-quoting thing is Genesis' "The Cinema Show" (from "Selling England by the Pound"), which quotes the courtship scene from "The Wasteland", which is loosely based on the Greek legend of Tiresias . . . "Everything is deeply intertwingled" --Ted Nelson [][][][][][][][][][] Date: Mon, 24 Feb 86 09:13:16 est From: allegra!sjuvax!kirsch (P. Kirsch) Subject: No more Sisters? and Palena pictures... Is it true about what I read on the net??--That the Sisters of Mercy have broken up?--I finally start to worship a band that is still putting out albums (unlike Joy Division) and this happens!! All I can say is SH*T! As far as everybody wondering what Master Palena really looks like--just send me some mail and I'll try to give you a description... ---- -Paul Kirsch [][][][][][][][][][] Date: Tue, 25 Feb 86 09:18:15 est From: allegra!sjuvax!kirsch (P. Kirsch) Subject: DK's lyrics Somebody wanted the lyrics to DK's albums--I have the ones for Plastic Surg. so, who ever wanted them could they mail me an address (US Mail) to send them to?? "Honesty ain't all that hard" "Just put Rambo back inside your pants" Paul Kirsch [][][][][][][][][][] Date: Fri 28 Feb 86 22:49:41-PST From: Bob Knight <KNIGHT@SRI-NIC.ARPA> Subject: Jane Siberry >From my record store owner friend in ABQ, just received what I believe to be the first Jane Siberry album. B&W cover, very cute picture of her on the front. Is this album "Speckless Sky", or am I missing that one too? (It's on Street Records)... Cannot find any reference to "Speckless Sky" anywhere on the album, 'is why I ask... Bob "Ordinary people. I hate 'em." ------- [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.UUCP (03/07/86)
Love-Hounds Digest Friday, March 7, 1986, 07:27 Today's Topics: Re: Love-Hounds Digest (2 msgs) [][][][][][][][][][] Date: Sat, 1 Mar 86 02:03:24 PST From: David Fetrow <allegra!uw-beaver!entropy!fetrow> Posted-Date: Sat, 1 Mar 86 02:03:24 PST Subject: Re: Love-Hounds Digest > Fast forwarding through British Music Awards.... Then you missed my favorite quote: "I don't know why we got the award...Kate Bush did a much better album than us this year." - Annie Lennox .... or words to that effect. -Dave Fetrow [][][][][][][][][][] Date: 2 Mar 1986 11:07-PST Sender: CDONALDSON@USC-ISIF.ARPA Subject: Re: Love-Hounds Digest From: CDONALDSON@USC-ISIF.ARPA >[From: Hoffman] > > ... commercial Murdochish things like Village Voice) [Whew] > >So don't feel so "hip" about helping Rupert Murdoch's paper out... > Mr. Hoffman, the Village Voice is NO longer owned by R. Murdoch. Perhaps it was a year ago that Leonard Stern purchased it (if I recall for $55M). Stern actually is a multi-millionaire and a steadfast loyal Republican. His fortune is due to the Harz pet product empire, a business established by his grandfather. The Voice apparently is a very profitable publishing venture, so Stern, like any true capitalist, forget about his conservative ideology and purchased this "liberal" rag. "Profit before Principle" G. [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (03/08/86)
Love-Hounds Digest Friday, March 7, 1986, 11:59
Today's Topics:
Oops...
forwarded message on Christian Death
(transference of electric love muffin discussion)
'ofmann eats 'umble pie ... actually subversive diatribe.
Review: THE SNAKES, _I_Won't_Love_You_(Until_You're_More_Like_Me)_, Dischord, 1986
Jah give me de liscense to . . . fish (fish(ish(ish(ish(sh . . .
Re: Fripp, Exposure, Daryl Hall, King Crimson
In Remembrance of Pamela Stevenson
[][][][][][][][][][]
Date: Mon, 3 Mar 86 10:51:13 EST
From: hsut@ec.purdue.edu (Tsun-Yuk Hsu)
Subject: Oops...
Thanks to Peter Alfke (sp.?) for correcting my attributing Shakespeare to
T.S. Elliot. I WAS going to check my copy of Waste Land before babbling,
but NOOOOOOOOOOOOOOOOO... And I have a well-read copy of the Tempest too...
(insert symbol for extreme embarrassment, foot-in-mouth, red face etc.)
Pseudo-music question of the day: I saw Woody Allen's Hannah and Her Sisters
twice this weekend (how's that for a recommendation? :-) There was a
scene in the movie with Woody Allen in a nightclub making faces while
this band is playing on stage. I thought the band looked too "camp" to
be real, but the cast list at the end named them as "The 39 Steps". Is
this a real band? Has anyone seen them? They're your basic quartet of
lead singer, 2 guitar/bass players and drummer. Just curious...
Still Embarrassed
Bill Hsu
[][][][][][][][][][]
Date: Mon, 3 Mar 86 9:27:14 EST
From: Hofmann <hofmann@AMSAA.ARPA>
Subject: forwarded message on Christian Death
And now for an opposing view from GoF (I'm assuming that's
who you were refering to, Greg?)
John sent me this description of Christian DEath by e-mail and
I later asked him if I could post it to love-hounds ( mod.music ),
he said he wasn't sure about all the facts (I said, well, I've
never really been one for facts 8-> ) so ... I even researched this
one a bit and I think everything is correct.
Jim
------------------------
From: John Reeves <reeves@ucla.locus.edu>
Christian Death is was and will be Wank city. Formed roughly the same time
as Joy Div and Bahaus, CD was the first (or therabouts) death/halloweenie
bands - all spooky in black clothes, snow white tans and mysterioso images
- featured Rikki Agnew (x-Adolecents, now in DI) on gtr and Tranvestite
Roz on Vocals. Their first album was on Frontier and most people saw
straight through the selfindulgent bullshit, until it got to europe where
it 'inspired' a cult following culminating in the Batcave stuff. Of course
when the inspiration got back here, people went apecrazy of it - nothing
like validation from the mother shores to be claimed as originality. nah.
By the time doom and gloom got fashionable, Christian Death had broken up,
but when Roz found out she was Big in England, she reformed the band with
second stringers for a Yerpean tour (this was about 1984?). I don't know
about any other vinyl. The original members recently had a one-shot reunion
gig, after which they were served notice by a lawyer for one of the second
stringers (moniked 'Valor') to cease and desist using the name 'cause of
trademark infingment. Nice guy.
--John
[][][][][][][][][][]
Date: Mon, 3 Mar 86 9:38:38 EST
From: Hofmann <hofmann@AMSAA.ARPA>
Subject: (transference of electric love muffin discussion)
Welcome, Paul Kirsch to this list - I've decided to stop responding
to your brethern at SJU after they both showed themselves to the
world their ignorance. I just hope no one else out there believes
them. Actually, I heard the Electric Love Muffins (which one of
your fellow SJU'ers proclaimed undying love ) at a "hardcore" show
with the Psychotic Normans and Flag of Democracy. I liked them
so much I traveled up to Philly to hear them with Executive Slacks.
It is ironic that someone like L.P. would like them since they
had to look to the hardcore scene for gigs and nuturing. One question,
that I couldn't pursue when I last saw them since the drive home
was to be long and arduous and I couldn't stick around - do they
have any tapes out? or records?
Finally, is Palena really Rowly? Their writing style and
views coincide so much that it seems hard to believe it is
coincidence. Please fill us in.
Here, Greg is my favorite quote -
"Communication is essential if we wish to communicate!!"
- Mike (some guy at a club)
and from a personal letter from Joe Jack:
"don't get hit by any cars, Jim"
Hofmann
-----------
I reserve the right not to respond to any flames.
[][][][][][][][][][]
Date: Mon, 3 Mar 86 10:00:54 EST
From: Hofmann <hofmann@AMSAA.ARPA>
Subject: 'ofmann eats 'umble pie ... actually subversive diatribe.
>Date: 2 Mar 1986 11:07-PST
>Sender: CDONALDSON@USC-ISIF.ARPA
>Subject: Re: Love-Hounds Digest
>From: CDONALDSON@USC-ISIF.ARPA
> Mr. Hoffman, the Village Voice is NO longer owned by R. Murdoch. Perhaps
Once again, my complete lack of intelligence is shown to the world ... thanks
for filling me in so I won't make a total ass of myself at parties ...
speakin' of parties, i attended one last saturday in reisterstown, md with
the total reistertown high school "hardcore" population. it was held in
an attic with about an average of 2 inches head clearance (estimated
std. deviation = 32") with a band called OTR playing. They asked the
crowd if they wanted to hear Judas Priest, when no one responded, they
said fuck you and played some anyway. I guess you can guess what OTR
stands for - amazing, though, how easy it is for a bunch of teenagers
to create their own alternative scene without any wankers telling them
what is "politically and musically correct" in order to be "alternative."
These various assorted "scenes" in small town America anywhere is sympomatic
of the coming decline of the "music ""industry"" " - most of these major
labels are holding companies for large conglomorates who will cut their
profit and run at the first sign of unmarketability. Why do you think this
push for dollar taxes on blank tapes and 25% taxes on dual port recorders
is going on? Kids aren't only "bootlegging" lp's they are passing
around tapes of their local bands and listening to them, regardless
of a slick, professional sound. This "slick professional sound" can
be easily produced for a few bucks more anyway and some bands into
marketing their own tapes are doing it on their own. When the major
labels cry about dwindling sales (only like 4 billion last year -
[that's probably inaccurate but it's something outrageous)] they
are really yelling "fire" in a crowded movie house, where all the
strange men in overcoats are really cassettes of unsigned, unknown,
bands and instead of a "fire" all these strange men are TRADING themselves
with each other. Horrifying!!!
but like I said, alot of these major labels will give up when the
going gets unprofitable - look at MGM (I know that's movies but ...)
so take heart as they try desparately to come up with marketing
ideas like "next wave" or "cd players" ...
Be subversive, buy a cassette from an unknown band. Take chances -
you might find something you like.
Hofmann
> "Profit before Principle"
yah! the same exact
philosophy can be used
against them...
[][][][][][][][][][]
Date: Mon, 3 Mar 86 17:29:00 EST
From: Hofmann <hofmann@AMSAA.ARPA>
Subject: Review: THE SNAKES, _I_Won't_Love_You_(Until_You're_More_Like_Me)_, Dischord, 1986
Date: Wed, 26 Feb 86 17:33:12 EST
Subject: Jah give me de liscense to . . . fish (fish(ish(ish(ish(sh . . .
I was thinking how it's about time I wrote a real snotty thing about a record
and was considering this new Snakes thing from Dischord to rant about. After
all, it's an easy target - with the retread garage punk psyche that this mostly
is but I've realized that, damnit, I like this vinyl. Sure, it's funny but I
could probably spend days describing the various influences that pop up here
with hardcore being among the least of them. This strikes some as suprising
since the release is a brainchild of Mike Hampton and Ivar Jacobson, who though
they claim not to listen to hardcore spend a hell of lot of time playing it
with their respective bands, Embrace and SOA (well, correction - SOA isn't
playing that much anymore ...). At times, this soars with the best of the 60's
garage compilations (Nuggets spring to mind here) with the punky melodic
tunes as, "I won't love you (till your more like me)" (the title cut), "Twelve
Angry Men", "Serv Pro Joe" (with its Keith Moonish vocals!) and "She's got
it now". But they didn't stop there and included some send-ups of other
genres with Snake Rap, License to Fish (reggae - see subject header) and
Fixing A Chair. The latter cut in it's first few moments sounded like some
real cool thrash but before they pound into it - one of the boys stops and
says he can't play because he has to go fix a chair. Must be an in joke
because this baby is ripe with them. For example, the last cut on side 1
features someone pouring a cola and is entitled Confirming Suspicions
perhaps referring to Ian's supposed Coke (we're talking about the soda here,
folks) addiction that invariably he mentions in interviews. Oh yeah, Ian
MacKaye is producing here in case you didn't know but with all the dubbing and
ping-ponging that was probably going on at the Inner Ear during this recording
the mix comes out somewhat flat. Too bad, they couldn't have waited until the
Ear went 16-track.
So how could I hate this vinyl? With all this and the price ($5) - how can you
go wrong (as !stolaf!robertsl would say)? So if you're into garage-punk psyche
dub or something of that configuration, I strongly recommend you add this to your
collection.
Available from Dischord Records, Washington DC
[][][][][][][][][][]
Date: Thu, 20 Feb 86 06:36:05 est
From: John Kitamura <floyd!clyde!watmath!utcsri!kato>
Subject: Re: Fripp, Exposure, Daryl Hall, King Crimson
Apparently-To: Love-Hounds
[This article was found in mod.music. You may may to edit it out,
gds, so that it doesn't appear twice. -- Doug]
Although credited as co-composer, Daryl Hall isn't the vocalist on
"Chicago". It is sung by the amazing Peter Hammil, of Van Der Graff Generator
fame, and lately of the "K" Band. Hammil and Fripp have collaborated on
several other projects (Two VDGG albums, "H to He, Who am the Only One", and
"Pawn Hearts", and a couple solo Hammil albums (I think)).
On exposure, Hammil also sings on "Disengage" and "I may not have had e..."
Another interesting point; "Exposure" has been recently (end of
last summer) re-released in Canada with a foldout cover. The tracks are
listed as the same but there are noticeable differences in the songs.
A different vocal track is used on "Disengage", the Frippertronics
pieces are a lot longer (some by several minutes), and some of the between
track conversations have been shortened.
As for "Exposure" being a Crimson album, I have to agree. Most of
the material was written while Crimson was still together (The Wetton/Bruford/
Cross line-up) and it sounds much more like Crimson than Fripp's later
works. (But not the `new' Crimson - the Belew infested one).
A postscript: For those of you who really enjoy the hard-edged
material on "Exposure" and "Starless and Bible Black", and are Wayside Music
corresponders, I heartily recommend the two "Bi Kyo Ran" albums that they
are currently offering - a Japanese Crimson-cover band. Perhaps not the
most inventive music ever recorded, but the guitarist/composer is a dead
ringer for that era of Fripp.
John Kitamura/ Univ of Toronto
[][][][][][][][][][]
Date: Tue, 4 Mar 86 01:21:13 EST
From: nessus (Doug Alan)
Subject: In Remembrance of Pamela Stevenson
>> [Me:] If anyone thinks they know how "aresh aresh tomp pare hairdo"
>> should really read, or knows what a "Cop Boutique" is, please let
>> me know:
> [gtalylor:] I'm surprised that a dedicated obscurantist such as
> yourself could miss where "aresh" comes from.....after all, the
> author's name is right there in the song! Yep, good old Marcel Brust
> -oops, that's Proust. The real title is "A la Recherche du Temps
> Perdu", translated in English as "The Remembrance of Things Past."
Oh well, so much for my knowledge of French literature... Actually I
know of the book -- just not the author.
Good detective work! I went back and listened to the song, and think
that the line is actually a play on the real title. It now sounds
like
Went to my hairdresser to have a hairdoo
He asked if I him knew 'A la Recherche Tete-Temps Perdu"
> It's a 3 volume set of 7 "books" in the most elliptical Frogspeak
> you can imagine whose siren charms are known to all. It is the
> novelistic equivalent of very good brandy. It will either entirely
> captivate your or put you right to sleep, just like you-know-who.
How much is lost or altered in translation, though? I have enough
trouble with elliptical English Frogspeak, without trying to tackle
French Frogspeak.
"La plume de ma tante est sur la beaureau de mon uncle
Et le papier de mon uncle est sur la beaureau de ma tante"
Doug
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (03/08/86)
Love-Hounds Digest Saturday, March 8, 1986, 11:32
Today's Topics:
Here Comes The Flood
Dischord Address
[][][][][][][][][][]
Date: Tue, 4 Mar 86 11:56:43 EST
From: hsut@purdue-ecn.ARPA (Bill Hsu)
Subject: Here Comes The Flood
I don't have Fripp's Exposure, but I've heard both versions of HCTF. If
I didn't hear the piano solo version first, I probably would have hated
the song; all those mushy strings on the Peter Gabriel I version make it
one of the worst arrangements on the album. I'm pretty ambivalent about
the production on that album. Some of the already wonderful songs are
really enhanced (e.g. the Humdrum), but the awful strings on side 2 are
simply TOO MUCH. Kind of reminds me of the doodling on some very early
Genesis albums like Trespass.
Confession of the day: I bought my first Peter Hammill album only fairly
recently. Some of the ballads were a little too sappy for me, but the
upbeat rockers are all clever and effective. Did stuff like "Imperial
Zeppelin" and "Good Morning Sunshine" get much airplay when they first
came out? I seem to remember hearing some of them in my dubious past...
Bill Hsu
"Makes you go where you can't go
Makes you want what you can't have
Desire..."
[][][][][][][][][][]
Date: Tue, 4 Mar 86 15:41:30 EST
From: Hofmann <hofmann@AMSAA.ARPA>
Subject: Dischord Address
The address for Dischord Records is:
3819 Beecher St. NW
Washington, D.C. 20007
I think a SASE should get you their latest catalog.
The Snakes LP I reviewed yesterday is $5 as are most
of their LP's. So the 45's and EP are usually
priced accordingly. With the money you save, it's
well worth getting your shipment insured.
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (03/09/86)
Love-Hounds Digest Sunday, March 9, 1986, 02:24
Today's Topics:
Princess Tinymeat?
My encounter with "The Most Feared Man In Rock"!
I think I'm going to die...
The Handsome Cabin Boy
[][][][][][][][][][]
Date: Wed, 5 Mar 86 13:37:25 est
From: David Oskard <dno@cvl.umd.edu>
Subject: Princess Tinymeat?
Somebody tell me about Princess Tinymeat! Sounds like a real winner.
dno
~r
[][][][][][][][][][]
Return-Path: <umcp-cs!jhunix!jhunix!ins_aset>
Date: Wed, 5 Mar 86 15:53:20 EST
From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV>
Subject: My encounter with "The Most Feared Man In Rock"!
The Fall are my favorite band currently in existence (that neatly
sidesteps Roxy Music and Joy Division). Maybe that's why I was
so nervous yesterday as I sat in Washington's 9:30 Club, waiting
for them to emerge...I've interviewed so many musicians, both
famous and obscure, and I thought that jittery feeling had gone
away forever!
But then again, lead singer Mark E. Smith is "The Most Feared
Man In Rock," according to the British music weeklies (forgot who
it was exactly who gave him this tag). He sing-speaks his acerbic
lyrics, often unintelligible, and has been known to show hostility
to many an interviewer. I was hoping and praying that I would
get to speak to his wife, Brix, one of The Fall's three guitarists
and a Californian. Of course, things never go as planned...the
tour manager handed Brix over to everyone's fave rockcrit guy,
J.D. Considine, as I silently fumed and tore up the two pages of
questions I had been wanting to ask Brix...
Then I saw MARK E. He looks exactly like he does on the record
covers. He wasn't snarling or anything, but I was still worried.
Karen, the aforementioned tour manager, broke the news that I'd
be speaking with Mark and guitarist/bassist Craig Scanlon. We
were told to go to a bar and grill about two blocks from the club.
We weren't told exactly where it was. Fortunately, my fellow
interviewer/boyfriend had spotted it on the way and we managed to
get there without too much difficulty.
Well, believe it or not, Mark E. Smith is a nice guy!!!!!!!!!!!!!
He'
He has a great sense of humor, and although he said he'd done ten
interviews the day before and wanted to leave most of the talking to
Craig, he ended up joining in the conversation and even staying
around to talk to us after Craig had gone back to the soundcheck.
We talked about politics, Japan, all kinds of weird things. Craig
told me that he had spent his free day in DC touring the NRA...
Best line from Mark: an obnoxious DJ from a Rochester, NY station
came to the bar to fetch him back to the soundcheck, and on the way
walking back, asked what guarantee the Fall had gotten (i.e. $$$).
Mark said, "We don't talk about things like that in England. It's
like asking me what kind of sex I have with my wife!"
The Feared Side of Mark E. emerged at the show itself, when the
monitors weren't working. Mark kicked over the synthesizer (it
still worked!), the mike stand, and threw beer on the audience.
The audience soon joined in the violence, and a few started slam-
dancing madly. I had a great place near the front and found myself
so jostled around that I attempted to move to the left...however,
the slamming grew wilder and I spent the entire show in much closer
contact with my fellow audience members than I cared to be. As
for the show, it was OK, not great...the band wasn't in a good
mood, perhaps because of the equipment...Mark E. was commenting
earlier about how badly the 9:30 Club was run. The versions of
"Cruisers Creek" and "L.A." were rather lame. They did lots of
new material and obscure single b-sides...
All in all, the interview was by far the best part of the show.
Sorry to have prattled on for so long, but if you aren't interested
in the Fall, you probably haven't read this far anyway.
sue
[][][][][][][][][][]
Return-Path: <bdmrrr!potomac!jsl>
Date: Wed, 5 Mar 86 18:07:14 est
From: bdmrrr!potomac!jsl@seismo.CSS.GOV (John Labovitz)
Subject: I think I'm going to die...
There are SOOO many good concerts and shows this month that I think my brain
might explode. For you people in the DC area, here's what I think are
interesting. Some of these are on tour, so check for them in your town.
13th Jonathan Richman [Saba Club]. Yeah yeah yeah! This is his yearly
(or so) appearance (last year he came twice). I think the modern
lovers are going to be with him, at least some form of them.
15th Tru Fax and the Insaniacs [9:30 Club]. Ok, so they aren't a hot new
band, but they're silly and fun.
16th Pussy Galore, Madhouse, (others) [1819 H St NW (some bar -- if
anyone's interested, mail me and I'll find out)]. Pussy Galore is
supposedly really bad, so it should be interesting. Madhouse is
good.
28th Robyn Hitchcock [9:30 Club]. YEA YEA YEA again. He just played here
a couple of months ago, did he come back again from England, or
is this still the same tour? Anyway, should be good. This time
I'm going to tape it... (altho the 9:30 club just started frisking
people for things like that).
28th Troubled Garden [dc space]. WHY ARE THEY PLAYING THE SAME DATE
AS ROBYN??? ARGG! This is a *great* band. And they had supposedly
broken up. Since 9:30 club is always late for everything, you could
probably walk down to dc space and stand outside and listen, then
go see Robyn.
Support your local scene. Support your remote scene. Just support something.
John Labovitz ..!{rlgvax,seismo}!bdmrrr!potomac!jsl
--
Don't act so embarrassed
It's a family trait
-- Robyn Hitchcock
[][][][][][][][][][]
Date: Thu, 6 Mar 86 02:00:31 EST
From: nessus (Doug Alan)
Subject: The Handsome Cabin Boy
Kate's new import twelve-inch single has been available in the U.S.
for more than a week now, so I trust you have all run out and bought
it, so that you have every note KB has ever put down on vinyl. But
for those errant few who do not have it yet or who have not researched
it's entire history, I will tell you about it.
The A side contains a totally new version of the song "Hounds Of
Love". It is *not* a remix, but a totally new version called
"Alternate Hounds Of Love". It is so different from the original, you
could even say it's a new song. The drum beat is similar and it has
the cellos chugging away, but the melody and lyrics are different. It
is better than the original, musically, though the lyrics are more in
the extended remix vein. The background vocals border on the silly
(even more so than on the original), but someohow the sillyness fits
perfectly and it sounds great.
The B-side contains the album version of "Jig Of Life" and a new song
"The Handsome Cabin Boy". "The Handsome Cabin Boy" is a traditional
dirty sea chantey, and Kate sings it a cappela in her best Scottish
accent. Throughout there is a haunting chorus of Kates in the
background droning a continuous two notes that are a fifth apart.
This is really neat not only because it sounds *really* intense, but
also because this is what bag pipes do. Bag pipes have three pipes.
The pitch of one of the pipes can be controlled, but the other two
pipes always play the same two notes which are a fifth apart.
I have known for a while that Kate Bush was introduced to music as a
kid by singing dirty sea chanteys with her brothers, and I find it
strange that a dirty sea chantey now appears on her record. When I
interviewed Kate, one of the questions I was going to ask if I had the
time was if she would be willing to sing one of the dirty sea chanteys
she sang as a kid. And now one is on her record! In any case, I have
heard the song "The Handsome Cabin Boy" before. In fact, I heard it on
a tape of a radio show done about five years ago where KB was guest
DJ. HCB was one of the songs she played, and she said it's an
"absolutely classic story". It was peformed by A. L. Loyd and Euwan
McCall. I'm told that has also been performed by Gordon Bok.
These are the lyrics as Kate sings them:
It's of a pretty female as you may understand
Her mind been bent for rambling into some foreign land
She dressed herself in sailor's clothes, or so it does appear
And she hired with a captain to serve him for a year
Her cheeks they were like roses and her hair all in a curl
The sailors often smiled and said he looked just like a girl
But eating all the captain's biscuit her colour did destroy
And the waist did swell of pretty Nell, the handsome cabin boy
It was in the Bay of Biscay her gallant ship did plow
One night among the sailors was a fearful floorin' row
They tumbled from their hammocks, for their sleep it did destroy
And they swarmed about the groanin' of the handsome cabin boy
"Oh doctor, dear. Oh doctor," the cabin boy did cry
"The time has come -- I am undone, and I will surely die"
The doctor come a'runnin' and a'smilin' at their fun --
To think a sailor lad should have a daughter or a son
The sailors when they saw the joke, they all did stand and stare
The child belonged to none of them, they solemnly did swear
And the captain's wife she says to him, "My dear I wish you joy
For 'tis either you or me's betrayed the handsome cabin boy"
[the end]
There are two verses to the song which Kate has left out. One is the
second verse:
The captain's wife she being on board, she seem-ed in great joy
To see her husband had engaged such a handsome cabin boy
And now and then she'd slip in a kiss, and she would have liked to toy
But it was the captain found out the secret of the handsome cabin boy
[end of second verse]
The other is the last verse:
Then each man took his tot of rum, and drunk success to trade
And likewise to the cabin boy, who was neither man nor maid
Here's hopin' the wars don't rise again, our sailors to destroy
And here's hoping for a jolly lot more like the handsome cabin boy
[end of last verse]
Coming soon: Kate directs her first video ("Hounds of Love") and they
are showing it on Night Flight and V66....
"Run, run, run, run, run, run, Honey
Run from the hounds of love"
Doug
P.S. KB trivia for today: I know two different people who heard Tod
Rungren guest DJ two different radio shows back in '78 or '79, and he
played nothing but Kate Bush.... (So you see, Jim, Tod is good for
something!)
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (03/10/86)
Love-Hounds Digest Sunday, March 9, 1986, 20:24
Today's Topics:
fanzine drivel (drrroooooool)
Cocteau Twins
"Leave it Open"
sick zine drivel, part 2
We let the weirdness in
Re: My encounter with "The Most Feared Man In Rock"!
backwards messages
Broken Kneecaps
Boiled in Lead on tour
Princess Tinymeat
[][][][][][][][][][]
Date: Thu, 6 Mar 86 11:50:16 EST
From: Hofmann@AMSAA.ARPA
Subject: fanzine drivel (drrroooooool)
Well, how about that! That "handsome cabin boy" is a rewrite of Jack O' Roe (listed
in the album by the Dead as Trad.) ... the whole theme of the woman posing as
a boy seems to be a retread from the fabled Cloudbusting appearance by the K. But
has she been listening to the dead now too?
On to something else and that something else is this problem, albeit overblown,
with the independent record promoters. Just so there is no confusion, independent
record promoters have little to do with independent record companies or artists.
They are basically "hires" in various regional areas by the major labels and
I'm sure by the indies to run from station to station and promote songs usually
on AOR. This problem some grand jury in New York is investigating has to
do with some of them offering untouched kneecaps in return for airplay and has
strong organized crime overtones ... well, I wonder if EMI hired anyone to promote
Kate's music....
Second - too bad Sue, I heard a phone interview with Brix on WCVT and she sounded
really nice... her Californiaisms don't even show through and at times she sounded
English. The interviewer had some really good questions for her, so you might
want to try and get a hold of the tape now that you are good buddies with him.
Jim
[][][][][][][][][][]
Subject: Cocteau Twins
Date: Thu, 06 Mar 86 13:28:36 -0800
From: alfke@csvax.caltech.edu
Has anyone on this list raved lately about the Cocteau Twins? Being a new
subscriber, I wouldn't want to repeat things others have already said ...
If I don't hear "we've DONE that already" from anyone, I'll see fit to go
ahead and describe their wonderfulness. Not to worry; I won't get embar-
rassingly effusive ("Liz Fraser is the VERY VOICE OF GOD"*), and, their
music being what it is, I can't give any strainedly intellectual analyses
of their lyrics. Just reasonably restrained rapt adulation.
--Peter Alfke
alfke@csvax.caltech.edu
--------
*Liz Fraser can be the Very Voice of God on Mondays, Wednesdays, Fridays,
and Sundays, while Kate Bush can be the V.V.o'G. on Tuesdays, Thursdays
and Saturdays. Yes, Kate only gets three days, but she sings louder.
"Just trying to be fair!"
[][][][][][][][][][]
Subject: "Leave it Open"
Date: Thu, 06 Mar 86 13:31:23 -0800
From: alfke@csvax.caltech.edu
I've just borrowed a friend's copy of "The Dreaming" (I'm waiting for the
disc release before I buy my own), and I'm wondering about the very end of
"Leave it Open". I always assumed that the backwards^2 voice said "We let
loneliness in", but our noble moderator claims it's "We let the weirdness
in". I still think the first version sounds better, but now I'm unsure
which is right. Does anyone have the unvarnished gospel truth about what's
really being sung? If not, maybe we could vote or something.
I know, it's a trivial point, but these little things bother me at times.
(I even --gasp-- keep my record collection in alphabetical order, for which
I often get teased by my girlfriend.)
--Peter Alfke
alfke@csvax.caltech.edu
"eeeeesplagh snyet klep Satan llllllops"
--from "Stairway to Heaven" (played backwards)
[][][][][][][][][][]
Date: Thu, 6 Mar 86 17:01:37 EST
From: Hofmann@AMSAA.ARPA
Subject: sick zine drivel, part 2
SO you all think Doug is bad about Kate? Check out what this
guy named Billy Boy thinks about his godhead ...
she "projects a great outlook on life. What person do you know
who goes through life with a smile on her face?" He also feels
that the diversity of ... [her and her familiars] ... "shows the
diversity of taste, the things that exist in life....It's freedom."
He also find cleanness, goodness and humanity symbolized in
the slim, long-legged person of his ... "goddess."
Who is this person that Billy Boy is talking about? How many albums
does she have? Who is her boyfriend? does she eat Kit-Kats????
Well, Billy Boy's "goddess" stands only 11 1/2 inches high, has
no albums and a boyfriend named "ken" ... you guessed it! Barbie-doll!
This guy sounds sicker than Wicinski in his Mary Lou Retton blow-up
doll obsession ... he's got 10,000 Barbies in his collection and
countless little dresses and play accesories. The picture of him
shows a psyche-type with a mod-style haircut, a paisley print
nehru jacket and sunglasses ... he's holding a Barbie dressed
in a black dress and wearing black sunglasses....
Kinky, man!
>From the Baltimore Sun, reprinted without permission ... (did you
actually expect me to ask them, I mean, jeez...)
----
"I see girls working, it just makes me giggle
I don't have to work, I just have to wiggle
Cause I'm a BLOND
B-L-A-N-D
Cause I'm a BLOND
Don't you wish you were me?"
Jim "nuke" Hofmann
[][][][][][][][][][]
Date: Thu, 6 Mar 86 19:56:14 EST
From: nessus (Doug Alan)
Subject: We let the weirdness in
> From: alfke@csvax.caltech.edu
> I've just borrowed a friend's copy of "The Dreaming" (I'm waiting for the
> disc release before I buy my own),
You may be waiting for an awfully long time, then. "The Dreaming" was
not a huge sucess commercially in England. "Never for Ever" is not
yet on CD and it was much more successful (it was Kate's other #1
album). Just to give you an idea of the relative success of "The
Dreaming", it went gold in England (100,000 copies) after three years.
"Hounds of Love" went platinum (300,000 copies) in two months.
> and I'm wondering about the very end of "Leave it Open". I always
> assumed that the backwards^2 voice said "We let loneliness in", but
> our noble moderator claims it's "We let the weirdness in". I still
> think the first version sounds better, but now I'm unsure which is
> right. Does anyone have the unvarnished gospel truth about what's
> really being sung?
Kate says that it's "We Let The Weirdness In". In fact she ran a
contest in her newsletter to see who could get it right first. I know
someone who called her up once a week, every week, for months, with
guesses. He never got it right. Personally I think he's bonkers.
But Kate says all her fans are wonderful people, so who am I to argue.
> If not, maybe we could vote or something.
I know some people who swear that's it "We let the madness in", even
knowing what Kate says it is. But it sounds just like "We let the
weirdness in" to me. In any case, who says Kate's right anyway? She
is singing it bakwards, after all. Do you get to make the
authoritative decision on what you are saying, when you are speaking
backwards?
> (I even --gasp-- keep my record collection in alphabetical order, for which
> I often get teased by my girlfriend.)
I only keep half my records in alphabetical order, to avoid getting
teased....
"And they said they were very ill"
Doug
[][][][][][][][][][]
Date: Thu, 6 Mar 86 11:30:20 EDT
From: seismo!bdmrrr!potomac!jsl (John Labovitz)
Subject: Re: My encounter with "The Most Feared Man In Rock"!
X-Mailer: msg [version 3.2]
Hi. I went to the Fall show also. I didn't think it was that hot --
probably just because the band was in a bad mood. Then again, most of the
Fall that I've heard before was off ``Live at the Witch Trials,'' so maybe I
was hoping for too much.
Is the drummer the same as on most of the albums? He sounded a lot
different live; don't know if it was just miking techniques, or an
incomplete drum kit, or what.
What did you think of the Volcano Suns? I enjoyed them more than the Fall,
actually. Nice simple punk / rock. I love the drummer's voice (and
screams)...
John Labovitz ..!{rlgvax,seismo}!bdmrrr!potomac!jsl
--
Don't act so embarrassed
It's a family trait
-- Robyn Hitchcock
[][][][][][][][][][]
Date: Thu, 6 Mar 86 18:50:16 pst
From: Andrew Scott Beals <bandy@lll-crg.ARPA>
Geographic-Location: Slumlandia @ Ground Zero, Livermore Ca
State-Of-Mind: don't trust a friend, report him!
Subject: backwards messages
I just took an old Donnie and Marie album and played it backwards
on my turntable. I heard someone telling me to be nice to my brother
and sister.
Does this mean anything?
andy
[][][][][][][][][][]
Date: Thu, 6 Mar 86 22:46:38 EST
From: nessus (Doug Alan)
Subject: Broken Kneecaps
Hey, Jim, some of us only have 80 column windows!
> From: Hofmann@AMSAA.ARPA
> Well, how about that! That "handsome cabin boy" is a rewrite of
> Jack O' Roe (listed in the album by the Dead as Trad.)
How close are the lyrics in "Jack O' Roe" and why is it called "Jack
O' Roe"?
> ... the whole theme of the woman posing as a boy seems to be a
> retread from the fabled Cloudbusting appearance by the K. But has
> she been listening to the dead now too?
Actually, KB has been into this role reversal thing for quite some
time. For example, there's a song of hers called "Ran Tan Waltz",
where Kate sings from the point of view of a man who has a
less-than-dedicated wife. When she performed it on her TV special,
she was dressed up like a guy with a hat and beard and three-piece
suit. Her two male dancer friends were there too. One was dressed up
as the baby (in diapers, etc.), and the other one was dressed up as
Kate's wife. Near the end of the song, Kate's beard and hat falls off
and her hair comes down. Her wife takes off his wig and turns back
into a guy again. All in all, it was pretty weird.
> ... well, I wonder if EMI hired anyone to promote Kate's music....
Well, actually, the guy I met at the Roger Miller concert who was
promoting Kate Bush is some sort of contractor.
And back after "The Dreaming" was released in the U.S., and it got
rave reviews, and sold more than the three copies that "The Kick
Inside" must have here, EMI-America decided that they were going to
promote Kate Bush for the first time. They released a compilation EP,
and hired someone from a hip independent record company to run
promotion. The independent promoter ran some contest where college
radio stations were encouraged to put on a Kate Bush video show. The
person running the best show would get to go to England and meet Kate.
(It's illegal to offer such prizes for air play.) I never heard of
the prize being given out, however. It sounds like the type of thing
that the record company assumes is okay before getting approval from
the artist. WLIR was giving out a date with Kate Bush as a prize when
she with in New York in November. The winner was sorely disappointed,
I'm sure, because Kate said "No way, Hose" to WLIR (though probably
not in those words).
I haven't heard of anyone's kneecaps being broken, however.
"But some night she'll run back in fright
When she picks on a Dick that's too big for her pride"
Doug
[][][][][][][][][][]
From: seismo!cmcl2!floyd!stolaf!robertsl (Roberts, Laurence C.)
Date: Wed, 5 Mar 86 12:25:34 cst
Subject: Boiled in Lead on tour
Hey folks-
Got a card in the mail from Boiled in Lead. They'll be touring
out on the east coast in the next couple weeks. The card mentions dates
at Folk City in New York on March 12th, and The Sequel in Chicago on
March 16th. Then us Minneapolitans can catch them at First Avenue on
March 17th.
For those of you who don't know already, Boiled in Lead plays
electrified traditional Irish music. They make those old tunes really
groove, and throw in other musical styles, from reggae to jazz to punk.
They're also really talented multi-instrumentalists.
They also mention that their second album, Hotheads, is still
being negotiated. Can't wait....
Laurence Roberts
...ihnp4!stolaf!robertsl
[][][][][][][][][][]
Date: Thu, 6 Mar 86 13:55:27 pst
From: ia-sun2!smeagol!earle@csvax.caltech.edu (Greg Earle)
Subject: Princess Tinymeat
Princess Tinymeat is a three person band from Ireland. Members are
Tom Rice, Sissy Box, and Biinti. Front-person Biinti is a former member of
the Virgin Prunes. Biinti is vocalist, the other two play the
instruments, synths, and tapes.
They have put out a 12" single (1985), which was notorious for having
two nekked pics of Biinti on the sleeve, with circular white stickers
covering the Naughty Bits. I am not at home, so I do not recall the tracks
off the top of my head. Last month they released a 7" single, with tracks
A Bun In The Oven / Wigs On The Green. Although I find the A-side a slight
disappointment (*** Warning - Personal Opinion - Danger Will Robinson! ***)
the B side makes a laughing stock of every other 1986 record I've heard.
You have been warned ...
::::::\:::::::::
::::' \: `::::
::' /:\ `::
Anarchy, Peace, and Freedom :: / ::\ :: Devastate to Liberate
:: /_____\ ::
::./:' :: `\..::
::/:. :: .\:::
:::::::::::::\::
Greg Earle sdcrdcf!smeagol!earle (UUCP)
JPL ia-sun2!smeagol!earle@csvax.caltech.edu (ARPA)
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (03/11/86)
Love-Hounds Digest Tuesday, March 11, 1986, 05:00
Today's Topics:
Jack O'Roe and traditional themes
Laurie Anderson tour? (2 msgs)
[][][][][][][][][][]
Date: Fri, 7 Mar 86 9:51:44 EST
From: Hofmann@AMSAA.ARPA
Subject: Jack O'Roe and traditional themes
Jack O'Roe? You might have better luck querying net.dead but from what I've
heard of the song - it is the same theme about a woman posing as a cabin boy
but the story is quite different. Apparently, this Jack O'Roe is dressed as
such to follow her love into war. I'm not sure if her sailor boyfriend finds
out who she is until the very end when she lies dying after saving him I think.
She states that she would rather see, "10,000 fall" than see her boyfriend die.
Again, my grasp of lyrics and facts is very tenuous. But then what are facts,
anyway? Usually things that get disproved later anyway. Are we speaking
relativistspeak or redundantspeak?
So the Dead song is a lot less baudy and more sad. So be it.
Alot of traditional songs (especially from England) make their way in varying
degrees to rock. Stagger Lee comes to mind - I've heard the Dead do this
song and the Clash do this song and some old bluesmen do this song and each
time it's different. Anyone know of other Stagger Lee "covers"?
Summary:
Group Proposed Interpretation
-----
Dead Stagger Lee is a big bully who shoots
some dude named Billy(?). Billy's
girlfriend shoots Stagger Lee's balls off
("he shot my baby dead, now he's got to die")
when the police prove ineffectual ("you
bust the girl who are turning tricks
but you're scared of Stagger Lee").
Clash The Clash specifically warn Boyo to stay
away from STagger Lee. He's dangerous
and will only hurt you.
old bluesman Typical male revenge song. Billy blows
away Stagger or Stagger wins....
Jim Croce Same type of story, different name - Leroy
Brown.
[][][][][][][][][][]
Date: Fri, 7 Mar 86 12:17:53 EST
From: hsut@ec.purdue.edu (Tsun-Yuk Hsu)
If you're thinking of replacing your worn-out Talking Heads tapes with
the $3.50 copies of Fear of Music and Remain in Light listed in the
recent Wayside catalog, be warned that no lyric sheets are included.
Also, my cassette of Cabaret Voltaire's Crackdown came in a
half-disintegrated cassette case (the tape was undamaged). And of course
they sold out of Sonic Youth's Kill Yr. Idols. AAAAAAARGGHHHHHHHHHH!!
Other than that, of course, Wayside is still a great place to order
your obscure music from.
(How can you be out of Sonic Youth? Sigh...)
"Suicide statements are the measure of the man"
Bill Hsu
[][][][][][][][][][]
Return-Path: <bdmrrr!potomac!jsl>
Date: Fri, 7 Mar 86 01:59:41 est
From: bdmrrr!potomac!jsl@seismo.CSS.GOV (John Labovitz)
Subject: Laurie Anderson tour?
While reading net.music.synth, I noticed references to various Laurie
Anderson shows. Is she on tour? Does anyone know the tour schedule;
in particular, is she coming to DC?
PLEASE let me know. I really want to see her again (so does my mother,
and about 10 of my friends).
John Labovitz ..!{rlgvax,seismo}!bdmrrr!potomac!jsl
--
Don't act so embarrassed
It's a family trait
-- Robyn Hitchcock
[][][][][][][][][][]
Date: Sat, 8 Mar 86 02:40:23 EST
From: nessus (Doug Alan)
Subject: Re: Laurie Anderson tour
Laurie Anderson just played the Centrum in Boston. I don't know,
however, whether or not this was part of a tour, or where she is
playing if it is. Be on the lookout!
"Last night I dreamed I had to take a test in a
Dairy Queen on another planet"
Doug
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (03/12/86)
Love-Hounds Digest Wednesday, March 12, 1986, 01:12
Today's Topics:
Oops re Laurie Anderson
Laurie Anderson Tour (2 msgs)
Record Convention
Laurie Anderson
Re: Love-Hounds Digest
Song heard in a Dairy Queen on another planet
[][][][][][][][][][]
Date: Sat, 8 Mar 86 12:55:07 EST
From: nessus (Doug Alan)
Subject: Oops re Laurie Anderson
Oops, that was the Orpheum in Boston -- not the Centrum.... Sorry.
-Doug
[][][][][][][][][][]
Subject: Laurie Anderson Tour
Date: Sat, 08 Mar 86 12:39:53 -0800
From: alfke@csvax.caltech.edu
I'm pretty sure she's on tour; she's playing LA in a few weeks. Rolling
Stone magazine probably has the info.
Is there any word on the film of United States? Or a new album?
--Peter Alfke
alfke@csvax.caltech.edu
"I can see the future It took me months to
and it's a place -- realize she was talk-
about 70 miles east of here..." ing about time-zones
[][][][][][][][][][]
Date: Sat, 8 Mar 86 19:54:48 est
From: Repo Hacker <wicinski@nrl-css.ARPA>
Subject: Record Convention
I went to a record convention at Univ. of Maryland today, saw some neat
stuff. the new thing is Kate i guess, since most people had katye
paraphanelia. Doug's friends from the Record Convergence were there,
and I got a Robyn Hitchock 12" of Heaven for a couple of dollars.
Good Things: Butthole Surfers on video !!! real hot stuff.
Also, some kate collectors were selling all the usual stuff, along with
a copy of Singles File for 50.00 (ho hum you say, but wait...). So like
I look at the singles file, not owning one myself. The lady was
twlling me about the fact that there all numbered, and she opens
the book to show me the number and guess what number it was ??
No. 00001. Amazing. The guy behind me offered 75.00 for it
immediately. Except once the dealers saw the #, the freaked out and
weren't sure if they wanted to sell it. The owner was very confused
and was still walking in circles when I left. Guess you had to be there.
Also saw a 7" of "The Man who Invented Himself" by Robyn. too much
for my budget though....
I'll save all my trite lamblasting of various people for later....
[][][][][][][][][][]
Date: Sat, 8 Mar 86 20:57:52 EST
From: Jean Marie Diaz <ambar@ATHENA.MIT.EDU>
Subject: Laurie Anderson
Reply-To: ambar@artemis.MIT.EDU
Usnail: 259 St. Paul St. Brookline, MA 02146
Phone: (617) 734-0648
I saw Laurie Anderson at the Orpheum (not the Centrum, Doug) last
Friday (the 28th). Wow. She was originally scheduled for one show,
but they wound up adding another at 10:30 (which didn't start,
naturally, until 11:15). It was really good. Unfortunately, I've no
idea whether this is part of a tour or not.
Jean
[][][][][][][][][][]
Date: Sat, 8 Mar 86 15:33:45 PST
From: David Fetrow <allegra!uw-beaver!entropy!fetrow>
Posted-Date: Sat, 8 Mar 86 15:33:45 PST
Subject: Re: Love-Hounds Digest
Is anyone there interested in the Northwest (you know: Washington, Oregon)
scene? It is a little bit wierd: e.g. Spokane country-western band (Bighorn)
moves to Seattle, changes name to Allies, makes a video, wins basement tapes
competetion on MTV (I'm in Love with Emma Peele), gets no contracts or even
offers, releases a nice EP which sells well locally but goes THUD nationally
and goes back to Spokane (where they can at least make the rent).
-Dave
[][][][][][][][][][]
Date: 9 Mar 1986 1408-PST (Sunday)
From: Elgin Lee <ehl@su-navajo.arpa>
Subject: Re: Laurie Anderson Tour?
I just saw her in Berkeley Friday night. According to the last
Rolling Stone (no, I don't normally read it, and yes, I think it's a
piece of junk), the tour is a very short one, covering only Boston,
Philadelphia, New York City, Chicago, Berkeley (RS says SF, but what
do they know ...), and Universal City.
The show was promoting her new concert movie (Home of the Brave), so
people who mixed the tour will probably have to be content with
watching the movie.
Elgin
[][][][][][][][][][]
Date: Sun, 9 Mar 86 17:58:52 EST
From: nessus (Doug Alan)
Subject: Song heard in a Dairy Queen on another planet
Last night I dreamed I was in a Dairy Queen on another planet. And on
the radio was a new Laurie Anderson song. And the lyrics were:
Attention shoppers. You are in a store. You are in a grocery store.
Remember this. Remember.
And I looked.
And there were three boxes of Green Elephant breakfast cereal.
And the elephants were green. And the box was blue.
And they said to me "We are the type. And you are the token.
We are the type. And you are the token."
And they were green.
And they were smoking big Cuban cigars.
And they were wearing big Cuban sports jackets.
And they said to me:
Attention shoppers.
You are in a store. You are in a grocery store.
Remember this. Remember.
And I said: Oh,
Yeah.
Cuz: We are the type. And you are the token.
Cuz: We are the type. And you are the token.
Cuz: Love is a secretary. And death is a waiter.
So, I got in the elevator and pushed L
Yeah, I pushed L.
Yeah.
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (03/13/86)
Love-Hounds Digest Thursday, March 13, 1986, 06:23
Today's Topics:
What to do after "The Pink Opaque"
Dear Repo Hacker
obscenities (2 msgs)
Who's in PIL these days?
Attention all Mike Oldfield fans
Gabriel. Genesis. Ranting & ravings in one nonstop paragraph.
Gods-head Revisited
[][][][][][][][][][]
Subject: What to do after "The Pink Opaque"
Date: Mon, 10 Mar 86 04:58:40 -0800
From: alfke@csvax.caltech.edu
Several people I know or have heard from are familiar only with the
Cocteau Twins' "The Pink Opaque", so it seems that more productive than
ranting & raving would be for me to describe the albums, etc. that the
various songs are taken from...
"Wax and Wane" from the album "Garlands"
The re-mixing indicated on the liner notes is just the substitution
of a better drum machine. Kind of detracts from the song, in
my opinion. "Garlands" is fantastic, one of the eeriest, most
frightening records I've ever heard. "Wax and Wane" is typical,
though one of the best songs. Screeching guitar, droning bass...
Not as pretty as their later stuff, but it's one of my all-time
favorite albums.
"Musette and Drums" from the album "Head Over Heels"
"Head Over Heels" is my favorite of their albums, but they could
have chosen a better song from it. "Tinderbox of a Heart" and
"My Love Paramour" are amazing, stunning ... as is the album as
a whole. If you must buy only one more Cocteau Twins record,
buy this one.
"Hitherto" and "From the Flagstones" from the E.P. "Sunburst and Snowblind"
The E.P. also contains "Sugar Hiccup", a beautiful song from
"Head Over Heels", and "Because of Whirl-Jack". The latter is
a good song (so are they all, all good songs), but not worth
getting the whole thing for unless you're a completist.
"Pearly-Dewdrops' Drops", "Pepper-Tree" and "The Spangle Maker"
from the 12-inch single "Pearly-Dewdrops' Drops"
Well, there you have the whole single, although the version
of "Pearly-Dewdrops' Drops" on the single is just a bit different
at the start for some reason.
"Millimillenary" from an NME compilation tape
Well, I've never seen the tape, so what can I say?
(Has anybody seen it? What/who else is on it?)
"Lorelei" from the album "Treasure"
Two people have told me that this is their favorite song on
"The Pink Opaque", and it's certainly, along with "Ivo", the
best song on "Treasure". The rest of the album is good, but
not nearly as good as the other two, and there's some definite
filler on it. Get "Head Over Heels" first!
"Aikea-Guinea" from the E.P. "Aikea-Guinea"
I was disappointed by this song when it first came out, but
I like it more and more (it sounds even nicer in digital :-).
The other three songs on the E.P. are also good (even though
one's an instrumental) but not spectacular.
There are also two very good singles/E.P.s from which nothing was taken:
"Lullabies": released quite soon after "Garlands"; probably just after
they got a better drum-machine :-). Less scary than "Garlands"
("Feathers Oar-Blades" could almost be described as sounding
New-Order-ish) but in somewhat the same vein. Great stuff.
"Peppermint Pig" b/w "Laugh-lines" and "Hazel"
Three great songs. "Hazel" has the fastest 3/4 beat of any
song I've ever heard ... Chronologically, between "Lullabies"
and "Head Over Heels".
In addition, there are two new E.P.s, released almost simultaneously,
that I'll get around to reviewing sometime.
The lowdown? Get "Head Over Heels". If you like "Wax and Wane", get
"Garlands". Hell, all their stuff is good, those are just the ones I
like the best . . .
Enough self-indulgence. Back to our regularly-scheduled programming.
--Peter Alfke
alfke@csvax.caltech.edu
"Poor worthless lover, I'm all lackluster
I'm no longer multicolored,
I'm just multifoiled"
[][][][][][][][][][]
Date: Mon, 10 Mar 86 17:46:59 EST
From: cmoore@brl-vmb.arpa
Apparently-To: <love-hounds@mit-eddie.arpa>
Please stop using obscenities
[][][][][][][][][][]
Date: Mon, 10 Mar 86 16:18:43 EST
From: Hofmann@AMSAA.ARPA
Subject: Dear Repo Hacker
From: Repo Hacker
>
> Good Things: Butthole Surfers on video !!! real hot stuff.
(and for the low low price of 25$ or so - I might add)
Dear Repo Hacker:
y'know I got these friends, really into the old 60's stuff.
Something new to them is finding a Gregg Allman solo album
they never heard before ... and that's OK - I'm not putting
down their tastes at all - but I have been slowly working them
into different music, y'know startin out slow with say
Husker's latest LP or the Minutemen (careful not to show them
the revolutionary words -:-)) and a coupla a weeks ago, I
said, fuggit - let's go whole hog and give them da woiks - so
I played "To Parter" and "Tornadoes" from the latest Butthole
EP and tell ya the Plain Truth - They were blown AWAY, completely
and magnificiently (so was I but that's like a usual happenin',
y'see) ... then came the moment of truth (i.e. wherein my
initiates start bugging me for the name of this wonderful but
unknown group) ... I hemmed and hawed and mutter it under my
breath trying desperately to change the subject before they
pressed me too hard ... but they caught one of my mumblings
and said, "the what? the buttholes???" ... The sordid truth
out, I said without fear of retribution ... "yes, the (ahem)
Butthole Surfers" ... at first they laughed and then when they
straightened out they proclaimed (in all 60's-style seriousness),
"But they'd be good if they didn't have such a bad name!" "How
so?" I reply. "Well, they'd get a big record contract". SO,
dear Repo Hacker, should I have kicked them out the front
door or the back door?
Signed,
Madness and Mayham in Maryland
[][][][][][][][][][]
Date: Mon, 10 Mar 86 19:07:55 EST
From: nessus (Doug Alan)
Subject: Re: obscenities
> What's the story here? How about a word from our moderator here ...
>
> /jordan
Mr. Moore isn't on the mailing list, and I say "F*ck him". (Or
rather, "F*ck him", as it will appear in mod.music. Now mod.music
readers are going to be really confused because both of those quotes
will look exactly alike.) In any case, I don't know what Mr. Moore
is talking about, because Greg Skinner edits out obscenities for
mod.music anyway. Besides, I don't care what Mr. Moore thinks about
fine Anglo-Saxon words. This is someone that was interested in Husker
Du because from their name he thought they might be an "oldies" group.
Sh*t by any other name
Would still smell as sweet
Doug
[And now, a word from our moderator. Please encourage your fellow
love-hounds posters not to post profanity. If you *must*, please * out
the vowels or something -- people have been complaining about the
profanity. --gregbo]
[][][][][][][][][][]
Date: 10 Mar 86 (Mon) 11:19:13 EST
From: Keiji Kanazawa <kgk%brown.csnet@CSNET-RELAY.ARPA>
Subject: Who's in PIL these days?
Apparently-To: Love-Hounds
I would appreciate if somebody can tell me, or point me to, the usual
album specs for the PiL ``album''; who plays on what song and things
like that. I don't read music rags and all I can tell is that Laswell
co-produced it... Given that Lydon was on the Golden Palominos album,
I figure there's a chance some of the tracks have Fier and Laswell on
them, and I'm dying to find out..
[I don't know about Fier, but I know that Niki Scopalitus (or however
you spell that), who played on the Golden Palominos album also played
on "Album". -- Doug]
[][][][][][][][][][]
Date: Mon, 10 Mar 86 23:45:27 EST
From: ihnp4!utzoo!dciem!jeff
Subject: Attention all Mike Oldfield fans
I'm a big fan of Mike Oldfield, but his records are sometimes difficult to
find in North American record stores. If you want to increase your collection,
but haven't seen much in the stores, I may be able to help. I have several
Mike Oldfield records I would like to sell and replace with CD's:
7" singles: Blue Peter / Woodhenge
Mistake / (Waldberg) The Peak
Moonlight Shadow / Rite Of Man
Crime Of Passion / Jungle Gardenia
12" single: Shadow On The Wall (extended version) / Taurus 3
LP's: Tubular Bells (quadrophonic remix)
Hergest Ridge (vastly superior quadrophonic remix)
Ommadawn (quadrophonic remix)
QE2
Five Miles Out
Discovery
The quadrophonic records can be played on stereo equipment. All records are
imported from Britain except "Five Miles Out", which is Canadian, and all are
in new condition with the following exceptions: "Jungle Gardenia" has a bit
of noise near the end, "Discovery" has a bit near the beginning of side 2,
and I haven't listened to "Five Miles Out" but it may be a bit noisy because
my wife played it on her inferior turntable. These records cost me almost
$100, but I will sell the whole set for $50 in Canadian funds or the equivalent
in US funds (about $36), plus postage, which should be about $5 to Canada or
the US. If nobody wants to buy the whole set, I will sell them individually,
but the more records you buy, the lower the price per record will be. If
you're interested, send me mail at the address in my signature below.
If that's not enough for you, I have recently been corresponding with the owner
of the world's largest collection of Mike Oldfield records outside of England.
He is looking for several American and Canadian records that he can't get in
Europe (I have already sent him several Canadian records but he still wants
more), plus some rare European and Japanese releases. He is willing to buy
them or trade them for something that he has or can get. He has several records
that are either no longer available in North America or never were, which
he is willing to trade. He can also get you any Mike Oldfield album on CD
(except "Incantations" and "Exposed", which are not yet available). Here's his
name and address:
Hendrik Obbes
Ravensberger Str. 168
5600 Wuppertal 1
West Germany
I'm also always willing to talk about Mike Oldfield's music.
--
Jeff Richardson, DCIEM, Toronto (416) 635-2073
{linus,ihnp4,uw-beaver,floyd}!utcsri!dciem!jeff
{allegra,ihnp4,linus,decvax}!utzoo!dciem!jeff
[][][][][][][][][][]
Date: Tue, 11 Mar 86 02:04:05 EST
From: CUTTER%UMass.BITNET@WISCVM.WISC.EDU (Local UMass address is
Cutter@Mailer.CY175)
Subject: Gabriel. Genesis. Ranting & ravings in one nonstop paragraph.
Does anyone know anything about a new Peter Gabriel album? He's had
nothing since 1983's SECURITY, and I've had to console myself by
buying "peter gabriel" (III) in German, "Security" in German, and a total
of $80 of Gabriel bootlegs, some of which are worth note: "Swelled and
Spent: The Lamb Lies Down on Broadway Live" - no bass, but the audience
shut up during the songs and the spoken intros by Gabriel... "Milton
Keynes 2nd October 1982" - this is a "Fan Club Only" (baha!) release of a
Genesis/Gabriel reunion concert from 1982. Lotsa neat stuff, pretty good
sound quality. Gabriel does drums on "Turn It On Again", and he's pretty
good, too. Also, a nice version of "Solsbury Hill", and some WIERD intros.
"Games... Without Words" - hey hey! someone broke into Gabriel's home in
Bath and stole some tapes. Good quality, with some unreleased instrumentals.
Features Tony Levin, Jerry Marotta, and Larry Fast (Synergy). Strange version
of "I Go Swimming", extended version of "Games Without Frontiers" sans words
(most of the songs have no vocal trax) and an interesting synth percussion
track. And a very bad cover photo. Interesting to note: The reunion concert
comes in an attractive red gatefold with nice color photos from the concert
on the inside and out... It has a copyright notice, and is attributed to
"Jessicharisma Records". Uh-huh. Sure. Just like the "Return to Abbey Road"
bootleg that says it's an E.M.I. recording. Looks like one too, with a
back cover photo of the Abbey Road studios, and a front-cover consisting
of an alternate take for the Abbey Road cover - replete with Paul wearing
sandals and all 4 dudes walking the *other* *direction* across Abbey Road!
By the way, I advise you to pick up the AR Japanese CD. It's great!! Them
short little Asian critters ran that sucker through some heavy duty
computers to get it sounding nice, which it does. Also, I hear tell of a
new Genesis album coming out soon. After "Genesis", I have almost given
up on Phil and the boys. Better to listen to "Mike and the Mechanics", it's
much more interesting than whatever Phil-baby can do. Maybe it'll have a
small gem like "Illegal Alien", whose only redeeming value was that it was
the only non-love song on "Genesis". "Home By the Sea" was just plain
embarassing. Ah, for the days of "The Cinema Show", or "Supper's Ready"...
Back to the Gabriel album for a sec, and then I'll go away; considering
his rehashing of PGIII music for "Birdy", and the sound and feel of
"Walk Through the Fire" (for the "Against All Odds" soundtrack, I think),
plus his comment that "I like the sound of the second two albums better than
the first two", I think whatever PGVI turns out to be, it'll probably be
more pseudo-African-syntho-pop stuff, which is nice, but I'd like to see
him do another "Mother of Violence", or "D.I.Y.", or even another "Modern
Love"...
"Can't you feel our souls ignite?
Shedding ever-changing colours
In the darkness of the fading night.
Like the river joins the ocean,
As the germ in a seed grows,
We have finally been freed to get back home..."
Joe
"What Doug feels for Kate, I feel for
Petey G... 'cept I don't want to sleep
with Gabriel..." :-)
[][][][][][][][][][]
Date: Sat, 8 Mar 86 10:01:30 pst
From: allegra!sdcrdcf!smeagol!earle (Greg Earle)
Subject: Gods-head Revisited
[ This got bounced by csvax's stupid internet domain server, which suddenly
decided it didn't know about eddie.mit.edu's existence anymore.
Therefore, we try the snail route ... ]
New Siouxsie 12" is out. Luckily, in the fine tradition of Totally
Awesome Siouxsie B-Sides, they didn't let us down ... Check out
"Umbrella" and be totally amazed. These people are even older than me!!
Sheeit, they're almost THIRTY years old, and still come up with the goods.
Amazing.
Oh, yeah - in case I lost anybody with my 'Reasons To No Longer Avoid
Double Albums Like The Plague':
Hula are the spiritual successors to the pre-commercial Cabaret Voltaire -
from Sheffield; use found voices, sounds, etc.; funk based (loosely) but
with a final brew that is not really 'funky', etc. [we're talkin' Before
"Crackdown"/Virgin/Some Bizarre Cab Vol here, folks]. If you bid a sad
farewell to Cab Vol after "Micro-Phonies", do not despair... All is not lost.
Severed Heads are from Australia, and they sound like ..... Severed Heads.
That should leave ya guessing ...
"... Now An Explosive New Movie ..."
Greg
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (03/15/86)
Love-Hounds Digest Saturday, March 15, 1986, 10:24 Today's Topics: Re: Obscentities Re: Buttholes and Record Contracts Mike Oldfield CDs Camper Von Beethoven [][][][][][][][][][] Date: Tue, 11 Mar 86 07:32:16 est From: Knight of the Iguana <wicinski@nrl-css.ARPA> Subject: Re: Obscentities Sorry, people but since this is a psuedo-moderated list with its own psuedo-moderator and without the wimpy-ass-snivvelling-geeky-unix-compunerd thats normally infestate the bowels of most unix-slime groups, I see no reason to stop the obscentities. If this person is like, completely freaked out and mortified, then he wouldn't read net.muswank and since he doesn't even belong here, well he has no chance. wadda you going to do, tell me mommy and daddy ??? you sound to me like a new age wanker. go find yerself and when you do, don't come complaining to me cause your holistic healing didn't go as planned. [][][][][][][][][][] Date: Tue, 11 Mar 86 08:48:47 est From: Knight of the Iguana <wicinski@nrl-css.ARPA> Subject: Re: Buttholes and Record Contracts Well You know what Mr. Mayhem and Confusion in Maryland, I have a story that will give you an answer to your question. When I worked with the awesome teen-pop combo, those Screaming Igunas in Love, the main maniac (know as Dr. Obvious) decided we needed some more exposure, so a few of our songs were sent to the newspaper in orlando, as well as a florida music magazine (city-paper-ish, but not as trendy, more rock and roll drivvel), and actually someone called him and wanted to come down and talk to us. The dr. was very excited, he was gathering blenders at a furious rate and preparing for an interview that would blow his mind more than any amount of LSD could do. When the dude showed up (he reminds me of a JD considine look-alike), we talked for awhile, then he said he couldn't write the article about us because "Our band name was not suitable for a family publication and if we had a better name we would be more popular". When we said why, he could not elaborate. HOWEVER, he said he could write the article for the muswank magazine, but "we would have to pay him to convince the editor it was worthwhile." At this point another member, Lt. Cryptic left to go get 'more beer'. Instead he dumped a good dose of sugar down the dude's gas tank. We told the to f*ck off, he split, got 5 miles down the road when his car fucked stop operating. He ended up hitchiking the 50 or 60 miles back to Orlando. We were also refused studio time because the studio owner 'didnt like our name'. >"But they'd be good if they didn't have such a bad name!" "How >so?" I reply. "Well, they'd get a big record contract". My question to those people is "Why does the name decide whether a band is good or not ???" Then I would kick them out the back door, as long as you had a lean, german sheperd to clean them up. Those people are a dime a dozen. [][][][][][][][][][] Date: Tue, 11 Mar 86 17:48 MST From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA> Subject: Mike Oldfield CDs Reply-To: Lippard@MULTICS.MIT.EDU Are there any others besides Tubular Bells, Hergest Ridge, Ommadawn, Platinum, QE2, Five Miles Out, Crises, Discovery, The Killing Fields soundtrack, The Complete Mike Oldfield, and Oldfield Wonderland? Are any his albums not on CD besides Incantations and Exposed? Jim (Lippard at MIT-MULTICS.ARPA) [][][][][][][][][][] From: seismo!cmcl2!floyd!stolaf!robertsl (Roberts, Laurence C.) Date: Mon, 10 Mar 86 18:45:59 cst Subject: Camper Von Beethoven I got a letter in the mail from Independent Project Records today. I'd written them concerning the Camper Von Beethoven record Telephone Independent Landslide Victory. Most of their records are real fancy jobs with hand-printed (that is, printed with some sort of fancy printing press) sleeves. Now, this Camper Von Beethoven record is sold out of the letterpress-printed editions, and what's available is the offset-printed ones. There's no different price listed for the supposedly cheaper offset-printed edition, and I was wondering if anyone could clarify this for me. I've been listening to the Cocteau Twins' Tiny Dinamine for the past couple of months. (no, it wasn't my first exposure to them...snobs.) Is anyone else annoyed by what appears to be a slight case of tape bleed? Didn't someone say this recording is a couple of years old? On the song "Plain Tiger", I could swear Liz is saying "After the task of adding up" at one point, and at another is saying quite loudly and distinctly, "You suck!" Does anyone have any interpretations of these guys' lyrics, or confirmation of the Greek rumor. Laurence [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (03/16/86)
Love-Hounds Digest Sunday, March 16, 1986, 12:23
Today's Topics:
My two cents (2 msgs)
Les Miserables
Television Personalities
Re: My two cents, Robyn Hitchcock (2 msgs)
Rema, Rema
The Residents
American Express
Re: CTwins "Tiny Dynamine", lyrics, etc.
Cocteau Twins
[][][][][][][][][][]
Date: Wed, 12 Mar 1986 11:11 EST
From: David M. Hardy <HAADAV@MITVMA>
Subject: My two cents
Since the subject of onscenity has come up again, I decided to throw in my
opinion. I find obscenity to be TOTALLY out of place in discussions of music
or anything else. I just can't take seriously anyone's opinion if
they can't state it without swearing. It shows that there is a certain lack
of mental ability to communicate, when people have to refer to bodily or sexual
functions in a vulgar way, when talking about something unrelated to them.
One of the reasons I started reading this mailing list was to avoid the kind
of stuff that goes on in net.music, vulgarity among them. I am disappointed to
see what it appears to be turning into.
I'm not the person that sent the original message, but I'm glad to see that
someone else noticed this problem. I suppose that in a list where not only
does the moderator not care but uses obscenities himself that nothing will be
done about it, but I'm sure I'm not the only one who feels this way.
DISCLAIMER: I'm not a geek, a wimp, nor an expert on language by any means.
If I was a language expert maybe I'd understand half of the bizarre phrases
that are used here. I'm not going to go away, either.
Flames and obscenities to /dev/null...
>>> Dave
[][][][][][][][][][]
Date: Wed, 12 Mar 1986 11:15 EST
From: David M. Hardy <HAADAV@MITVMA>
Subject: Les Miserables
If there are any musical theatre fans out there, Les Miserables is a must
for your collection (if you don't have it already). I'd been hearing cuts
from it for a few weeks on a local radio station, and been mostly impressed,
but finally heard one song that made me decide I had to have this! (It was
called Do You Hear the People Sing). I looked all over Boston (at least in
the places I was told might have it and a couple others that I knew about)
with no luck and was seriously depressed after that day with no success.
However, on a visit to New York, I was able to get ahold of one, and it was
very well worth it. If anyone's interested I'll post more info on this, but
consider it highly recommended.
Golly, look at this! This is easily the best record out in 1986 (maybe 1985
too, but I'm not sure of that). It puts everything I've heard recently to
shame (and I've heard some good stuff!), and I was able to post this entire
message without using ONE DIRTY WORD! Think of it! What is the world coming
to??? :-)
>>> Dave
[][][][][][][][][][]
Date: Wed, 12 Mar 1986 11:24 EST
From: David M. Hardy <HAADAV@MITVMA>
Subject: Television Personalities
Anyone out there know about the Television Personalities? I just got a new
EP from them called How I Learned To Love the Bomb, and their song A Sense
of Belonging from the album The Painted Word is one of my all time favorites.
However, I was recently told that they had more records out than TPW and
HILTLTB. I'd like to get some more of their records, but I've never seen any.
>>> Dave
[][][][][][][][][][]
Date: Wed, 12 Mar 86 10:08:58 PST
From: jordan@ucbarpa.berkeley.edu (Jordan Hayes)
Subject: Re: My two cents
Really-From: David M. Hardy <HAADAV@MITVMA>
I find obscenity to be TOTALLY out of place in discussions of
music or anything else. I just can't take seriously anyone's
opinion if they can't state it without swearing.
Look, I guess it's just a matter of what you call `obscene' ...
That's certainly a moral judgement call, and I think you're in a
position of being adult enough that if you can't take the discussions
going on here seriously that you would unsubscribe. I don't think we're
talking here about people who feel they "can't state it without
swearing" (by the way, swearing is much different than being obscene)
but rather using "those words" (which you may or may not be offended
by) has become commonplace. Look, we're living in an immoral world,
and I don't think you should project your morality on a group of
people who you associate with by choice.
That's called oppression.
It shows that there is a certain lack of mental ability to
communicate, when people have to refer to bodily or sexual
functions in a vulgar way, when talking about something
unrelated to them.
Communication, and it's effect on those who are being communicated
to has nothing to do with the `correctness' of speech. If you think so,
then you should only talk to your snobby friends who also have the
handle on `upper crust' communication. Being offensive is a right
that I covet strongly. Notice that I don't implore you to swear ...
DISCLAIMER: I'm not a geek, a wimp, nor an expert on language
by any means. If I was a language expert maybe I'd understand
half of the bizarre phrases that are used here. I'm not going
to go away, either.
Right, but you are trying to force a moral issue. That makes you a
wimp, geek AND a weenie to boot.
Flames and obscenities to /dev/null...
That's real brave of you. Throw in your two cents worth and then say
"I won't listen to your side".
Foo Bar. If you don't want to hear what I say, that's pretty close
minded.
Flames and obscenities to jordan@ucbarpa.berkeley.edu (ucbvax!jordan).
/jordan
ps: god, have I complained recently how hard it is to tape the 12" of RUTH?
[][][][][][][][][][]
Date: Wed, 12 Mar 86 11:54 MST
From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA>
Subject: Re: My two cents, Robyn Hitchcock
Reply-To: Lippard@MULTICS.MIT.EDU
> Really-From: David M. Hardy <HAADAV@MITVMA>
> I just can't take seriously anyone's opinion if they can't state it
> without swearing. It shows that there is a certain lack of mental ability
> to communicate, when people have to refer to bodily or sexual functions in
> a vulgar way, when talking about something unrelated to them.
That's bullshit, and this sentence is an illustration of why. I could have
said "That's nonsense", but it would not have come across as strong and would
not have adequately expressed what I wanted. Strong opinions require either
strong language or being unnecessarily verbose.
As far as I can tell, the only reason people get "offended" by "obscenity" is
that it embarrasses them. There are polite euphemisms used for most of the
so-called "dirty words" which such people use all the time ("shucks" or
"shoot" for "shit", "darn" or "dang" for "damn", "geez" for "Jesus H.
Tapdancing Christ", etc.) and for some reason masking a letter or two in the
printed representation seems to make it acceptable as well. So it's obvious
that it's not the referent that's offensive (it's pretty obvious what "f--k"
refers to), but rather the actual characters and sound. This seems to imply
that "being offended" is purely social conditioning, we are taught that these
certain sounds and images are "dirty" and have no place in polite
conversation.
It's true, however, that these words are overused. But to say that they should
never be used is to remove some useful vocabulary from the language.
BTW, David, in your message about Les Miserables, I was unable to tell that
you considered it to be the best album of 1986 until you said so. Saying that
it's "highly recommended" and "very well worth it" and that you were "mostly
impressed" doesn't make it sound all that great. I think you could have
expressed your opinion more strongly by using a good metaphor and still
avoided vulgarity, but it would have been much easier just to say "it's
f*cking amazing".
Just to throw some music into this message, I just bought Robyn Hitchcock's
"I Often Dream of Trains" the other day, and I'm not sure why it's everyone's
favorite RH album. I like "Fegmania!" and "Black Snake Diamond Role" better.
IODoT seems to be a more personal album, as people have said, but I like his
more upbeat stuff better. (There are no drums on IODoT, are there? I don't
remember hearing any.)
How does "Groovy Decay" compare to these?
Jim (Lippard at MULTICS.MIT.EDU)
[][][][][][][][][][]
Date: Wed, 12 Mar 86 14:46:47 EST
From: hsut@ed.purdue.edu (Bill Hsu)
Synchronicity strikes again... (a little drum roll, please!)
David Hardy (paraphrase): Widespread use of obscenities shows a deficiency
in the ability to communicate
Repo Hacker and Hoffman: Band with obscene name does not imply lousy music
I personally don't think that using obscenities has anything to do
with somebody's ability to communicate. A much better benchmark is to
see if they love convoluted sentences like mine :-) :-)
Seriously, I've known people who write and talk brilliantly AND use
lots of obscenities/profanities (e.g., Allen Ginsburg :-) :-) There's
obviously no correlation between the two. (Try convincing the PMRC of that.)
I've been known to use obscenities on occasion, tho I'm usually pretty
sedate when I write. Old habits die hard :-)
Re: I Often Dream of Trains...
Yes, this is my favorite Robyn Hitchcock album, and I do like it more
than Robyn's more upbeat stuff. Maybe it's because I have a weakness
for more personal, slightly self-indulgent stuff :-). Because it is
so personal, I find the zany parts in IODoT just a little more deranged
and funny than, say, most of the stuff in Fegmania!. The great lyrics
are easily intelligible because of the spare production. Most of the
more serious songs on side 2 are painful and nostalgic, and more subtle;
took me quite a while to warm up to them, tho they seem much simpler
in construction than most of Robyn's other songs. I guess it takes time
to like ALL of IODoT (you do like some of it, I hope, Jim?) because
it's so varied and personal.
"This could be the day
I cut a malignant growth
With a steel knife"
Bill Hsu
[][][][][][][][][][]
Date: Wed, 12 Mar 86 17:28:01 EST
From: Hofmann@AMSAA.ARPA
Subject: Rema, Rema
A couple of days ago, the latest release from
Big Black came in the mail. It's a limited, one-side
only edition from Forced Exposure for subscribers only.
Steve Albini, the driving geek/force behind Big Black,
said in an interview that you can tell alot about a band
by the covers they do. Up until this point, I didn't know
of Big Black doing any covers but Albini kept referring
to this Rema, Rema as if everyone should know what he was
talking about. Probably an inside joke ... I haven't the
foggiest. The label says Rema, Rema was written
by someone named Rema Rema of whom I have never heard. I
pretty much figure this is some sort of joke or something
because the song basically consists of a monotonous, brooding
beat with the words, "rema,rema" yelled at the end of
phrases. OK to do dishes by but not a primo slab in the
least. In ways, it's derivative of the Buttholes (one of
the few contemporaries Steve lists as major influences) if
they had a drum machine.
Note: Big Black doesn't have a drummer and uses a preprogrammed
Roland machine. If anything is interesting on this record, it
is how they have succintly simulated African drums.
So, The Bottom Line is: if you aren't already subscribing to
Forced Exposure and like stuff like Mission of Burma, Big Black,
Tesco Vee, Lydia Lunch, Couch Flambeau and Sonic Youth, you should.
And if you do, you should still be able to get this one sided
45 as a bonus but don't subscribe just for the 45 ... well, you're
all smart and wouldn't do that anyway so why am I wasting space
here.
[][][][][][][][][][]
Date: Wed, 12 Mar 86 16:20 MST
From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA>
Subject: The Residents
Reply-To: Lippard@MULTICS.MIT.EDU
I finally got around to buying something by the Residents to listen to
last week. I bought "The Residents Commercial Album" and "George and
James". My first reaction was that I had wasted my money, but on the
second (and third and fourth) listens I decided I liked it, even if it
is incredibly strange. I love the lyrics on the Commercial Album
(especially stuff like "Moisture").
For those of you unfamiliar with these albums, the Commercial Album
is 40 one-minute tracks of very UNcommercial music with bizarre sounds
and lyrics. The Residents remind me a lot of Barnes & Barnes (Billy
Mumy of "Lost in Space" and Robert Hamer) on this album.
"George and James" is music by George Gershwin and James Brown,
supposedly the first in a series of at least 16 albums of music by
American composers to be released between 1984 and 2013 or something
like that. The Gershwin songs are "Rhapsody in Blue", "I Got Rhythm",
and "Summertime". It's weird, too... RiB starts out with what sounds
like an air-raid siren.
The James Brown side is subtitled "Live at the Apollo" and includes
"I Get Crazy", "Think", and "Night Train" ("Are you ready for the night
train?" "yeah!").
I've heard good things about "Third Reich 'n' Roll" and "Eskimo", are
there any other Residents' albums of note?
Jim (Lippard at MULTICS.MIT.EDU)
P.S. to Bill Hsu: yes, I do like stuff on IODoT, especially
"Uncorrected Personality Traits".
[][][][][][][][][][]
Date: Wed, 12 Mar 86 18:40:20 EST
From: nessus (Doug Alan)
Subject: American Express
So, what do all you antiyuppies out there think of Laurie Anderson
becoming the college spokesperchild for American Express?
"This is the card
And this is the carbon of the card"
Doug
[][][][][][][][][][]
Subject: Re: CTwins "Tiny Dynamine", lyrics, etc.
Date: Wed, 12 Mar 86 21:22:51 -0800
From: J. Peter Alfke <alfke@csvax.caltech.edu>
seismo!cmcl2!floyd!stolaf!robertsl (Laurence C. Roberts) writes:
>I've been listening to the Cocteau Twins' Tiny Dinamine for the past
>couple of months. (no, it wasn't my first exposure to them...snobs.)
>Is anyone else annoyed by what appears to be a slight case of tape bleed?
The sound generally seemed a but muddy in places, everything smudged out
rather than echoed as with tape bleed. Dunno. Especially as rumor had
it that "Aikea-Guinea" was recorded in digital ...
>Didn't someone say this recording is a couple of years old?
They have stated, in Melody Maker, that this is just a bunch of new stuff
they wanted to release without the fanfare of an LP. From the style alone
I can't imagine the stuff being any older than "Aikea-Guinea"!
Do you have "Echoes in a Shallow Bay" (the companion EP)? I think it's
quite a bit better.
>On the song "Plain Tiger", I could swear Liz is saying "After the task
>of adding up" at one point, and at another is saying quite loudly and
>distinctly, "You suck!!" Does anyone have any interpretations of these
>guys' lyrics ...
God (and Liz) only knows. The "adding up" thing sounds partially cor-
rect, but who am I to tell. The postscript to my last submission has
as much as I've been able to make out of "Multifoiled". Things past
"Pearly-Dewdrops' Drops" I don't even attempt.
In the same interview I mentioned above, they haul out some Japanese
editions of their albums -- released with *lyric sheets* -- and just
what those Japanese people were able to make of what Liz is singing
fairly boggles the mind:
"Let us rock you so / Rock you so good"
"The wave of the earth has got me all fooled now"
Liz: "Oh, that's f*cking disgusting ... They must think we're a bunch
of perverts or something."
"Take this fish / Harder than roe / who sauntered away"
Liz: "Jesus!"
"Julianne / Was first called a genius / Julianne / A genius too /
Our song / Is framed by a genius / Suddenly she got up
and turned it on"
Liz: "Definitely drug induced hysteria."
(Horribly illegally excerpted
from Melody Maker, 16 November
1985. Great interview. Read it)
>...or confirmation of the Greek rumor.
These same friends all suggest French -- maybe just because of the group's
name.
My conclusion: Let's just leave those poor lyrics alone.
Not that I will do anything of the sort 8-)
--Peter Alfke
alfke@csvax.caltech.edu
[][][][][][][][][][]
Date: Wed, 12 Mar 86 22:48 MST
From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA>
Subject: Cocteau Twins
Reply-To: Lippard@MULTICS.MIT.EDU
Are they named after Jean Cocteau, the French writer and Grand Master of
the Prieure' de Sion (a secret society whose members claim to be
descended from Jesus and have definite proof that Jesus did not die on
the cross) from 1918 to his death in 1963? (For info on the Prieure' de
Sion, see "Holy Blood, Holy Grail" by Michael Baigent, Richard Leigh,
and Henry Lincoln (Dell, 1982).)
Jim (Lippard at MULTICS.MIT.EDU)
[][][][][][][][][][]
Date: Wed, 12 Mar 86 18:07:03 EDT
From: seismo!bdmrrr!potomac!jsl (John Labovitz)
Subject: Re: My two cents, Robyn Hitchcock
X-Mailer: msg [version 3.2]
I like all of the Robyn Hitchcock albums about the same. ``I Often Dream of
Trains'' used to be my favorite, but that was because it was the first one I
bought (thanks to Doug). Then I bought ``Fegmania,'' which I played
constantly for about a month. Sometime in that period I bought ``Black
Snake Diamond Role,'' and didn't like it too much the first time I heard
it. Played it again a few weeks later, and loved it (especially ``Acid
Bird''). Lessee, what else do I have... ``Groovy Decoy'' (the re-release of
``Groovy Decay,'' I think) -- Haven't listened to it as much as the others,
mainly because I don't want to get sick of it. ``Gotta Let This Hen Out''
-- Live album; songs mainly from ``Fegmania,'' with a couple from the other
albums, and stuff that I hadn't heard like ``Leppo and the Jooves.''
Robyn's playing in DC at the 9:30 club on the 28th. Be there.
By the way, I just bought the Soft Boys' ``Can of Bees'' and the green EP
(can't remember the name of it) at Tower here in DC. Cheap, too.
jsl
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (03/17/86)
Love-Hounds Digest Monday, March 17, 1986, 10:23
Today's Topics:
The great debate, new KB chart positions, and sticky love
Cocteau et alia
Letter From Ivo
Why is this happening?
More obscure lyrics
Cocteau
Re: Love-Hounds Digest
Cocteau's Beauty and the Beast
Re: big 10" of RUTH (3 msgs)
Won't this unleash some messages? (2 msgs)
band names vs. band quality
I didn't get flamed like this even in net.music!
I didn't come here for an argument.
Rema Rema / CTwins (again?) / XTC
Re: I didn't get flamed like this ...
Obscenity.
Andy Partridge ...
Flippancy, gossip and Ed Asner's Gay.
Flirting With Disaster (sonic youth discography)
Re: Sonic Youth
Peter Gabriel/profanity
A few questions..
Phonetics and Skreikback
[][][][][][][][][][]
Date: Fri, 14 Mar 86 00:20:00 EST
From: nessus (Doug Alan)
Subject: The great debate, new KB chart positions, and sticky love
Many of you probably know, at least if you read net.music, that I can
enjoy a good flame every now and then. Perhaps as pseudo-maintainer
of this list, however, I find myself more in a position of
responsibility, especially when I think of all the poor people out
there who signed up so they could hear the latest fanzine drivel on
Kate Bush, and didn't expect to get assaulted with reams on the latest
moral issues on communication techniques in a widely networked
environment. Therefore, I declare that as of tommorrow the debate on
profranity is officially closed. So you better get your last words in
quickly. All flames on the matter after tomorrow will have something
very obscene done to them, but I'll not tell you what lest some
people get upset.
You guys shouldn't force me to become an evil censoring power hungry
tyrant, however, because once I've tasted that sort of power, I will
probably get cocky and start believing that I can do anything at all.
The next thing you know, I'll be off in England camping out on Kate's
front lawn until she gives me the 12" single for "Sat In Your Lap"
(which she has like the only copy of). Either that or until she gives
*me* the key, rather than this Houdini bloke.... And then there will
be no one left to run this mailing list.
Those who wish to continue to use profanities, may do so, but you
should realize that when it appears in mod.music, Greg Skinner may
perform some unpredictable transformation on what you have said to
make it acceptible for the likes of cmoore@brl. Those who do not
wich to read profanities, may unsubscribe, wear their official
"Hitchhiker's Guide To The Galaxy" peril sensitive glasses, or fluck
off and die. Or perhaps if they ask me hard enough, I might provide a
filter to transform "d*mn" into "darn", "sh*t" into "shoot", "G*d"
into "golly" and "f*ck" into "play hide the salami". After running
Love-Hounds through this filter, it should be acceptible even to those
who find "Leave It To Beaver" too risque.
"With my ego in my gut
My babling mouth would wash it up
But now I've started learning how
(I keep it shut
I keep it shut)"
Doug
*****
I would like to step in here and say a few words explaining my position.
As the moderator of mod.music, I have a responsibility to the rest of
USENET to provide a moderated service, free of the constant bickering
and flaming that goes on in the net groups. I do not want to be an evil
censoring tyrant, either. I received a few messages complaining about
the high level of profanity in mod.music, and the fact that some sites
might cut it off if it persisted. I felt obligated to modify the
profanity, and to ask a few individuals not to use it unless they
absolutely had to. As you well know, there is an "information overload"
on USENET right now, and moderation is one of the ways in which this
overload is being solved. The future of USENET may depend, in part, on
the success of moderation, because moderation will enable certain groups
(like this) to be transmitted by satellite. However, if the moderated
groups don't differ from the net groups, they and the net groups may be
grossly cut back. A number of people who contribute to love-hounds can
only access it through USENET. Would you want to cut some of your
friends off? I ask that you please use restraint wherever possible.
Thank you,
Greg Skinner (gregbo), The Moderator
*****
P.S. For those who want some fanzine drivel: the last time I looked
at Billboard, sometime last week, the single "Hounds of Love" had
entered the British charts at 26, and the album had risen from 19 to
14. On the other hand, last week the album "Hounds of Love" just
dropped out of the U.S. top 100. There will be a moment of silence.
On the other hand, the album is still at number six on WFNX's chart.
And here's a review by Andy Gill from the 1 March 86 issue of the NME
for the HoL single:
She'd say I'm sure, there's always been an erotic
undercurrent to her work, but on the "Hounds of Love" LP it's
handled with confidence, maturity, and daring largely absent
in her earlier work; here as in "Running Up That Hill",
desire is almost religious in its intensity.
Does anyone have any idea why the NME decided that after N years of
hating Kate Bush, it was suddenly okay to like her?
And about this erotic undercurrent that's always been there... there
are some things that have been puzzling me for a while. Like in
"L'Amour Looks Something Like You" Kate sings at the end "I find I'm
living in that evening with that feeling of sticky love inside". What
is this feeling of sticky love inside? She's not talking about
*seamen* is she? Gosh. Is the feeling of old seamen inside you
something that is fun to remember? Perhaps some of the women on the
list would like to elaborate.
And in "Ran Tan Waltz" Kate sings "But some night she'll run back in
fright if she picks on a Dick that's too big for her pride." I don't
get it. Are all of the woman's extramarital boyfriends named "Dick"?
And why would they be too big for her pride? Oh... golly, she's not
talking about penises, is she? Well why would a penis be too big for
the woman's pride? I don't get it. Could someone explain this to me.
And once in an interview, Kate was asked what her favorite songs on
"The Dreaming" were, and for one of them, she said "Nice To Swallow".
Now, there's no "Nice To Swallow" on the album. There's "Night Of The
Swallow", so Kate must be making a pun. But why "Nice To Swallow"?
Oh, golly. She's not talking about penises again, is she?!? Or maybe
seamen again?
This reminds me of one of my friends who was in my M.I.T. dorm. He
went to Wellsley for a semester as an exchange student. In a biology
class there, the professor was talking about how seamen has a high
salt content. One of the students blurted out "But it tastes so
sweet!" and then she immediately looked very embarrassed. Maybe
someone would like to elaborate and tell us whether or not seamen
and/or penises are nice to swallow and whether seamen is salty or
sweet.
Well, I'm pretty confused now, but at least I can rest assured tonight
that since I haven't used any profanities here, that at least *I*
haven't offended anyone today.
"Breathing the fallout in out in out in out in"
Doug
P.P.S. Isn't it strange that all this talk about obscenity started in
the 69th posting to mod.music??? I think it's a message from G*d!
But what does it mean?
[][][][][][][][][][]
Date: Thu, 13 Mar 86 05:38:36 PST
From: francis@csvax.caltech.edu (Joseph Francis)
Subject: Cocteau et alia
So nice to know about this discourse... Cocteau was a master of surrealism,
literary, drawing, and made wonderful movies like ``Orpheus''. There are
some good stills in the Edition #4 of THE MANIPULATOR, for those who like
magazines 3 times the areal size of INTERVIEW. So what of this music scene?
Is this a group beyond 23 SKIDOO? Does everyone love FLOWERPOT MEN? What is
the style/sound of current discussion? J O E
[][][][][][][][][][]
Date: Thu, 13 Mar 86 8:46:11 EST
From: Hofmann@AMSAA.ARPA
Subject: Letter From Ivo
This is reprinted from the latest issue of the Offense Newsletter, which
is a pretty good monthly that follows bands like The Fall, The Cocteau Twins,
The Buttholes and Nick Cave. It also features tons of creative record and zine
reviews and scribblin's from scenesters from all over the USA including
John "Baboon Dooley" Crawford, Fred Mills, Chet Howland and the net's very own
SB Tobias. It gets a little too cheerleaderish at times when the editor
is talking about his godheads but that's what a fanzine is all about, I guess.
Send a SASE to The Offense Newsletter, PO Box 12614, Columbus, Oh 43214 for
subscription or sample issue information.
---- cut here ----
Tim,
I thought I'd give you an update on our activities and plans. Our first
releases will be a 12" by a Dutch singer, with a rather remarable voice,
called Richenel and an LP (Victoria Land) by the Cocteaus. This LP, which
I'm totally in love with, is somewhat different. On their return from the U.S.
Robin and Liz decided they wanted to go into the studio with just an acoustic
guitar (and racks of Robin's effects) and see what happened. The resultant
three tracks were remarkable -- so they wrote and recorded another six which
have all become Victoria Land. Simon's not on the record but Richard, from
Dif Juz, plays sax on three songs and there are virtually no drums.
Even before we release the LP (late March?) they will have started work on
another LP with Simon.
The Wolfgang Press are currently recording a new LP and Colourbox an EP.
Everyone is working on their individual contributions for a compilation of
new material which will be accompanied by a 23 Envelope-directed video.
Word still continues on the This Mortal Coil LP, and I'm still talking to
Throwing Muses, from Boston, about an album. Sometime this month I hope to
finalize licensing arrangements for an LP of traditional Bulgarian folk songs
entitled Le Mystere Des Voix Bulgares.
Also planned in '86 will be Colourbox, Xymox, and Dif Juz LPs. Since our
meeting with Harold Budd in L.A. last September discussions still continue
concerning a possible collaboration between him and the Cocteaus.
I've also asked Pieter, of Xymox, if he would like to record a solo LP.
As you can see from all of this, I anticipate being somewhat busy simply
coordinating probably more releases in one year than we've had since 1980.
I hope it'll all be worthwhile.
Ivo Watts-Russell London England
4 A D Records.
[][][][][][][][][][]
Date: Thu, 13 Mar 86 09:43:57 EST
From: harvard!bu-cs!sam (Shelli Meyers)
Subject: Why is this happening?
This is terrible...the one thing we all left net.music life
for and here we are doing it all over again. I'm not even
gonna discuss what I think is right or wrong? What does it
matter? It'll just be fuel for the fire.
I think I'm going to want off this mailing list very soon.
--Shelli
[][][][][][][][][][]
Date: Thu, 13 Mar 86 09:52:02 EST
From: harvard!bu-cs!sam (Shelli Meyers)
Subject: More obscure lyrics
Well, after we figure out whether or not Liz is saying "you suck",
here's another something to ponder:
Remember Berlin, Pleasure Victim? And the most enticing song played
on the radio ever at the time: Sex. At the end of the song, after
all the moaning and groaning, she sorta whispers something. A friend
of mine saw Berlin in concert and swears she heard,
(faint hearts hit control-c)
"F*ck me up the butt."
Is this what she says on the album? I SORTA hear it, but I remember
what people said about the power of suggestion....
Can anybody substantiate this?
Certainly is crude, isn't it, no wonder they only ever played the
first half on the radio....
And NO I don't spend all my time listening for dirty words on albums!
Okay???!!!!!!!!!!!
---------
"The first time I heard there were problems in the Middle East,
I thought they were talking about Pittsburgh!"
--Shelli
[][][][][][][][][][]
Date: Thu, 13 Mar 86 11:05:00 EST
From: hsut@ed.purdue.edu (Bill Hsu)
Subject: Cocteau
Jean Cocteau was also associated with (but not one of, I don't think) the
group of French composers known as Les Six. Their spiritual mentor was
Satie, and most of their music was a neo-classical reaction against
romantic excesses. Try Poulenc's piano concerto for some humorous fake
Mozart.
Cocteau also wrote words for operas and musical works for the stage, including
some stuff with Stravinsky. Most of the music Cocteau was associated with
does not sound like what I've heard from the Cocteau Twins. Probably just
another cute meaningless band name (I love cute meaningless band names :-)
Many of Cocteau's contemporaries considered him to be a diletante and
did not take him seriously. His novel Les Enfants Terribles is fun if
you're into decadence...
Bill Hsu
[][][][][][][][][][]
Date: Thu, 13 Mar 86 10:57:20 EST
From: Hofmann@AMSAA.ARPA
Subject: Re: Love-Hounds Digest
Question: Why is the 11" of RUTH hard to tape? I'm making a
tape for a well known net.music.kate-bush-hater and want to
know details such as this before I start. 5 cents to the
person who guesses correctly with whom I am trading tapes.
----
Cute Usenet signoff quote: Keep your cool and read the rules
Cute Usenet nickname: Mu
Cute Convoluted Usenet path: sequent!riacs!amsaa!hofmann
[][][][][][][][][][]
Date: Thu, 13 Mar 86 11:20:36 EST
From: Laura Frank Clifford <lcliffor@bbnccm.ARPA>
Subject: Cocteau's Beauty and the Beast
Jean Cocteau also directed one of my '10 favorite films of all time' -
"Beauty and the Beast".
[][][][][][][][][][]
Date: Thu, 13 Mar 86 09:57:18 PST
From: jordan@ucbarpa.berkeley.edu (Jordan Hayes)
Subject: Re: big 10" of RUTH
Really-From: Hofmann@AMSAA.ARPA
Question: Why is the 11" of RUTH hard to tape?
A whole bunch of things. First of all, it's one big f*cking crescendo,
spanning a W I D E range of signal strength. It took me three times to
get it right, and it's a pain. Also, there's this damn pounding bass
that just overloads the rest of the signal. Kate needs to learn a bit
more about production of danse-mixers ...
5 cents to the person who guesses correctly with whom I am
trading tapes.
Uh. Simple. bu-bu-bu-bub? (PROMENADE!) ... pay up, slick.
/jordan
[][][][][][][][][][]
Date: Thu, 13 Mar 86 12:00:48 EST
From: CUTTER%UMass.BITNET@WISCVM.WISC.EDU (Local UMass address is
Cutter@Mailer.CY175)
Subject: Won't this unleash some messages?
OK, I admit it. I've never heard any Kate Bush other than "Running Up
That Hill" and her b-vox on "peter gabriel III". The first time I
heard her solo was when WFNX played RUTH back in the summer. I liked it
immediately, but had not the funds to buy the album. Now that I'm
financially solvent again, I want to get some of her stuff.
My question is: What would be considered a KB "starter"? In other words,
what of KB's should I get first, and what should I absolutely avoid?
What is valuable if I see it lying in Second Coming Records, and what
is a rip-off?
Joe Turner
{decvax,ima,linus}!cca!ringwld!cutter
cutter@umb.csnet
rg.cutter@oz.lcs.mit.edu
take your pick...
"The safety pin returns my smile, I nod a brief hello,
While you are building molecules with your garden hoe." - Beatles
[][][][][][][][][][]
Date: Thu, 13 Mar 86 13:25:50 EST
From: nessus (Doug Alan)
Subject: Re: big 10" of RUTH
> From: jordan@ucbarpa.berkeley.edu (Jordan Hayes)
>> Question: Why is the 11" of RUTH hard to tape?
> A whole bunch of things. First of all, it's one big f*cking crescendo,
> spanning a W I D E range of signal strength. It took me three times to
> get it right, and it's a pain. Also, there's this damn pounding bass
> that just overloads the rest of the signal. Kate needs to learn a bit
> more about production of danse-mixers ...
Now, wait one flucking second! ("Flucking" isn't obscene it?) Why
does using all of the power of the medium provided provided by 12"
singles imply that Kate has anything to learn about production of
dance mixes? Kate has said that she likes 12" singles specifically
because they give her more dynamic range and bass response to work
with. I think that the 12" single is great exactly for the reasons
you mention. (Except when I played the tape of it in my car -- my
door speakers have never been quite the same since...)
"Be running up that building"
Doug
[][][][][][][][][][]
Date: Thu, 13 Mar 86 11:16:29 PST
From: jordan@ucbarpa.berkeley.edu (Jordan Hayes)
Subject: Re: big 10" of RUTH
Really-From: nessus (Doug Alan)
Why does using all of the power of the medium provided provided
by 12" singles imply that Kate has anything to learn about
production of dance mixes?
Because we're not talking about using all the extra bandwidth of
a 12" (ever notice how the grooves are further apart? Does wonders for
the response of it ...) -- we're talking about the distortion that
results from this over production. I can hear it, and can even record
it as crosstalk when the track starts and ends. Witness, on the other
hand `I feel love / Johnny Remember me' by Bronski Beat / Marc Almond.
Now there is a really good re-mix. It, too, has a crescendo in the
signal strength, but it comes at the transition between the two songs
... which also doubles the beat into a frenzy and cues in the whole
band.
Kate has said that she likes 12" singles specifically because
they give her more dynamic range and bass response to work
with. I think that the 12" single is great exactly for the
reasons you mention.
Well, fine, but it's a bitch to tape, and my tape deck has more
dynamic range and bass response than my turntable. I can just imagine
what that master looks like. Actually, I can hear it.
/jordan
[][][][][][][][][][]
Date: Thu, 13 Mar 86 14:39:39 EST
From: nessus (Doug Alan)
Subject: Re: Won't this unleash some messages?
> From: CUTTER%UMass.BITNET@WISCVM.WISC.EDU
> My question is: What would be considered a KB "starter"?
Get either "The Dreaming" ('The best album ever recorded' --DA) or
"Hounds of Love". Preferably both.
> In other words, what of KB's should I get first, and what should I
> absolutely avoid?
There is nothing by KB to avoid. It's all great! However, don't get
anything other than the two albums mentioned above until you already
have those two. The reason for this is that earlier KB is an acquired
taste -- an acquired taste that you may not necessarily desire to
acquire unless you already love some of her other music. Recent KB is
much different and is also an acquired taste (especially "The
Dreaming"), but you've already acquired the taste for this sort of
thing if you like Peter Gabriel.
> What is valuable if I see it lying in Second Coming Records, and what
> is a rip-off?
KB doesn't rip anyone off. Import 12" singles can be rather expensive,
however.
"Some say that knowledge is ha ho ho"
Doug
[][][][][][][][][][]
Date: Thu, 13 Mar 86 14:54:43 EST
From: David Oskard <dno@cvl.umd.edu>
Subject: band names vs. band quality
I actually think there is a lot that can be told from a bands name
alone. If a band has a creative name (i.e. what was it? Screaming Iguanas
in Love?) chances are that they are on the whole, making some creative
music (hopefully). This doesn't always work of course, but having had
a radio show at U Md. for 3 years, I've found some of the most incredible
music just by pickin' em out, either by the album cover or the name of the
band. That's how I found Pink Industry and Regressive Aid (does anyone
know the scoop on these guys? --the record got stolen out of the studio
and then of course my quality (ahem) Memorex busted.)
...and another thing. An interesting name is much more fun to say over
the air--you can even get away with saying obscenities that way, not that
I would ever dream of such a transgression. Hey, has anyone heard of
Delay Tactics? They're Canadian I believe.
One last hint for all you risk-takers out there: some of the most bizarre
musical noises are found on records with very minimalist album covers--this
may be due to the bizarre == limited budget factor, but I must stop this
rambling don't you think? later.......
David (dno@cvl.umd.edu)
Be good or be otherwise.
[][][][][][][][][][]
Date: Thu, 13 Mar 1986 16:33 EST
From: David M. Hardy <HAADAV@MITVMA>
Subject: I didn't get flamed like this even in net.music!
> From: Jordan@ucbarpa.berkely.edu
> ... has become commonplace. Look, we're living in an immoral world,
> and I don't think you should project your morality on a group of
> people who you associate with by choice.
> That's called oppression.
Does living in an immoral world give you the right to be immoral???
I said nothing about morality.
If you think that I am 'projecting' 'morality' then you misinterpreted
what I said. I am not forcing anything on anyone, merely STATING MY
OPINION. My saying I don't like something is no different than people
saying they like it. It's just an opposing view. Do you really expect
that people are going to stop swearing just because I find it
objectionable and unnecessary?? I certainly don't. I didn't tell anyone
to stop doing it; I even said that probably NOTHING WOULD HAPPEN about
it. And to call my opinion 'opression' is simply laughable. (How do
you express a laugh on a computer. A smiley face just won't do it.)
> ... Being offensive is a right
> that I covet strongly. Notice that I don't implore you to swear ...
And you can go right on being offensive. I also can go right on
disliking it, and either ignore it, or bring it up if I want to. Why
did you take a GENERAL posting so PERSONALLY anyway?? You're not the
only offensive person in the world. Did you think I was referring to
something you specifically said? Actually I havn't kept count of who
swears and who doesn't.
> position of being adult enough that if you can't take the discussions
> going on here seriously that you would unsubscribe. I don't think we're
I already said once that I wasn't going to go away. I guess it didnt
sink in. I can take SOME of the discussions here quite seriously.
I've even gotten some music I liked from listening to what people say
here. I don't think much of it in real life if someone talks like that,
and the same goes for here.
> Right, but you are trying to force a moral issue. That makes you a
> wimp, geek AND a weenie to boot.
Resorting to name calling? And you had the audacity to mention 'adult'?
It's laugh time again..... And I already said once I'm not forcing
anything (Do you really think I could?) And what's a weenie? Are you
calling me a hotdog? That could be taken as a compliment...
>> Flames and obscenities to /dev/null...
> That's real brave of you. Throw in your two cents worth and then say
> "I won't listen to your side".
The reason I wrote the message I did is because I have ALREADY heard
enough of what the type of people who swear have to say.
Repeatedly. If you want to flame me for stating my opinion
you go right ahead and continue doing it. You won't change it no matter
how hard you try. Neither will anyone else. All of the things I said
are true for ME, and no amount of flaming will change them.
You can try if you like, but why not do it by personal mail?
I can't believe I actually have to EXPLAIN this. There is no other side
to an opinion. There are just different ones.
I feel that if I did not say anything about this, then many people would
assume that it was alright because it was happening and nobody DID say
anything about it.
> From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA>
> That's bull...., and this sentence is an illustration of why.
What is that supposed to mean? The sentence in question is absolutely
true based on MY experiences. Yours may differ. (just like highway mileage :-))
Just because you don't believe it doesn't make it any less true for me
and doesn't give me any less right to say it.
> I could have
> said "That's nonsense", but it would not have come across as strong and would
> not have adequately expressed what I wanted.
You have NOT adequately expressed yourself. Using profanity did not
help you. There are plenty of good words in the English language and I
don't understand the need to have to resort to and keep repeating the
same ones when you can't think of anything else to say. But then again,
and this is something I shouldn't even have to say, that is MY opinion.
You didn't make any attempt to explain YOUR opinion on what was wrong
with the aforementioned sentence.
> BTW, David, in your message about Les Miserables, I was unable to tell that
> you considered it to be the best album of 1986 until you said so. Saying that
> it's "highly recommended" and "very well worth it" and that you were "mostly
> impressed" doesn't make it sound all that great. I think you could have
> expressed your opinion more strongly by using a good metaphor and still
> avoided vulgarity, but it would have been much easier just to say "it's
That's why I said so. Although the part where I said I looked all over
Boston for it and was depressed at not finding it should have given you
some idea that it wasn't just any old record. 'Very well worth it' and
'Highly recommended' are high praise indeed for me. To use profanity in
trying to describe it not only might offend prospective listeners but
would also degrade the character of my posting (notwithstanding the fact
that it may have no worth at all if nobody here likes musicals).
Like I said, I'm no language expert. If I even know any good metaphors I
didn't think of one to use there. But I still didn't have to resort to
the degradation of profanity. I suppose profanity has some uses in times
of extreme pain or emotional distress, but certainly not in discussions
of music.
Remember, this is all just my opinion. I hope somebody agrees that 'Les
Miserables' is whatever you want to call it to describe a wonderful piece
of music, and I know some people agree with my views on profanity, but
if you want to continue flaming me, let's not clutter up love-hounds with
it.
>>> Dave
[][][][][][][][][][]
Date: Thu, 13 Mar 1986 16:34 EST
From: David M. Hardy <HAADAV@MITVMA>
Subject: I didn't come here for an argument.
}i
> From: hsut@ed.purdue.edu (Bill Hsu)
> David Hardy (paraphrase): Widespread use of obscenities shows a deficiency
> in the ability to communicate
> I personally don't think that using obscenities has anything to do
> with somebody's ability to communicate. A much better benchmark is to
> see if they love convoluted sentences like mine :-) :-)
This was not the point of my posting, only one sentence in it. But at
least the poster of this was able to explain himself without name calling
or more profanity. This says something about communication to me right
away, and helps (at least to me) to emphasize some of what I said.
> Seriously, I've known people who write and talk brilliantly AND use
> lots of obscenities/profanities (e.g., Allen Ginsburg :-) :-) There's
> obviously no correlation between the two.
~rI'm not out to try and come up with a proof of some correlation; only
stating some observances of mine in the last few months or so. That's a
correlation TO ME, obviously not to everyone. It's very simple. The
nicest, most interesting people I've talked to don't swear at me.
By the way, who is Allen Ginsburg?
[][][][][][][][][][]
Subject: Rema Rema / CTwins (again?) / XTC
Date: Thu, 13 Mar 86 14:04:05 -0800
From: J. Peter Alfke <alfke@csvax.caltech.edu>
###########
# WARNING # This message contains one (1) dirty word of the "s" variety.
###########
Hofmann@AMSAA.ARPA writes:
>Up until this point, I didn't know
>of Big Black doing any covers but Albini kept referring
>to this Rema, Rema as if everyone should know what he was
>talking about. Probably an inside joke ... I haven't the
>foggiest. The label says Rema, Rema was written
>by someone named Rema Rema of whom I have never heard.
I don't know who/what Rema Rema is/are/was/were either, but the song
"Fond Affections" on the "This Mortal Coil" LP (most of which are
covers, performed by various people on the 4AD label) is listed as
having been written by him/her/them/it.
And "Fond Affections" sounds absolutely nothing like what you describe
that "Rema, Rema" song as sounding like . . . this is some horrible
in-joke that everyone knows about but me, right? And you'll all start
laughing after I post this message, right?
************
"James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA> writes:
>Are they named after Jean Cocteau, the French writer and Grand Master of
>the Prieure' de Sion ... ?
The Trouser Press Guide to New-Wave records states that "the name derives
from an old Simple Minds song". Being unfamiliar with the Simple Minds'
old, presumably good, stuff that doesn't get played on the radio like their
new sh*t [yes, I do think that was the correct word], I have no idea
what they're talking about. Does anyone know? And where did the Simple
Minds get it from?
************
... and just to bring up a new topic, does anyone know the lowdown on
the fate of XTC ? Last I heard, unsubstantiated rumor had it they'd
broken up due to Virgin kicking them out. Can it be? What a shame, as
the "Dukes of Statosphear" thingy was the best album they'd done since
"English Settlement" ...
--Peter Alfke
alfke@csvax.caltech.edu
[][][][][][][][][][]
Date: Thu, 13 Mar 86 15:28:10 PST
From: jordan@ucbarpa.berkeley.edu (Jordan Hayes)
Subject: Re: I didn't get flamed like this ...
[ skip to the end for the musak question ]
Really-From: David M. Hardy <HAADAV@MITVMA>
It's very simple. The nicest, most interesting people I've
talked to don't swear at me.
Well, if I say "this is the best f*cking band i ever heard" and you say
"Hey -- he swore at me!" then we had better stop right here. Close your mind
to people who don't speak the way you want them to and you're losing
out.
By the way, who is Allen Ginsburg?
I believe it's Ginsberg.
Beat-era poet; old friend of Jack Kerouac and William Burroughs; got a
little into bad-crazy drugs a while back and now is into poetry as a
means to political change; occasional rapper for The Clash :-) (read
some socio-politico-big-city-mean-government-lets-kill-the-contras
poem on "Sandinista!" ...).
> From: Jordan@ucbarpa.berkely.edu
Next time you transcribe my writing, try spelling berkelEy correctly
and why did you capitalize my login name? I sign my postings in lower
case, why did you change it? No big deal, just curious.
> ... has become commonplace. Look, we're living in an immoral world,
> and I don't think you should project your morality on a group of
> people who you associate with by choice.
> That's called oppression.
Does living in an immoral world give you the right to be immoral???
RIGHT to be IMMORAL ?
Give me a break.
I said nothing about morality.
Bullsh*t.
If you think that I am 'projecting' 'morality' then you
misinterpreted what I said. I am not forcing anything on
anyone, merely STATING MY OPINION.
Look. You came out here and started flamming about people who were
"obscene" and how you can't take them seriously and then you pleaded
for "us" to stop. I'd say that's projecting.
Why did you take a GENERAL posting so PERSONALLY anyway??
You're not the only offensive person in the world.
I don't recall taking your posting personally. However, I think that
the label "general" is a bit deceiving. Can you really expect that you
can say something to everyone (i.e., the whole list) and yet to no
one?
Besides, you said that you couldn't take seriously anyone who couldn't
express themselves without using "those words" ... well, I count myself
among the group you list as the target for your words. Therefore, I
will address my thoughts to you on that basis.
When I address this list, I address each reader personally, although not
by name.
> Right, but you are trying to force a moral issue. That makes
> you a wimp, geek AND a weenie to boot.
Resorting to name calling? And you had the audacity to mention
'adult'? It's laugh time again..... And I already said once
I'm not forcing anything (Do you really think I could?) And
what's a weenie? Are you calling me a hotdog? That could be
taken as a compliment...
I couldn't believe (and still can't) that you would suffix your moral
majority trash with a "and I'm not a geek, I just don't like to read
those naughty words" ... what kind of statement is that? I called you a
weenie just because of that statement. As for the connotation of a
weenie, we have these interesting things in English (perhaps not
*king's* english ...) called idioms. See, that lets us give arbitrary
tags to concepts without being suffocated by purists. Arbitraryness is
what makes languages different from pictograms and idiograms.
Grow up.
>> Flames and obscenities to /dev/null...
> That's real brave of you. Throw in your two cents worth and
> then say "I won't listen to your side".
The reason I wrote the message I did is because I have ALREADY
heard enough of what the type of people who swear have to say.
Then what on earth did you hope to prove by your posting?
If you want to flame me for stating my opinion you go right
ahead and continue doing it. You won't change it no matter how
hard you try. Neither will anyone else. All of the things I
said are true for ME, and no amount of flaming will change
them.
That's terrific. I don't want to change you. But I won't have you
telling me what to do or say. That's my reaction to it. People tell me
what to do, and I tell them to f*ck off. Try expressing that without
`f*ck'.
You have NOT adequately expressed yourself. Using profanity
did not help you. There are plenty of good words in the
English language and I don't understand the need to have to
resort to and keep repeating the same ones when you can't think
of anything else to say.
I don't think this is true at all. Language is an ineffective
descriptive system. Read a little Jacques Derida and then come talk to
me. Repeating ones I've already used because I can't think of anything
else to say? I can't believe you are saying things like this.
Like I said, I'm no language expert.
Q.E.D.
A friend of mine was in a 24-hour store near Cambridge when the guy in
front of him walked into the express line (6 items or less) with 9
things. The girl ("women" we usta call 'em...) behind the register said
"So, do you go to Harvard and can't count or MIT and can't read?"
This makes much more sense now.
Maybe you could take one of Chomsky's classes over there, right?
Have fun on your VM system.
jordan "sarcastic bastard" hayes
ps: oh - the music element in this posting: why did I wait so long
to buy the Billy Bragg album that I heard a year ago? Damn.
[][][][][][][][][][]
Date: Thu 13 Mar 86 15:53:14-PST
From: Bob Knight <KNIGHT@SRI-NIC.ARPA>
Subject: Obscenity.
I think it's pretty damned obscene to flame on a music mailing list.
That's why net.music got the big u from me a while back (after I posted an
appropriately obscene message. Didn't even get flamed for it privately,
which tells me it WAS appropriate and might have even come close to its
target).
At any rate, can we can the argument? Those of us who are sleazeballs
are gonna remain so, and those of us who get offended at sleazeballs'
language habits are gonna remain offended. Me, my give-a-sh*tter's broke.
On to something I've been meaning to post for awhile. Just got the Sandy
Denny boxed set Who Knows Where The Time Goes. Four records of amazing
stuff. Absolutely must've been a labor of love by Trevor Lucas (her
husband), Richard Thompson, etc. I damn near cried listening to all this
neat stuff and reading the lyrics and looking at the pictures.
Now I gotta admit I'm a big Sandy Denny fan. Have been for years. But I
think this is one fine introduction to her music for someone who isn't
familiar with it, and well worth the $20 I laid out for it. Check it out.
It's great music, even if it is "folkie sh*t"...
Bob
-------
[][][][][][][][][][]
Date: Thu, 13 Mar 86 19:29:42 EST
From: hsut@ed.purdue.edu (Bill Hsu)
To echo Shelli's plea, enough already, please cool it! Don't let this
become another net.music.
Sorry I spelled Allen Ginsberg's name wrong. Boy, have I been
embarrassing myself lately. Let's see: Ginsberg, Ginsberg, Ginsberg...
Re: XTC! One of my favorites before MUMMER. Somehow XTC isn't very
convincing without the toughness of BLACK SEA (or even English Settlement).
DUKES OF THE STRATOSPHERE, for you non-XTC fans, is a fake psychedelic
mini-album. I find it great fun, tho no classic like BLACK SEA. Maybe
Andy Partridge just got tired of jagged guitar figures and vicious
anti-dance rhythms...
Bill Hsu
[][][][][][][][][][]
Date: Thu, 13 Mar 86 16:54:36 PST
From: jordan@ucbarpa.berkeley.edu (Jordan Hayes)
Subject: Andy Partridge ...
Really-From: hsut@ed.purdue.edu (Bill Hsu)
Maybe Andy Partridge just got tired of jagged guitar figures
and vicious anti-dance rhythms...
I hear he's just too scared to come out of his apartment ...
/jordan
[][][][][][][][][][]
Date: Thu, 13 Mar 86 17:02:42 EST
From: Hofmann@AMSAA.ARPA
Subject: Flippancy, gossip and Ed Asner's Gay.
$$ On my mystery tape trading partner:
Wrong-o, Jordan, guess again or ask Doug - he guessed it correctly
and will be recieving one four cent stamp and a penny by email...
$$ From a guy who's header I deleted:
> "The safety pin returns my smile, I nod a brief hello,
> While you are building molecules with your garden hoe." - Beatles
Speaking of the Beatles, I heard from the guitarist from our local
one-hit band, The Ravyns, that he heard it personally from Jeff
Beck, former Yardbyrd guitarist, that he feels the Beatles suck
because "they don't play rock and roll." Ho-hum...
$$ From Doug:
> ("Flucking" isn't obscene it?)
Only if your a chicken. Why?
>From another guy who's header I deleted:
> Be good or be otherwise.
Keep your cool and follow the rules.
The Butthole Surfers on the Texan scene:
"There's this band called Ed Asner's Gay that does an acoustic
set in lime-green leisure suts with cheesy padding and they're
all wearing latex masks that look like Ed Asner; they're great
they run around like bumper cars."
stay tuned for more ...
Jim
[][][][][][][][][][]
Date: Thu, 13 Mar 86 17:18:55 EST
From: Hofmann@AMSAA.ARPA
Subject: Flirting With Disaster (sonic youth discography)
I really don't want to put my "two cents" in about profanity
vs. censoring BUT I've been meaning for awhile to write
some "fanzine drivel" about one of my favorite bands these days
and find it a bit hard not to use certain words since alot of
their albums have what some would consider profanity in the
titles. So, if you find the use of profanity in a posting
discussing music distasteful - PLEASE CLOSE YOUR EYES!!!
TURN YOUR TERMINAL OFF!!! TAKE 3 BOWS TOWARDS THE EAST AND
PROSTRATE YOURSELF IN FRONT OF ... whoops, got carried away
there ...
I want to say something about the Sonic Youth. They've
been together for over 4 years now and have been through as
many drummers. Their current lineup is the core guitarist and
bassist/songwriters/singers/husband and wife team of Thurston
Moore and Kim Gordon. Also serving on an apparently permanent basis
is guitarist Lee Renaldo. Their current drummer is ex-Crucif*ck Steve
Shelley. If you didn't know already, they've left Homestead for
SST after the majors rejected them despite Robert Palmer of the
New York Times raving that given enough studio support, they could
become the next Beatles. (Cosloy (owner of Homestead) sent some promos and
the Palmer clipping to some majors who reportedly wrote back, "are
you sure you have the right band here?")
How to describe their music? It has the same rawness and intensity
of early 80's hardcore that's for sure. And they reject the use
of complex machines to make noise or sounds, instead relying as
they put it "on their heads" by sticking drumsticks and rods into
their guitars. They also experiment with strange guitar tunings
(EGBDFE instead of the standard EADGBE) and collaborate with
Lydia Lunch, Airto Lindsay and Glenn Branca. In many ways, they
are as gothic as The Fall but not in the fey, English manner. They're
more like Swamp Thing (excellent comic book) meets CCR. If you want
a good introduction, check out the Death Valley EP of last year. Be
forewarned, this EP plays at 45 RPM on the title side and 33 RPM on
the other side, though I sometimes adjust it for my mood ... leaving
you with four possible ways (if you just have 45 and 33 settings) to listen
to this gem. I wonder, Doug, do you do this with Kate? -:-)
Here's a discography (sans collaborations and compilations)
Sonic Youth [ Neutral Records EP, 1982 ]
Confusion is Sex [ Neutral EP, 1983 ]
Kill Yr Idols [ Zensor Records EP, 1984 ]
"Death Valley `69'" b/w "Brave Men Run" [ Irredescence Records 7", 1984 ]
Sonic Death [ Excstatic Peace Cassette, 1984 ]
Bad Moon Rising [ Homestead LP, 1985 ]
Death Valley [ Homestead EP, 1985 ]
"Making the Nature Scene" b/w with "I Killed
Christgau with My Big F*cking Dick" [ Forced Exposure, 1985 ]
"Flower" b/w "Halloween" [ Homestead 12", Feb 86 ]
... I haven't heard the above yet - has anyone else? Bill? ...
E.V.O.L. (tentative title - anyone know what it means?) [SST (!!!), June '86]
The only difference between the DV Homestead EP (or so I've been told) and
the Irredescence 7" title track is that Lydia Lunch is overdubbed singing/
screaming al la Exene Cervanka ... The Death Valley Homestead release
comes with a mighty fine interview in the lyric sheet and liner notes.
If anyone has heard the first three releases as well as the cassette,
I'd like to hear from you.
----
more from the Buttholes:
Interviewer: What kind of sound do you get?
Paul: You could call it a link between psychic space travel and
bowel movements.
Gibby: It's sort of wipe-abilly.
stay tuned for even more mayhem and madness....
Jim
[][][][][][][][][][]
Date: Thu, 13 Mar 86 23:54:37 EST
From: hsut@ec.purdue.edu (Tsun-Yuk Hsu)
Subject: Re: Sonic Youth
Thanks to Jim Hofmann for the Sonic Youth discography! Despite making sly
asides all the time about how great Sonic Youth is, I only have one
of their albums (which gets played ALOT), Bad Moon Rising. It still blows
me away everytime I put it on. I do have the song "Halloween", but from
the compilation album A Diamond Hidden in the Mouth of a Dead Man
(Giorno Poetry Systems) with great groups like Sonic Youth, Carbaret Voltaire,
David Johannsen, Coil, and spoken pieces from William Burroughs and
Michael Gira (of the Swans?) I didn't think much of Halloween; it was
nice, but not up to the high standards I expected after Bad Moon Rising.
It's been awhile since I've heard it, so I should probably listen to it again
before making rash dismissals...
One of Christgau's few redeeming features: in his ballot for the Voice's
poll, he actually listed Sonic Youth's anti-Christgau song!! At least
the guy has a sense of humor...
I don't think Sonic Youth sounds much like early hardcore, but what do I
know about early hardcore... they do truly amazing things with their
guitars: they ring like bells or mangle your speakers with the feedback.
I'll have to write Homestead for more Sonic Youth sometime...
"Society is a hole
It makes me lie to my friends"
Bill Hsu
[][][][][][][][][][]
Date: Fri, 14 Mar 86 01:28:13 EST
From: JURGEN%UMass.BITNET@WISCVM.WISC.EDU (Local UMass address is
Ziggy Cyber@Mailer.CY175)
Subject: Peter Gabriel/profanity
Cutter,
Peter Gabriel's new album (i don't know what it's called) is scheduled
to come out in June i think. He is also going to tour after or coinciding with
the release. ...
About profanity in this list..
This is a list about progressive music. Fact is that while a lot of
the music discussed here wouldn't be called punk, as we could see from recent
discussion, most of the participants here are familiar with groups like the
"Butthole Sufers". Trademark of progressive music & punk is that it is often
trying to make a unique statement of individuality, and shock value is one
aspect of that. You may not agree that it is a very valid form of expression,
but i say profanity has its finer points. heh. ...
Anyway, you would find that a lot of the people of the kind
who send to this file use profanity heavily in their every-day language,
and it would be only stupid pretentionism for anyone to stop doing the same
when writing to the digest. And pretentionism and other such fake behavior is
one of the prime targets of punk rock lyriks, as most of us well know. Again,
just look at the ongoing discussion about The Butthole surfers.
So, while i myself don't tend to be overly obscene, especially when
i am writing, i would not even think of telling else anyone not to.
see you on the bitstream
- Ziggy Cyber
[][][][][][][][][][]
Date: Fri, 14 Mar 86 02:04:29 EST
From: Serling%UMass.BITNET@WISCVM.WISC.EDU (Living in the Twilight
Zone <Serling%UMass.BITNET@WISCVM.WISC.EDU>)
Subject: A few questions..
1) In reading this digest, I've seen a number of *gag*'s in reference to
'trashy' music magazines. Are there ANY resepectable ones out there?
My local record store gets Melody Maker from England, and I'm told
it's pretty good.
2) I've taken to Shriekback the minute I picked up their latest album.
In my travels, here's what I've picked up:
Care <LP>
The Infinite <LP>
Jam Science <LP>
Oil and Gold <LP>
Sexthinkone <EP off of their 1st album, Tench, which I've never heard>
Mercy Dash <Picture disc EP>
Nemesis <EP>
Fish Below the Ice <Dbl EP>
Sex and Knowledge and Wealth and Power <I think that's the title>
<A 6-track mini>
and one other off of Care whose name escapes me...
I am also aware of the existance of a completely different version of
Jam Science, which came about due to producer problems. Can anyone
give me some history of he band, and perhaps fill in anything I'm not
aware of?
3) Due to my nature, being a fan of a band envokes within me the desire to
obtain everything they've done. Are there any places one can find a disco-
graphy? <Partial of otherwise> I've seen some interesting guides in my
searches, but nothing terribly current <like up to 82 if I'm lucky>
Any references?
"Kiss me stupid, love me dead..."
Mitch
[][][][][][][][][][]
Date: Fri, 14 Mar 86 03:40:58 EST
From: nessus (Doug Alan)
Subject: Phonetics and Skreikback
Speaking of Shriekback, the lyrics to "Oil and Gold" on the lyric
sheet are written in some strange phonetic alphabet. Does anyone know
where this particular phonetic alphabet came from or was it just
invented for the lyric sheet?
"Love has no meaning
Not where they come from"
Doug
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (03/18/86)
Love-Hounds Digest Tuesday, March 18, 1986, 04:09
Today's Topics:
Kate Bush on Stage
Japan, David Sylvian, Etc.
One Last Word (on this subject anyway)
recent digest contents
XTC
Bill Nelson; more Cocteau fanzine drivel
Bizarro wierd stuff... (2 msgs)
[][][][][][][][][][]
Date: Thu, 13 Mar 86 21:35 PST
From: ROBB LEATHERWOOD <ROBB-LEATHERWOOD%LADC@CISL-SERVICE-MULTICS.ARPA>
Subject: Kate Bush on Stage
Randomness: About the only thing on a farm that has an easy time is the dog.
I saw, at my local record store, a 12" Mini-Album by Kate Bush. It's
called "Kate Bush on Stage" and it's on Harvest records. The pictures
and the 4 songs listed on the back are the same as the 7" single of
the same name that I saw in Jim Lippard's boxed set of KB singles. Now,
this would be fine and dandy, but there's a sticker on the front that
says that the EP contains 6 songs. Either the sticker is lying or the
list on the back is. Does anybody know the answer to this? And what
is Kate doing on Harvest records? (Before you scream at me because all
of her other records that I don't have are on Harvest, let me tell you
that I only have HoL, The Dreaming, The Kick Inside on CD, and her
2 latest 12-inches. I just don't remember seeing that Harvest label on
any of the other records I've seen by her.)
Another Kate question: Now that I have what I have, what should I
get next? Never For Ever? Lionheart? Or some singles or what? I'd
appreciate a suggestion for my next Kate Bush record. (If there are
truly 6 songs on that Mini-Album, I expect I'll get that next. I mean,
it only costs $6.99)
So long,
-Shoo
[][][][][][][][][][]
Date: Thu, 13 Mar 86 21:56 PST
From: ROBB LEATHERWOOD <ROBB-LEATHERWOOD%LADC@CISL-SERVICE-MULTICS.ARPA>
Subject: Japan, David Sylvian, Etc.
Randomness: There's got to be more to life than compile-and-go.
Can someone tell me a little something about Japan and off-shoot bands and
artists? I have Japan's "Assemblage", "Oil on Canvas", and "Tin Drum". I
also have Mick Karn's solo album and Dali's Car's album. Can someone give
a discography of the band and it's representative artists, as well as some
history of them and personal opinions?
Thanks,
-Shoo
(or Fubb in ROT13, if you prefer...)
[][][][][][][][][][]
Date: Fri, 14 Mar 1986 10:27 EST
From: David M. Hardy <HAADAV@MITVMA>
Subject: One Last Word (on this subject anyway)
I just went back and reread my original posting, and gosh, golly, and JHTC,
I can't find ANYTHING in it where I told ANYONE to STOP DOING ANYTHING!!!!
Perhaps those who think I did should go back and reread it themselves instead
of reading things into it that aren't there. It was the person who said
"Please stop using obscenities" that triggered this whole thing who said to
stop. Now I'm going to put my walkman back on and continue listening to
Stan Rogers' "White Squall," followed by Fred Small's "Heart of the
Appaloosa" and the Legendary Pink Dots' "The Lovers" among other things which
there just aren't words, profane or otherwise, to describe. Saved by the
music....
"And I tell these kids 100 times
don't take the lakes for granted.
They go from calm to 100 knots
So fast they seem enchanted."
>>> Dave
[][][][][][][][][][]
Date: 14 Mar 86 16:56:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: recent digest contents
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>
Doug et al.,
If you look at the recent contents of this digest you can't help but notice
that the obscenity issue has gotten the most air-play of any recent "hot" topic.
There may be a reason for this which transcends peoples feelings for ex-
pression of opinions on morality issues. I have been reading this digest for
bo about 2 months now. I am constantly amazed at how little I know about
what is happening in the current world of progressive music (I use the term
progressive loosly, till I am sure that we are bnot allways talking about
neo-bang-bang bands, whose collective musical ability could not be surpassed
easily by recordings of mating calls of various rodents in heat). I have
obviously been sheltered from much of the music described here. Worse, I
have absolutely no idea where I can go to hear these new groups abnd decide
whether or not I find them progressive. Ergo, I have little to say about
any of these bands, although I enjoy reading comments about them.
This gets me to my point, I believe that the obscenty issue may reflect a
common focus upon which many persons can share opinions because we all have
some knowledge of obscenities. As to stopping the discussions of this
sort because it does not involve 'progressive music' is as rediculous (this
terminal is typing funny) as the concept of dirty words (e.g., words which
have dirt on them).
I am always open to hear new truely progressive music (remember about 10
years ago Pink Floyd were pretty progressive) and my opinion of the music
would not be altered by the name of a band. (The original name of my last
performing band was Coitus, which we changed to afterglow to avoid, much to
my dismay, public opinion -- We would have been better off as Coitus). Like
many of us oldetr types who read the digest, I wish we had a better way of
communicating the actual music as opposed to commentary abou the music.
At this point, we would all know what everybody was talking about. Alas,
(I read Jerry Pournell's BYTE art. too often) we may never reach this
technological capability, and I think that we all will suffer because of
this.
You people who live in Boston and have FNX (and people who live elsewhere
where there are stations that play 'oddo' music) are lucky. Those of us
who use radios in SE Connecticut are pretty isolated.
One final comment,
Thje Berlin 'SEX' lyric is (to the best of my ability to discriminate using
filters, speed translation and quantization techniques is "F*ck ME, F*ck ME".
I wont get into thge reason I investigated ti (oops) it in the first place
but would be glad to explain in detail if anyone really cares.
John
------
[][][][][][][][][][]
Date: Fri, 14 Mar 86 17:12 EDT
From: Bob Page <page%ulowell.csnet@CSNET-RELAY.ARPA>
Subject: XTC
Are recording as we speak. Todd Rundgren (sp?) is producing.
No release date info. It'll be good to hear from them again.
It isn't even winter/and I'm shivering/shivering...
..Bob
PS Shit. heh heh.
[][][][][][][][][][]
Date: Fri, 14 Mar 86 22:56:53 EST
From: hsut@ed.purdue.edu (Bill Hsu)
Subject: Bill Nelson; more Cocteau fanzine drivel
(I'm typing this while listening to All the Love, one of my all-time favorite
Kate songs, so this may get somewhat incoherent...)
(BTW, it was hilarious to read one of Doug's postings to lovehounds show up
in mod.music, you know the one where he predicted confusion about a certain
F-word...)
Finally picked up a copy of Bill Nelson's The Love that Whirls (I also saw
a stack of rarer Bill Nelson stuff at Rose in Chicago, but they're way out
of my budget range). Neat to find out that a lot of the artists whom I
admire also like each other's work --- Bill Nelson seems to be really
into Cocteau (again!) and the Hungarian Gyorgy Ligeti, one of the most
interesting avant garde composers in the early '60s. Ligeti wrote neat
pieces for organ which are literally dense blocks of sounds and colors,
and interesting choral and orchestral pieces. One of his pieces is heard
in the movie 2001. If you're into Cocteau's Beauty and the Beast (was it
Shelli?) be sure to pick up Bill Nelson's soundtrack. It was written for
a stage production based on the movie, and Nelson acknowledges the
influence of the original soundtrack. I've seen lots of stills from the
movie, but have not had the chance to see the actual movie.
Bill Hsu
[][][][][][][][][][]
Date: Sat, 15 Mar 86 01:02:28 EST
From: CUTTER%UMass.BITNET@WISCVM.WISC.EDU (Local UMass address is
Cutter@Mailer.CY175)
Subject: Bizarro wierd stuff...
1 - Picked up "The Dreaming". Kate Bush is the most extremely wicked
pissah awesome artist I've ever heard.
2 - I quoted part of this in my first message, and someone re-quoted
them in the last issue. Here is the whole song, known as "Piece of
Mind", which seems to be an outtake from the "Sgt Pepper" album, and
it is an outtake for obvious reasons - too bleeping wierd. Almost
pushes the limits of "psychedelic". The copy I have sux rox so maybe
one or two words ain't right...
"I'm looking at the candle burns the flame to meet the sky
I hear the candle laughing, I turn my face to cry
The safety pin returns my smile, I nod a brief hello
While you are building molecules with your garden hoe.
White canvas laughs forever, these things repressed inside
One feels it almost instantly, unless the novice died
It's over, it's done, paper needed again,
Just please please please, oh don't keep me from begin
I need to hear the colors red and blue, with whispered words
To fly all day and sing in tune and not hear what I heard
To see you all around me and to take you by the hand
And lead you to a brand new world that lately has been found
We'll build things never built before and do things never done
And just before it's over, it's really just begun.
Hush..."
Pretty wierd, huh? Definately drug-induced, but even so it beats
Wham!...
Has anyone picked up the latest (new as of 1/27) Mike Oldfield single?
I was over in Amherst, MA, during the broadcast of an extremely fine
college radio show known as "Non Sequiter Theatre" which plays a lot of
cool sh*t, from XTC to Frank Chickens to The Jazz Butcher to The Cramps,
and the DJ played the single. Very reminiscent of things like "Tricks of
the Light", like Oldfield is still in "Discovery" mode. Pretty good,
don't remember what the b-side is.
Speaking of XTC, saw the video for "Mole of the Ministry"... ever seen
that promo film the Beatles did for "Strawberry Fields Forever"? Yeah,
well, it looks like Partridge et al overdosed on watching it... Less
silent-film-ish, but it suits the song well. Also caught the video for
PiL's new one, "Rise". Lydon looks reminiscent of Dr. Lizardo, replete with
red hair on end and bug eyes. Then again, Lydon USUALLY looks like that.
He's also the only one from the band in the video. Hmmm...
Enough drivel. Later.
"I'll find a place somewhere in the corner
I'm gonna waste the rest of my days
Just playing solitaire by the window
Just watching seasons change..."
Joe
[][][][][][][][][][]
Date: Sat, 15 Mar 86 02:15:51 EST
From: nessus (Doug Alan)
Subject: Re: Bizarro wierd stuff...
> From: CUTTER%UMass.BITNET@WISCVM.WISC.EDU
> 1 - Picked up "The Dreaming". Kate Bush is the most extremely wicked
> pissah awesome artist I've ever heard.
Hey, it's great to see another convert to the One True Faith!
Some days I think to myself, "Is all this ridiculous Kate Bush
fanatacism really worth it?" But on days like today, when I know that
I've created another fan, and I can think of those extra few bucks in
KB's pocket, which she can use to build a better security system
around her house to protect herself from bozos like me who send her
rediculously long unanswerable letters and who want nothing more in
the world than to sneak into her house and make off with all her demo
tapes (including that one with 50 (!!!) piano songs on it that she
sent to record comapnies when she was 14) and her twelve inch single
for "Sat In Your Lap" -- it's on days like these that I know it's all
worth it!
"I want it all"
Doug
P.S. "Hounds of Love" has risen back up the UK Billboard charts and
is back in the top 10 (at number 9)! (And to think that I was worried
about what KB was going to do for money when "The Dreaming" flopped.)
P.P.S. Where does one find that nifto bizarro "Sgt. Pepper's"
out-take?
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (03/20/86)
Love-Hounds Digest Thursday, March 20, 1986, 06:53 Today's Topics: Re: Gabriel... etc. pinball of the mind (2 msgs) Re: racism Re: Obscenity Love Muffin--Palena vs. Rowley dk lyrics [][][][][][][][][][] Date: Tue, 11 Mar 86 13:36:05 est From: Henry Chai <ihnp4!utcsri!utflis!chai> Subject: Re: Gabriel... etc. >Really-From: CUTTER%UMass.BITNET >I advise you to pick up the AR Japanese CD... Them short little Asian critters ^^^^^ ^^^^^^ ^^^^^ ^^^^^^^^ >ran that sucker through some heavy duty computers ... Oh Wow. First there're obscenities. Now there's racism. This mailing list *IS* getting more and more interesting.... :-( [][][][][][][][][][] Date: Sat, 15 Mar 86 12:13:27 EST From: Joelll%UMass.BITNET@WISCVM.WISC.EDU (Atrocity Joelll) Subject: pinball of the mind Hi... This is my first real letter here, so please, send all flames to FLAME%Umass.bitnet@Wiscvm.wisc.arpa I was just kinda wondering about a few little bits of Kate trivia... Where's she from? Where does she live now? Why won't she tour America (or, it seems, anywhere else other than Great Britain)? Is there anything else scandalous or otherwise interesting anyone can tell me about her? I'd love to contribute to the record review-stuff that appears here, but I can hardly afford to feed my cat.... "there is no dark side of the moon, really, matter of fact, it's all dark" joelll p.s. for the person who was wondering how to laugh in an e-mail message, the method used at Umass is usually *bahaha* or, alternately, <laughter> [][][][][][][][][][] Date: Sat, 15 Mar 86 11:03:04 PST From: jordan@ucbarpa.berkeley.edu (Jordan Hayes) Subject: Re: racism From: Henry Chai <ihnp4!utcsri!utflis!chai> Oh Wow. First there're obscenities. Now there's racism. This mailing list *IS* getting more and more interesting.... :-( *sigh* /jordan [][][][][][][][][][] Date: Sat, 15 Mar 86 15:30:03 EST From: nessus (Doug Alan) Subject: Re: pinball of the mind > From: Joelll%UMass.BITNET@WISCVM.WISC.EDU (Atrocity Joelll) > Where's she from? Kent, England. > Where does she live now? Kent, England. > Why won't she tour America (or, it seems, anywhere else other than Great > Britain)? I have a better question. "Why won't she tour Great Britain?" She hasn't done a concert tour in 7 years. The problem is that she is obsessed with doing things right, or not at all. After the last tour, she wanted to have two more albums before another tour so that she could do totally new material. But "The Dreaming" flopped commercially (in comparison to her other records), so she probably didn't have enough money to do an elaborate tour. Now she wants to do a film of "The Ninth Wave" and says she probably won't have time to do that *and* a concert tour. > Is there anything else scandalous or otherwise interesting anyone > can tell me about her? She lives in blissful sin with her bass player, Del Palmer, and her two cats Pyewacket and Zoodle and has done so for many years. Is that scandalous enough? "We're all alone on the stage tonight" Doug [][][][][][][][][][] From: ihnp4!s.e.badian Date: 14 Mar 1986 9:36 EST Subject: Re: Obscenity References: <8603131200.AA13684@EDDIE> Re: Obscenity Personally, I have nothing against "obscenity" or using those terrible words. But, after a while "f*cking amazing" says about as much to me as "it was damn good" or "I loved it!" You are not giving me any extra information by saying "f*cking amazing" if you use it quite frequently, and I have the distinct impression that certain members of this mailing list toss around these words quite a bit. You may believe that pepper- ing your notes with various four letter words is giving us a good view of what you felt, but it doesn't say much to me on an intelluctual or emotional level. I think there are much better words around that say what you wish to express. Of course, if you want to be terse, they cer- tainly get your point across in short order. Actually, from reading this mailing list I get the feeling that the people who use these "obscenities" are attempting to show us that they are rebellious and have the punk-I-don't-give-a-f*ck-what-society-thinks-is- proper attitude. This is just the impression I get from reading their notes. I find it interesting that so many presumably well-paid engineering types have this kind of attitude. I'd like to see what you all look like to see if you look as strange as you talk. And if you look normal (by normal, I mean, pretty much like everyone else, not like the girl I saw in Philly with half her head shaved and crosses painted on her scalp in red nailpolish, and a white mouse in her over-sized coat pocket) then I have to wonder how many people I see at work are really closet punkers! I would like to move that we don't argue about using words that you wouldn't use in front of your grandmother (well, some Midwestern kind of proper grandmother; my grandmother could care less). That we just let whomever uses them, continue to use them. And those of you who are offended just say "BLEEEP" to yourself whenever you see one. We ain't going to get no where around here if we sit around yelling about using such tried and true words as f*ck and sh*t. This is a list to discuss music, isn't it??? Sharon Badian ihnp4!mtgzy!seb [][][][][][][][][][] Date: Fri, 14 Mar 86 09:55:37 est From: allegra!sjuvax!kirsch (P. Kirsch) Subject: Love Muffin--Palena vs. Rowley The Electric Love Muffin only really have demo tapes out. If anyone's really interested in getting a copy of their tape send me e-mail and I'll see what I can do. I know the drummer as well as his girlfriend (his girlfriend books bands at The Kennel Club here in Philly) and I might be able to get a copy of their tape. As far as Rowley vs. Palena--They are two different people--good friends but they are two different people. [][][][][][][][][][] Date: Fri, 14 Mar 86 13:31:13 est From: allegra!sjuvax!kirsch (P. Kirsch) Subject: dk lyrics Someone had requested DK's lyrics and I asked for an address to send them to. I forget the person's name who asked but I just wanted to let them know that I did get their address and I will be sending the lyrics. I wasn't able to get a response back to that person either so, you should be getting them any day now. ______________________ "...and don't you realize that it's a LIFE SENTENCE!!" -Paul Kirsch [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (03/21/86)
Love-Hounds Digest Friday, March 21, 1986, 06:29 Today's Topics: Richman at the Roxy Kate things... Berlin lyrics KB Mini-LPs, Sailors, Throwing Muses, etc. [][][][][][][][][][] Date: Sun, 16 Mar 86 14:25:18 est From: Knight of the Iguana <wicinski@nrl-css.ARPA> Subject: Richman at the Roxy Jonathan Richman and the Modern Lovers/The Roxy Club/March 13, 1986. Since the first show was sold out tonite, I had to settle with seeing only one set of Jonathan Richman. While the rest of earlier Modern Lovers have now grown up and are making money from their music, Jonathan Richman is still a kid at heart. The music he writes now is identical to the music he wrote over ten years ago: its happy, sad, but it will always make you smile. His music is pure pop, and with his music could become mainstream pop very easily, Jonathan himself has no desire to have that happen to him. In one of his conversations with the audience tonite, Jonathan said he loves small clubs where he can talk to the audience and they'll talk back to him. It's a good sign when musicians care more about the audience than making money. There was only two other members of the Modern Lovers with him; both played acoustical guitar and did a little harmonizing. Jonathan now carrys a saxaphone with him onstage; he uses it infrequently, but he does a decent job of and playing it. His songs now focus on the three things in life he enjoys: nature, life, and romance. All the songs they performed were from his last two albums and his soon to be released record on Twin-Tone records, and deal with the three important ingredients in his life. [][][][][][][][][][] From: think!harvard!bu-cs!sam Date: Sun, 16 Mar 86 18:12:12 EST Subject: Kate things... >I saw, at my local record store, a 12" Mini-Album by Kate Bush. It's >called "Kate Bush on Stage" and it's on Harvest records. A random observation: I like some of the versions of songs on the EP/mini-album/whatever-it-is better than the versions that appear on the albums on which they were originally released. I like the different chorus on "James and the Cold Gun", and I like the different piano arrangement on "Don't Push Your Foot on the Heartbrake". Agreements? Disagreements? Get well cards? Question: Is this recording from Kate Bush Live at the Hammersmith (or whatever... Hammer-something, at any rate...like the video?) Did I ask you this already, Doug? -------------------------- Recent convert Joe writes: >1 - Picked up "The Dreaming". Kate Bush is the most extremely wicked >pissah awesome artist I've ever heard. And Doug says: >Hey, it's great to see another convert to the One True Faith! And he's obviously from Boston or thereabouts. Wicked awesome. -------------------------- Doug at his sarcastic best: >And about this erotic undercurrent that's always been there... there >are some things that have been puzzling me for a while. Like in >"L'Amour Looks Something Like You" Kate sings at the end "I find I'm >living in that evening with that feeling of sticky love inside". What >is this feeling of sticky love inside? She's not talking about >*seamen* is she? Gosh. Is the feeling of old seamen inside you >something that is fun to remember? Perhaps some of the women on the >list would like to elaborate. No, I don't care to elaborate, but I'd like to correct your spelling: semen. Seaman is part of the punch line to the joke: What's the difference between a JAP and the Bermuda Triangle? (A: The Bermuda Triangle swallows seamen!) (And no, I didn't cross-post to net.jokes.) -------------------------- "Spontaneity is our middle name." --Shelli [][][][][][][][][][] From: think!harvard!bu-cs!sam Date: Sun, 16 Mar 86 18:18:09 EST Subject: Berlin lyrics >Thje Berlin 'SEX' lyric is (to the best of my ability to discriminate using >filters, speed translation and quantization techniques is "F*ck ME, F*ck ME". >I wont get into thge reason I investigated ti (oops) it in the first place >but would be glad to explain in detail if anyone really cares. > >John Okay, John, now you have definitely aroused (no pun intended) the interest of us all...now that your foot is in your mouth, you might as well start explaining! (Wait a minute..what am I talking about? *I* was the one who asked about the damn lyric to begin with!!) ---------------------------------- Did I wake up on the right planet this morning? --Shelli [][][][][][][][][][] Date: Sun, 16 Mar 86 20:00:22 EST From: nessus (Doug Alan) Subject: KB Mini-LPs, Sailors, Throwing Muses, etc. > Really-From: ROBB LEATHERWOOD > I saw, at my local record store, a 12" Mini-Album by Kate Bush. > It's called "Kate Bush on Stage" and it's on Harvest records. The > pictures and the 4 songs listed on the back are the same as the 7" > single of the same name that I saw in Jim Lippard's boxed set of KB > singles. Now, this would be fine and dandy, but there's a sticker > on the front that says that the EP contains 6 songs. Either the > sticker is lying or the list on the back is. Does anybody know the > answer to this? KB has two EPs. One is "Kate Bush On Stage", and has the four songs listed on the back. This one was never released in the U.S., but might have been released in Canada, for all I know. The other is "Kate Bush" and is an EMI-America compilation album. (It was never released in England). The U.S. version has five songs and the Canadian version has six songs. Don't always believe stickers. "The Dreaming" has the sticker that says "Contains 'Suspended In Gaffa' as seen on MTV'. Right. Maybe MTV showed it twice. And the most recent U.S. pressing of "Never for Ever" has a sticker which says "Featuring 'Never for Ever'". Now, there is *no* song "Never for Ever" on the album, but putting that sticker on the album sure is a way to drive KB fans crazy, because Kate *did* record a song called "Never for Ever", but she decided to leave it off the album. > And what is Kate doing on Harvest records? KB was originally on Harvest in the U.S. The first U.S. pressing of "The Kick Inside" was on Harvest and had the Canadian cover. She was very shortly moved to EMI-America, however. In Canada, she was probably on Harvest for a longer period of time. > Another Kate question: Now that I have what I have, what should I > get next? Never For Ever? Lionheart? Or some singles or what? Get "Never for Ever" and listen to mostly the second side. Pick up the "December Will Be Magic Again" single too. > From: Shelli > Is this recording ["Kate Bush On Stage"] from Kate Bush Live at the > Hammersmith (or whatever... Hammer-something, at any rate...like > the video?) Yup, it is. "Recorded Live at the Hammersmith Odeon, 13 May 1979 -- Play it Loud". >> She's not talking about *seamen* is she? Gosh. Is the feeling of >> old seamen inside you something that is fun to remember? Perhaps >> some of the women on the list would like to elaborate. > No, I don't care to elaborate... Awww... Cum on! "But you're not a swallow" Doug P.S. I saw The Throbbers, The Anti-Zeroes, Black Cat Bone, Uzi, and Throwing Muses at The Rat last night. It was a great show. The last three groups were awesome. The main person in Throwing Muses was incredibly PG, however (no she wasn't in a movie -- she was like, you know, Mary with child expect that the father wasn't God, like you know). I was scared she might have the kid there on stage. (All this is pretty strange, because the last time I went to my dentist, she was incredibly pregnant too.) I wonder how much this will delay Throwing Muses album. And whether their music will become all blissful and starry-eyed. Their encore song had something in it about dying rabbits, so things look pretty good. With my luck if I asked the author about those lyrics, however, and said "You're saying something about your pregancy when singing about dying rabbits, right?", she'd probably say "No, I'm talking about rabbits and about death. You're pretty weird." [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (03/22/86)
Love-Hounds Digest Saturday, March 22, 1986,
Today's Topics:
Groaners
Sonic Youth/Couch Flambeau
Goanna, love-hounds morale, weird girls in Philly
Right Planet, Wrong Medium
weird movies
Peter Gabriel
Re: Movies
No, no, no
Recent gigs
Buttholes, continued and concluded
Golden Palominos question (2 msgs)
Robyn Hitchcock fan club
[][][][][][][][][][]
Date: Wed, 12 Mar 86 08:12:25 pst
From: Scott Peterson <think!seismo!unc.CSNET!hplabs!tektronix!ogcvax!omssw1!omssw1!sdp>
Subject: Groaners
THE SEMI COMPLETE LIST OF SHEEP SONGS
Here is a list of slightly altered song titles that become somewhat
amusing to the sick and twisted when taken literally.
Songs:
Every breath ewe take - police
No one like ewe - scorpions
Rock ewe like a hurricane - scorpions
Don't ewe forget about me - simple minds
Born in the ewe S. A. - bruce
Ewe really got me - kinks
Missing ewe - i dunno [john waite]
Do ewe believe in love - i dont care
Who are ewe - the who
Ewe better ewe bet - the who
Running to ewe - cars
(baby) Ewe can drive my car - beatles
Hello, I love ewe - doors (?)
Would I lie to ewe - eurythmics
Babe I'm gonna leave ewe - zep
Ewe can't always get what you (they) want - stones
Imagine the covers of these albums changed to reflect the new titles.
Albums:
Wish ewe were here - floyd
Tattoo ewe - stones
Groups:
ewe-2
Anybody got any more?
[][][][][][][][][][]
Date: Mon, 17 Mar 86 12:20:31 EST
From: Hofmann@AMSAA.ARPA
Subject: Sonic Youth/Couch Flambeau
>How to describe their music? It has the same rawness and intensity
>of early 80's hardcore that's for sure. And they reject the use
>Jim
Date: Thu, 13 Mar 86 23:54:37 EST
From: hsut@ec.purdue.edu (Tsun-Yuk Hsu)
Subject: Re: Sonic Youth
I don't think Sonic Youth sounds much like early hardcore, but
what do I know about early hardcore...
Bill Hsu
Like I said, the same rawness and intensity is present not the same sound.
Just wanted to clarify that.
Private to Bill: Your system responds to my messages to you with (and
I quoteth): "I don't want to talk to you" ... why? Your private missive
about Couch Flambeau was answered with a "buy the `new' album - The Day
the Music Died if you like P O W E R music ... if Pete Townsend ever
got hit on the head and his memory returned he'd probably want to be
backed up by a band like the Couch ...
Keep your cool and follow the rules,
Jim
[][][][][][][][][][]
From: think!harvard!bu-cs!sam
Date: Mon, 17 Mar 86 11:46:16 EST
Subject: Goanna, love-hounds morale, weird girls in Philly
>I'd like to see what you all look like
>to see if you look as strange as you talk. And if you look normal (by
>normal, I mean, pretty much like everyone else, not like the girl I saw
>in Philly with half her head shaved and crosses painted on her scalp
>in red nailpolish, and a white mouse in her over-sized coat pocket)
Wait a cotton-pickin' second...that girl in Philly was ME...!
-------------------------------------
Musical question(s) of the day:
I once saw somebody here list Goanna: Spirit of Place as one of
their 10 albums to take to a desert island. (I listed it too, but I
couldn't remember the name of the album, just the group...) Is that
person still out there? Do you, or anybody else know anything else
about Goanna? Did they ever release anything else after Spirit of
Place? Does anybody else like this Aussie music? How about Moving
Pictures? They could be the Australian version of Loverboy. Or
Midnight Oil...the Aussie Def Leppard (sp?). Can anybody recommend
anything to me more of the Goanna genre? Moving Pictures was nice
to listen to...once or twice, but I'm curious about other local-type
things. I have mucho friends in Australia, and if I knew what to ask
for I could get them to send them to me...
--------------------------------------
BY THE WAY...I'm so glad this obscenity fight is officially over.
As the youngest (assumedly) person here (my virgin ears!), I just
want to say that *I* was never offended.....
But now that it's over...maybe we could do something to increase
love-hounds morale!! Let's see, the possibilities are endless.
We could start another poll...or maybe play a nifty prank on
net.music.kate-haters. Wait...I've got it...how many people here
are from the Boston area? I think pretty many... let's have a
*party*...I vote for Doug's apartment because it's appropriately
decorated. :-)
And you folks in D.C. could do the same thing on the same night...
it'd be like the Guideposts prayer hour...(well, maybe not exACTly..)
--------------------------------------
"It's a one time thing
it just happens
a lot"
--Shelli
[][][][][][][][][][]
Date: 17 Mar 86 15:53:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: Right Planet, Wrong Medium
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>
Shelli,
I'm new to this 'guess the NET' addressing game and wouldn't even attempt
to try to send mail directly to your address (tries to much less lengthy
addresses have failed me in the past). In response to your inquiry,
I do believe that the answer would be somewhat verbose, however, here
goes....
It was about 3:00 am and I was performing the last lateral-hypothalamic
rat-brain electrode implant of the day (about Summer, 1982). I was
wearing my Walkman and tuned into WIOT Toledo. Just as I was suturing
SEX came over the waves (this may not sound like much, but that was
probably the most progressive thing ever played on that station .. normal
mid-western fare station, Ozzie, Ted Nugent etc). It was unidentified,
and in the haze brought upon by the time factor as well as being in an
unventilated surgery suite with several unopened bottles of dental
acrylic hardner (heavy on the toluene, I think), I actually wondered
if I was halucinating, especially when I heard what I thought was F*CK
ME at the end of the piece. After determining that I did hear the song,
I tried calling WIOT to find out what it was. The DJ claimed that it was
never played. I stopped thinking about it and got loaded.
About two years later, I saw a Night-Flight concerning 'Sex in Music', or
some such topic. Sure enough, they played the SEX video, and I learned
of the existence of the band Berlin. Once I realized what I was hearing/
seeing, my attention was drawn to the close of the tune, but alas (more
Pournelle rub off), no indication of subdued obscenities at the end.
Since I now realized I had heard this song in the surgery that night my
interests were peaked (pun?) and I ran off to get the Pleasure Victim
album the next day.
I listened to the SEX track, and confirmed the existence of F*CK something
or other in the moans at the end. I became more obsessed with the METRO track
than SEX, however, and again, I failed to confirm the F*CK ME line.
About a month later, I recounted this whole thing with a sound engineer
friend of mine (ex audiologist/synthesist), he insisted that the signal to
noise ratio of the lyrics in the moans, coupled with the frequency attenuation
from FM transmission, would have made it impossible for me to hear what
was spoken at the end of the track. I then played the track for him and
he agreed that there was a F*CK something spoken in the moans at the end. Now,
he had access to all this sound processing equipment for digital filtering
and analysis of audiograms, as well as a speed translating device which
is used, i believe, in speech recognition improvement paradigms. We
encoded the last 15 secs of the SEX track and processed it with the
equipment. When the signal/noise ratio between the moans and the speech
was maximized, it was unquestionable that the words were F*CK ME, F*CK ME. I
must confess, however, that the second F*CK ME could have possibly been
another UCK word (e.g., suck) but it was definately not any word related
to anal sex.
End of story .... (Told you it would be verbose)
By the way, If anyone knows how to mail directly to multi "!"ed addresses
directly from a generic MILNET or ARPANET Host, please clue me in.
"Only timw ccan Close the Door"
John
------
[][][][][][][][][][]
Date: Mon, 17 Mar 86 17:09 MST
From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA>
Subject: weird movies
Reply-To: Lippard@MULTICS.MIT.EDU
In the last week or so, I saw the movies "Blowup", "8 1/2", "The
Tenant", "Picnic at Hanging Rock", and "Videodrome". All were strange
in different sorts of ways, but they prompted me to put together a list
of some of the stranger movies I've seen, ranked in a scale of
"weirdness" from 0 to 5, plus 6 being a special category for
"Eraserhead" (0 would be a conventional, straight-forward movie). I
liked them all, I have a fondness for weird movies. Anybody have any
good ones to add to this list?
1: Picnic at Hanging Rock (Peter Weir)
(Girls from a boarding school visit Hanging Rock, three and one teacher
do not return. Viewer has to "provide own conclusions" as to what
happened.)
2: Blowup (Michelangelo Antonioni)
(Photographer gets pictures of a murder about to take place.
DePalma's "Blow Out" borrowed heavily. Lots of strange symbolism.)
The Tenant (Roman Polanski)
(Neat story, reminded me of something by Rudy Rucker. Polanski
plays paranoid tenant in apartment whose previous owner committed
suicide.)
3: Videodrome (David Cronenberg)
(Executive of small Canadian TV channel comes across a pirate
broadcast of a show called "Videodrome", whose participants are
tortured and beaten. Quickly becomes very weird, difficult to
tell what is really happening and what is videodrome-induced
hallucination.)
if... (Lindsay Anderson)
(Malcolm McDowell and friends plan revolution at a military
boarding school. Scenes periodically in black & white, weird
ending. McDowell's first film.)
4: Man of Flowers (?)
(I just remember it was weird, but my mental condition at the
time was such that it might have just been me. No, I think it
was weird. Much of it seemed to make some kind of sense at the
time (though I'm pretty sure *that* was just me). Anybody else
seen this who can enlighten me?)
Oh Lucky Man (Lindsay Anderson)
(McDowell appears again in a sort of sequel to "if...".
A self-referential movie that starts out making perfect sense
and then really becomes strange.)
5: 8 1/2 (Federico Fellini)
(Another self-referential movie. Lots of scenes which are not
directly connected to one another, I bet repeated viewing would
make more sense out of it. Woody Allen's "Stardust Memories"
came to mind a lot while watching this.)
6: Eraserhead (David Lynch)
(WEIRD. If anyone can explain this movie, I'd like to hear it.)
-- Jim (Lippard at MULTICS.MIT.EDU)
[][][][][][][][][][]
Date: Mon, 17 Mar 86 10:59:02 est
From: Alec Saunders <wasaunders%watdragon%waterloo.csnet@CSNET-RELAY.ARPA>
Subject: Peter Gabriel
Apparently-To: Love-Hounds
After Gabriel iv he announced he wasn't recording anymore. He said he was
going into 'films'. Who knows when the next Gabriel album will be!?
--
Alec Saunders wasaunders!watdragon!watnot!watmath!clyde!burl!ulysses
...!cbosgd!ihnp4
...!vt200!linus
"Parallel hair???? Who needs it!"
[][][][][][][][][][]
Date: Mon, 17 Mar 86 21:50:29 EST
From: hsut@ec.purdue.edu (Tsun-Yuk Hsu)
Subject: Re: Movies
I wonder if this movies stuff will get posted to mod.music. If it does,
then maybe we'll get another round of complaints again. I hope so :-)
I kind of enjoy movies that are "different" too; a few examples:
BRAZIL A trip in more ways than one... read net.movies for details
LIQUID SKY What the great decadent artists like Genet might have done
if they made music videos. Perfect soundtrack, hilarious
dada minimalist plot about aliens who land on the roof
of a lesbian model... SEE IT!!
STRANGER THAN PARADISE This is "different" only in its choppy, unpolished
style. The story is straightforward (girl from
foreign country comes to US, has misadventures etc.)
Endearing characters.
And lots of Woody Allen (I haven't seen Stardust Memories, tho), Ralph
Bakshi (FRITZ THE CAT, AMERICAN POP, etc.), more mainstream things like
APOCALYPSE NOW (I hope Palena doesn't read this...), HAROLD AND MAUDE,
BLADERUNNER (see it for the crumbling LA of the 21st century and the
gigantic billboards) etc. etc.
On my list of "must sees": DIVA, ERASERHEAD, PINK FLAMINGOES, any Fellini,
any Werner Herzog, any Fassbinder, etc. etc.
Bill Hsu
[][][][][][][][][][]
Date: Mon, 17 Mar 86 22:06:29 EST
From: nessus (Doug Alan)
Subject: No, no, no
No! No more "ewe" jokes! I can't take any more. No, not a single one
more!
"L'Amour Looks Something Like You"
Doug
[][][][][][][][][][]
Date: Mon, 17 Mar 86 19:16:08 PST
From: allynh@calder.berkeley.edu (Allyn Hardyck)
Subject: Recent gigs
Scraping Foetus off the Wheel / Negativland @ I-Beam, SF, March 10
Well, this was something of a disappointment. But not because of the
opener: Negativland was great, proffering their twisted tech view
of their home (suburban Contra Costa County) in a mass of tape loopings,
editings, videos and 3 Casio CZ-101s. The members of the band wouldn't
look out of place working for Zehntel. "(squirt) (squirt) I'm using my
409 to clean up this sloppy mess!" Their latest album features a small
packet of genuine lawn clippings.
But Foetus' stage act was not up to the level of his albums. It was
understandable that he wouldn't be able to reproduce everything live, but it
ended up reducing to him, a mike, and dry ice. (And distortedly over-loud
backing tapes.) He came out in leather jacket (soon shed) and pants,
shades, and a baseball bat. We've seen this swagger before. "D. E. S. T.
R. O. Y. Des-TROY! ALL! GIRLS!" (swish) (swish). Yeah yeah.
After 20 minutes of this, he collapsed on the stage and disappeared into
the fog. Did not play "The Only Good Christian is a Dead Christian."
On stage, Billy Idol revisited. (What's happened to him anyway?)
The Fall / The Nuns / The Catheads @ The Stone, SF, March 14
Oops - came into the club a little early, the Catheads hadn't played their
radio hit, "Golden Gate Park" ("even the cops are cool") and weren't that
interesting (no in-out privileges at this place, I forgot). Yeah, that PiL
video, lots of laundry and dried leaves and flailing.
The Nuns - this was that seminal late 70's SF band? Well, they did "Suicide
Child" so I guess so, but as someone said, "Never trust a guitarist with a
Flying V." And they never did turn off the blue light on the female
keyboardist.
Well, a large percentage of the crowd (non-punks) decided that the Fall was
suitable music to slam to, so I got a mass of woefully out-of-place-looking
people on top of me much of the night, who I gleefully reasserted my
equilibrium against. Only songs I recognized were "Lay of the Land" and
"2 x 4" (encore) (I don't have the new album). Not much on audience contact
are they? Brix did occasionally say things to an apparent friend at the
edge of the stage. That was the only time any visible emotion was
displayed by a member of the band (she smiled), except when someone leapt
onto the stage, weaved about it, and dove off the right side near her
(the crowd neatly peeled back and he hit the floor with a satisfyingly
crunchy sound), at which she registered cool contempt.
"Keep your hands inside the ride at all times"
allyn
[][][][][][][][][][]
Date: Mon, 17 Mar 86 17:38:02 EST
From: Hofmann@AMSAA.ARPA
Subject: Buttholes, continued and concluded
When we last left the hapless interviewer with those madcap Butthole
Surfers ... gibby likened their sound with wipe-abilly ...
Interviewer: You mean there's a rockabilly element to your
music?
Gibby: No there's more a grunt element
Paul: We're like an extended bad TV commercial
Interviewer: Is it the kind of music that comes out and hits you
over the head?
Gibby: No, it's the kind of music that comes out and plays with your
sister.
Interviewer: Do you play the blues?
Paul: It's all the blues; well sort of the browns.
[][][][][][][][][][]
Date: 17 Mar 1986 2109-PST (Monday)
From: Elgin Lee <ehl@su-navajo.arpa>
Subject: Golden Palominos question
Just checked the paper and saw that the Golden Palominos are playing
locally (S.F.) next week. Which brings me to the momentous question:
when the Golden Palominos tour, who are the players? I guess that
Bill Laswell and Anton Fier will show up, but who else? Probably not
Michael Stipe, Jack Bruce, or Johnny Lydon. Henry Kaiser? Richard
Thompson? Syd Straw?
quizzically,
Elgin Lee
[][][][][][][][][][]
Date: Tue, 18 Mar 86 00:20:55 EST
From: nessus (Doug Alan)
Subject: Re: Golden Palominos question
> From: Elgin Lee <ehl@su-navajo.arpa>
> Just checked the paper and saw that the Golden Palominos are playing
> locally (S.F.) next week. Which brings me to the momentous
> question: when the Golden Palominos tour, who are the players? I
> guess that Bill Laswell and Anton Fier will show up, but who else?
> Probably not Michael Stipe, Jack Bruce, or Johnny Lydon. Henry
> Kaiser? Richard Thompson? Syd Straw?
I saw them play at the Paradise in Boston a short while back, and the
most notable members there were Anton Fier, Jack Bruce, Syd Straw, and
someone else whose name I can't remember offhand, but who was in Faust
and has a bunch of solo albums.
"If they find me racing white horses
They'll not take me for a buoy"
Doug
[][][][][][][][][][]
Date: Tue, 18 Mar 86 01:26:22 EST
From: nessus (Doug Alan)
Subject: Robyn Hitchcock fan club
It was only a matter of time, was it not?
ROBYN HITCHCOCK
If you would like to be on our mailing list, or would be
interested in joining a Robyn Hitchcock Fan Club, send
SASE
TO: T. Miller
158-15 79th St.
Howard Beach, N.Y. 11414
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (03/23/86)
Love-Hounds Digest Saturday, March 22, 1986, 21:21 Today's Topics: Japan...the band, not the country re: Phonetics and Shriekback Bootleg City (2 msgs) Re: weird movies re: A few questions.. you can all envy me now... (2 msgs) Re: envy [][][][][][][][][][] Return-Path: <umcp-cs!jhunix!jhunix!ins_aset> Date: Mon, 17 Mar 86 15:58:52 EST From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV> Subject: Japan...the band, not the country Since there has been no response to Shoo's question about the great and glorious Japan, here, for your edification, is the scoop... ALBUMS ------ Adolescent Sex Obscure Alternatives Quiet Life Gentlemen Take Polaroids Tin Drum Oil On Canvas Assemblage Exorcising Ghosts The first two are totally different from the rest of Japan's material... "punkier," rougher, glam-rock. Most Japan fans I know hate these two LPs. I can take 'em or leave 'em. Get the rest first, though. With "Quiet Life," they started moving into smooth Eurodisco; "Gentlemen Take Polaroids" and "Tin Drum" are their best, though. They actually got some Oriental musicians and started trying to live up to their name. Very interesting stuff, not party music or anything but definitely recommended. "Oil On Canvas" is a double live LP that's only for completists and Japan fetishists like myself. "Assemblage" and "Exorcising Ghosts" are compilations, with the latter being a double. Japan have also released loads of singles; my favorite is the 12" of "All Tomorrows Parties" (yes, a cover of the Velvet Underground song). David Sylvian has released a superb LP, "Brilliant Trees," as well as several singles, including two with Ryuichi Sakamoto, "Forbidden Colours" and "Bamboo Houses." A cassette LP, "Alchemy," was released late last year. (A 12" of excerpts, "Words from the Shaman," is also out). It's all instrumental, unfortunately... And if you're REALLY into Japan, how can you live without their video, "Instant Pictures"? It's a Japanese VHS cassette, definitely the best quality video I own. It features several videos for songs from "Tin Drum" and "Gentlemen Take Polaroids," including "Visions of China," one of the best videos EVER. Ok, so it costs $40 and it's not exactly easy to get hold of. Further questions? Email to me... Sue [][][][][][][][][][] Date: Tuesday, 18 Mar 1986 07:50:43-PST From: hall%beta.DEC@decwrl.DEC.COM (DAN HALL) Subject: re: Phonetics and Shriekback >>Really-From: nessus (Doug Alan) >>Speaking of Shriekback, the lyrics to "Oil and Gold" on the lyric >>sheet are written in some strange phonetic alphabet. Does anyone know >>where this particular phonetic alphabet came from or was it just >>invented for the lyric sheet? Don't know from whence it came. I found that I can't just read it and figure out what it says - I have to be listening and reading along. I took the time a few months back to listen and translate into English. If anyone who owns the record or tape (honor system here) would like the translated lyrics, I have them on-line - just send me mail. -Dan "We are no monsters we're moral people and if we have the strength to do this this is the splendor of our achievement" --Nemesis _OIL AND GOLD_ [][][][][][][][][][] Date: Tue, 18 Mar 86 11:32:36 EST From: CUTTER%UMass.BITNET@WISCVM.WISC.EDU (Local UMass address is Cutter@Mailer.CY175) Subject: Bootleg City Whilst perusing my local (sorta) record store, I noticed an interesting record in the Kate section - it was a 5 or 6 song album from the Kate Bush Fan Club of Taiwan. Badly printed cover (i.e. cardboard with a slip of paper held on by the plastic wrapping), it seems to be a live album featuring a coupla songs I didn't catch, tho' it *did* have "The Kick In- side" on it. Bizarro. Only $10, too. Anyone ever seen this thing anywhere else? Also, I understand the new Gabriel album is due in May and will be called "Good"... oh yes, does anyone know anything about the double-album bootleg "Peter Gabriel - The King of Rhythm"? It has lotsa old stuff on it, like "Humdrum", "Moribund the Burgermeister", and stuff like that. "Recent convert", indeed! I ran out and picked up "Hounds of Love", but I have a slight problem... when I attempted to make a tape copy for my walkperson, I discovered (much to my dismay) that the damn thing doesn't fit on a C90!! Has anyone tried and succeeded?? This is most annoying. Having a wonderful day in a one-way world, Joe ------------------ "We like to look 16 and bored shitless." - David Johanssen [][][][][][][][][][] Date: Tue, 18 Mar 86 09:32:38 PST From: jordan@ucbarpa.berkeley.edu (Jordan Hayes) Subject: Re: weird movies Re: 8 1/2 bringing to mind Stardust Memories ... 8 1/2 was done first, obviously, but I saw SM first ... thought "hey -- some of this is funny, but not as much as everyone thinks ..." -- then I saw 8 1/2 and laughed my seams apart. It's an obvious parody on 8 1/2 -- very well done, in fact. Woodie has done his homework (again!) /jordan [][][][][][][][][][] Date: Tuesday, 18 Mar 1986 07:44:54-PST From: hall%beta.DEC@decwrl.DEC.COM (DAN HALL) Subject: re: A few questions.. >Really-From: Serling%UMass.BITNET@WISCVM.WISC.EDU (Living in the Twilight >Zone <Serling%UMass.BITNET@WISCVM.WISC.EDU>) >2) I've taken to Shriekback the minute I picked up their latest album. > > I am also aware of the existance of a completely different version of > Jam Science, which came about due to producer problems. Can anyone > give me some history of he band, and perhaps fill in anything I'm not > aware of? > Mitch Shriekback started as a trio made up of Barry Andrews (formerly of XTC and the League of Gentlemen), Dave Allen (formerly of Gang of Four), and Carl Marsh (formerly of Out On Blue Six). Where did you hear about _TENCH_? That's news to me - I've never heard of that album (I thought _CARE_ was the first). Couple other things....Nemesis b/w Suck (live) is the double EP, with the second disk being a live version of Mothloop, and Feelers. Fish Below The Ice (the Plankton Enriched Mix) is b/w Coelacanth. The other version of _Jam Science_ (b+w cover, with a screw on it) was released by Y Records without Shriekback's permission, but I don't know what the problem was. It only has about 8 tunes on it, but two or three of them aren't on the Arista version of _Jam Science_. Here's a few EPs you didn't list; 1. Hand On My Heart (remixes) Jumping on the Ribcage (with the digital Rasta) Nerve Cloud of Nails (Pump up a storm) Mistah Linn - He Dead 2. Hand on my Heart b/w Suck, + Nerve (also available as picture disc) 3. Working on the Ground b/w Nightwork The one from _Care_ whose name escaped you was probably Lined Up - My Spine (has a photo of a sidewinder on it). Also a pic disc of this. There's yet another version of Suck on Debut #3, a music magazine and LP. The six track mini is called Knowledge, Power, Truth and Sex. The domestic and import of _Care_ differs by a few tunes. Enjoy the music! -Dan "This is as much as I know, this is all they told me" --Only Thing That Shines _OIL AND GOLD_ [][][][][][][][][][] Date: Tue, 18 Mar 86 15:46:49 EST From: nessus (Doug Alan) Subject: Re: Bootleg City > From: CUTTER%UMass.BITNET@WISCVM.WISC.EDU > Whilst perusing my local (sorta) record store, I noticed an > interesting record in the Kate section - it was a 5 or 6 song album > from the Kate Bush Fan Club of Taiwan. Badly printed cover (i.e. > cardboard with a slip of paper held on by the plastic wrapping), it > seems to be a live album featuring a coupla songs I didn't catch, > tho' it *did* have "The Kick In- side" on it. Bizarro. Only $10, > too. Anyone ever seen this thing anywhere else? Yeah, it's one of the two common KB bootlegs. But I think it has quite a bit more than 5 or 6 songs. It should also say "Kate Bush Live in Paris '79" (or something like that) on it. The fidelity isn't so hot -- it was probably recorded on someone's handheld recorder. But, it has a really wild version of "Egypt" on it that has bongo drums, etc., and is totally different from what appears on "Never For Ever". If you ever see a bootleg tape of a complete concert anywhere, you should definitely pick it up (the bootleg albums are extremely edited), because there were all sorts of bizarre stuff inbetween songs in the concert, including strange chants, spacy poetry reading, etc. I have a tape of the concert Kate did with Peter Gabriel and Steve Harley. They all did "Let It Be" together, Peter did "The Woman With The Child In Her Eyes", and Peter and Kate did together "I Don't Remember". (Her voice on this one is sure to make your dog commit suicide.) > Also, I understand the new Gabriel album is due in May and will be called > "Good"... "Good"??? Will it have a name in England? What's the source of the rumor? Hey, do you know of any Peter Gabriel fanzines? I sent away to one in England, but I never got a response, so they must be defunct. > I ran out and picked up "Hounds of Love", but I have a slight > problem... when I attempted to make a tape copy for my walkperson, I > discovered (much to my dismay) that the damn thing doesn't fit on a > C90!! Has anyone tried and succeeded?? This is most annoying. It's longer than 45 minutes. Gee, you get more music for the money, and complain! I edited out a song from the HoL side, and put it on the other side of the tape. "Don't fight it son. Confess quickly. If you hold out too long it might jepordize your credit rating." Doug [][][][][][][][][][] Return-Path: <umcp-cs!jhunix!jhunix!ins_aset> Date: Tue, 18 Mar 86 12:24:50 EST From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV> Subject: you can all envy me now... ...I have an interview with ROBYN HITCHCOCK!!! 28 March, the 9:30 Club, Washington DC. Will I dare ask for his autograph? I've been trying not to do that lately...no, I did not ask Mark E. Smith to sign my copy of "Slates" or "Perverted by Language." I used to collect autographs back in high school. I have Debby Boone's, David Hartman's, Gene Siskel's...now aren't you impressed?! Sue [][][][][][][][][][] Date: Tue, 18 Mar 86 21:06:56 EST From: nessus (Doug Alan) Subject: Re: you can all envy me now... > From: Susanne E Trowbridge > ...I have an interview with ROBYN HITCHCOCK!!! 28 March, the 9:30 > Club, Washington DC. Hey, nifto groovy! So what are you going to ask him? What size shoe does he wear? Is his hair real? How many pinheads can dance on an angel? > Will I dare ask for his autograph? I got him to autograph "I Often Dream Of Trains" and "Black Snake Diamond Role" and he didn't spit on me or anything... > I used to collect autographs back in high school. I have Debby > Boone's, David Hartman's, Gene Siskel's...now aren't you impressed?! Oh! Debby Boone, swoon, swoon... But I have Bob McCalister's and Doug Henning's. "You wear the Lizard's shoes And afterwards you get confused" Doug P.S. But, I admit, my favorite one is still "To Doug love from Kate Bush X" [][][][][][][][][][] Date: Tue, 18 Mar 86 21:14:09 EST From: hsut@ec.purdue.edu (Bill Hsu) Subject: Re: envy How about asking Robyn Hitchcock to draw some comix on your copy of Fegmania? That's certainly more interesting than getting his autograph :-) Bill [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (03/23/86)
Love-Hounds Digest Sunday, March 23, 1986, 14:37
Today's Topics:
Available Coitus Tape
Cassette offer abobe (below?)
Which KB album next?
fitting 48 minutes of music on one side of a C-90
Chitin Chitin Bang Bang
More shows
Golden Palominos
[][][][][][][][][][]
Date: 19 Mar 86 12:03:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: Available Coitus Tape
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>
Several people have expresse interest in hearing what the band Coitus
<aka AfterGlow> sounded like.
Needless to say, we never actually put anything on vinyl, however, I
do have a complete collection of the master tapes (some good, some noisy,
some bad) and would, in the interest of my ego, be glad to share some
of this weird stuff with anybody who is interested. Either send a blank
cassette and postage or $3.00 (apx cost of SA-90) plus postage to the
following U.S. Mail address. Allow a couple weeks for processing.
Remember, this is not slam, rock, jazz, psychedelic, new-wave, quasi-
electronic, etc. All recordings were made prior to 1982 with reasonably
current equipment. Some of the stuff is live. [To peak your interests,
titles include, Rice at the Wedding, Cereal-Bridges, Bleeding from the Gums,
Deathbed Overature, Collapso, Step on Bambi, Dead Sparrow in a Birdbath,
Lurch, etc.].
Early stuff includes input by Pascal Languirand (aka TRANS-X).
CrystaLogic
525 Chesterfield Rd.
Oakdale, CT 06370
"and my stash was going quick,
took some time to flick my Bic,
BOOM .... Free Base"
John
------
[][][][][][][][][][]
Date: 19 Mar 86 12:14:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: Cassette offer abobe (below?)
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>
Please notify me by EMAIL if you want a cassette before sending anything.
Also, please specify your musical interests and morality problems or
lack thereof (I don't want to offend anybody)
John
------
[][][][][][][][][][]
Date: Wed, 19 Mar 86 14:25:43 EST
From: Alec Saunders <wasaunders%watdragon%waterloo.csnet@CSNET-RELAY.ARPA>
Subject: Which KB album next?
Organization: U. of Waterloo, Ontario
Apparently-To: Love-Hounds
Somebody (Rob Leatherwood I think?) asked which KB album to pick up
after The Dreaming and Hounds of Love?
I bought them in this order:
Lionheart, Kick Inside, Never Forever
Dreaming, HoL
'course I bought the first three around the time of the release of
Never Forever, so I didn't have the selection you newcomers to
fandom have today.
You should definately pick up Never Forever next. After that get The Kick
Inside ... Lionheart (I like it ... but why???) is a bit like Kate does
the Beegees and Frank Sinatra with a weird twist to it. Get it for the
sake of having it but don't listen to it too often.
--
Alec Saunders watmath!watdragon!wasaunders
"Parallel hair???? Who needs it!"
[Frank Sinatra and the Beegees?!?! I'd say more like a cross between
Joanie Mitchel, Patti Smith, Pink Floyd, Brian Ferry, and a dog
whistle, with a weird twist to it. --Doug]
[][][][][][][][][][]
Date: Wed, 19 Mar 86 17:30:27 EST
From: Joelll%UMass.BITNET@WISCVM.WISC.EDU (Atrocity Joelll)
Subject: fitting 48 minutes of music on one side of a C-90
(with Cutter@Umass' problem in mind...)
If you're bound and determined to fit the whole recording one one side of
your C-90...just adjust the pitch control on your turntable so the
disc spins 2%-3% faster...the difference in sound is *real* hard to notice...
Joelll
PS...I take no responsibility for this suggestion...
<this is the usual disclaimer of everything>
[][][][][][][][][][]
Date: Wed, 19 Mar 86 19:03:20 EST
From: nessus (Doug Alan)
Subject: Chitin Chitin Bang Bang
What is "neo-bang-bang" music?
And where can I get a record of the mating calls of rodents in heat?
"Muskrat, muskrat
Candlelight..."
Doug
[][][][][][][][][][]
Date: Wed, 19 Mar 86 16:58:33 PST
From: allynh@calder.berkeley.edu (Allyn Hardyck)
Subject: More shows
Sounds like you got the same flyer they were handing out at the concert
Monday night, Doug.
Robyn Hitchcock and the Egyptians / Yo @ I-Beam, SF, March 17
EX-cellent show, tho I was too buzzed at the beginning to fully appreciate
it at that point. Highlights: definitely the between-song patter
("My dad in the 70's had, you know, one of those devices with the arm that
swings back and forth on his desk and it kept hitting him." "This next song is
about a woman having a party whose husband upstairs has sewed himself up into
a, um, piece of black velvet, rather like a grub...") It occurred
to me that he would probably be a megastar in the world of _Brazil_.
And "Uncorrected Personality Traits" also an apex. Good fun all around,
like when one of the cymbals fell over (when Andy
Metcalfe was on drums) and the stagehand fumbled to put it back in place,
having to stand stock still every 5 seconds or so so Andy could hit it.
Meat Puppets / Angst @ Berkeley Square, Berkeley, March 18
I had no idea I was even going to go to this until I came home
at 10 last night, about 1/2 hr. before the Puppets came on.
So we missed the openers. 1st song: "Up On the Sun", then from the
audience:
Asshole: "Where's D. Boon?"
Kirkwood: "He's dead, man."
Same covers as mentioned earlier: "Rock and Roll", "Good Golly Miss Molly",
"Not Fade Away". Not familiar with their songs enough to go into
detail on those, but most of the KALX sorta faves.
Robert (Barrington social director) figured Kirkwood was probably
a Jimmy Page fanatic from his on-stage moves.
allyn
[][][][][][][][][][]
Date: 19 Mar 86 (Wed) 20:08:18 EST
From: Keiji Kanazawa <kgk%brown.csnet@CSNET-RELAY.ARPA>
Subject: Golden Palominos
I saw them at the Ritz in New York a couple of weeks ago. I was *very*
disappointed since Laswell didn't show up: I don't go out of my way to
see Fier. However, they weren't all bad; I didn't like the second
album much before I saw them, and now I do. Band members not mentioned
by nessus included Bernie Worrell, Jody Harris, another guitarist/lead
singer, and another keyboard player. "The Animal Speaks" just didn't
cut it with Jack Bruce on the vocals though...
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (03/24/86)
Love-Hounds Digest Monday, March 24, 1986, 02:59
Today's Topics:
Picnic at Hanging Rock (2 msgs)
barely audible vocals
Re: Wierd movies (2 msgs)
Thomas Dolby (2 msgs)
Bush / Gabriel / maybe more
neo bang-bang music / rodents in heat
Re: Bush / Gabriel / maybe more
XTC info & assorted stuff from a new reader
Bill Nelson, and PIL
Love-Hounds: Funny Movies
KB 12" singles and Cloudbusting Video
[][][][][][][][][][]
Subject: Picnic at Hanging Rock
Date: Thu, 20 Mar 86 08:03:58 -0500
From: jdarnold@ATHENA.MIT.EDU
PaHR is one of my all time favorite movies by my all time favorite
director, Peter Weir. Something you forgot to mention: the music in
this movie is incredible! I would do anything to get the soundtrack,
esp. on CD! Mostly using the Pipes-of-Pan, by that all time favorite
(he even has a Send-Before-Midnight-Tonight-World's-Greatest-Record on
TV album) Zamfir, the music and the soft focus and beautiful young
girls all contribute to a very eerie and hard to shake atmosphere
piece. It was on the Arts & Entertainment network a few weeks ago and
I finally got it on Video tape. This particular showing was really
marred by commercial breaks (which has destroyed many a great movie,
especially atmosphere pieces), but with a quick trigger finger, I
carefully avoided recording them. If it should ever come to a
theater, tho, check this one out!
Also by Peter Weir (all of which are excellent movies):
The Last Wave - weird movie of the apocalypse, with Richard
Chamberlin
Gallipoli - somewhat slow war movie with Mel Gibson
Year of Living Dangerously - another excellent soundtrack by a
someone-I-can't-right-now-recall Jarre, with Mel Gibson and Sigourney
Weaver; another incredible atmosphere movie
Witness - Academy Award nominations out the wazoo - definitely
my Picture, Director, and Actor of the Year (Harrison Ford was superb);
Heard on 'FNX yesterday - my current #1 song is by The Call: I Still
Believe, and the DJ said that Peter Gabriel helps out (does the
vocal?) on 1 song on their album (as does that twerp lead singer of
Simple Minded, oh well, few things are perfect!).
<J.D.>
PS: I'll get back to you on the Goanna album, perhaps with a
discography. I too am big on things Aussie and have friends "down"
there. Aussie movies are my specialty.
[][][][][][][][][][]
Date: Tue, 18 Mar 86 21:19:45 pst
From: think!seismo!hao!hplabs!tektronix!ogcvax!omssw1!omssw1!sdp (Scott Peterson)
Subject: barely audible vocals
Never heard of (the group) SEX, but Zappa's "Crew Slut" on "Joe's
Garage, Act I" has a background vocal that drones "f*ck me" alternated
with "f*ck you" for a good portion of the song. Took me a few
listenings to realize that the background was somebody talking.
--- Scott <sdp@telefunken>
" ... I ain't gonna squash it,
and you don't need to wash it ... " see above
[][][][][][][][][][]
Date: Tue, 18 Mar 86 22:12:15 pst
From: think!seismo!hao!hplabs!tektronix!ogcvax!omssw1!omssw1!sdp (Scott Peterson)
Subject: Re: Wierd movies
My 3 favorite wierd movies are
Buckaroo Banzai, Across the 8th Dimension
Videodrome
The Man Who Fell to Earth
(Two of these have music, so it's ok to discuss them here, right?)
I've seen "Oh Lucky Man", but not all of the scenes in the proper order.
Does it make a difference? It's always on at 3:12 on channel 3.71e-9.
I do distinctly remember them referring to some specific act as "Giving
her the old in-out", with a proper british accent.
Understanding "Eraserhead" requires special chemicals. I've never seen
the movie or the chemicals.
--- Scott <sdp@yoyodyne>
[][][][][][][][][][]
Date: Wed, 19 Mar 86 12:27:57 pst
From: think!seismo!hao!hplabs!tektronix!ogcvax!omssw1!omssw1!sdp (Scott Peterson)
Subject: Thomas Dolby
Did Thomas Dolby quit the music business after just "The Golden Age of
Wireless" and "The Flat Earth"? I bought an album by George Clinton (?)
because the R.S. said Dolby was on it. Turns out he was on it as a
producer. I was disappointed by that AND the music. Anyway, what's
TD up to these days? Am I the only one that cares?
--- Scott <sdp@H Oregon>
2
... it turned into
the kind of drug
that Kieth feels
isn't that funny ... "The White City" T.D.
[][][][][][][][][][]
Date: Thu 20 Mar 86 08:32:48-PST
From: Bob Knight <KNIGHT@SRI-NIC.ARPA>
Subject: Re: Picnic at Hanging Rock
I second the recommendation of PaHR, and will add one thing to the list -
The Plumber, an extremely bizarre short movie about a housewife being
terrorized by a (deliberately?) incompetent plumber...
Bob
-------
-------
[][][][][][][][][][]
Date: Thu, 20 Mar 86 09:07:18 PST
From: jordan@ucbarpa.berkeley.edu (Jordan Hayes)
Subject: Re: Thomas Dolby
Didn't he work (anonymously) on the first few Whodini! singles?
/jordan
[][][][][][][][][][]
Date: Thu, 20 Mar 86 11:15:40 EDT
From: seismo!bdmrrr!potomac!jsl (John Labovitz)
Subject: Re: weird movies
X-Mailer: msg [version 3.2]
For the last few days, I've been trying to think of movies that would
qualify as `weird.' I knew I'd seen some in addition to the original list,
but I couldn't remember. But here ya go...
``Even Dwarfs Started Small'' (Werner Herzog) -- The residents of a mental
asylum, all midgets, revolt and trash the place. Everything is
horrifying here -- torturing the monkeys and chickens, blowing
things up, setting fire to people. The scariest scene I've ever had
the pleasure of watching is the oldest midget sitting on top of a
motorcycle, revving the engine, and laughing -- for about 5
minutes. Guaranteed to .. uh .. do something to you.
``Sweet Movie'' -- I don't really know what the plot is. Something about a
bunch of people who do bizarre things and then some of them get
aboard a commune ship going around the world. And then someone
drowns while masturbating in a large vat of chocolate. Damn bizarre.
(Directed by the same guy who did ``Montenegro'' (one of my all-time
favorites) and ``The Coca-Cola Kid.'')
If anyone's seen either of these, I'd like to get your opinions on them.
John Labovitz ..!{rlgvax,seismo}!bdmrrr!potomac!jsl
--
Don't act so embarrassed
It's a family trait
-- Robyn Hitchcock
[][][][][][][][][][]
Date: Wed, 19 Mar 86 23:16:53 EST
From: CUTTER%UMass.BITNET@WISCVM.WISC.EDU (Local UMass address is
Cutter@Mailer.CY175)
Subject: Bush / Gabriel / maybe more
Zowie, Doug! I knew Gabriel grabbed her (figuratively) for "peter
gabriel" (III), but a concert? Wowzers! Damn lucky you're local...
I finally fit HoL on a C90. There's NO space between songs, but....
I got the info on "Good" from the dude who was ripping the "Import
Gabriel" section of the store apart with me. We were talking for about
20 minutes. He said that he subscribed to several Genesis/Gabriel fan
mags and all had reported that the title was going to be called "Good".
I checked with some other people in the store the next day and heard
the same thing. You know fans, they will kill themselves to find out
info, and they're usually not wrong...
Yupper, the bootleg was Paris, '79. There were no other bootlegs there,
although the chill dude at the counter said there were some coming in
Real Soon Now. More as this develops.
Also, I played the whole of "Watching You Without Me" backwards (I have
a flakey turntable) in an attempt to see if the odd-sounding pseudo-Indian
portion was spoken backwards. It is, but it all sounds like "He sees heat"
or "He knows knock". Anyone else tried it? Didja get better results???
I'm going down to Florida,
Joe
-----------------------
"It's not music, it's a disease."
- Mitch Miller
[][][][][][][][][][]
Date: 20 Mar 86 15:10:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: neo bang-bang music / rodents in heat
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>
Doug,
Definition : Neo-bang-bang music - that type of music usually played by
instrumentalists with little or no talent. The music is
often characterized by continuous strumming of one or two
chords at obnoxiously high volume backed by a drummer who
is unable to deal with anything but straight 4/4 time with
an occasional high-hat ride and a tom beat. When there is
a vocal in such music it is usually sung by a vocalist with
little or no talent, it is usually screamed and has little
cognitive components. This music has no redeaming value
at any level in tha lacks originality and other
good qualities. In my opinion (I stress this) many of the
new-wave political bands fall in to this category. While
thee may be agrivation, compassion, and idealism in their
music, it still makes my dog nervous. (Maybe the correct
def is "music that makes my dog nervous").
As to where you can get a recording of rodents in heat, you might bring a
port recorder to a pet store which sells rodents. If you can find someone
who can sex them, you can separate the males from the females. Given the
promiscuous nature of most rodents within a day or two you might catch
the event.
(Seriously, I never meant to coin the term Neo-bang-bang music in the first p
place. I generally like most types of music even that described above. As for
rodents in heat, If I ever get out of the navy and get back into an animal lab,
I will be glad to record some for you.)
"lunch special -
1 12" and 1 coke for 4.95"
John
------
[][][][][][][][][][]
Date: Thu, 20 Mar 86 15:20:58 EST
From: nessus (Doug Alan)
Subject: Re: Bush / Gabriel / maybe more
> From: CUTTER%UMass.BITNET@WISCVM.WISC.EDU
> Zowie, Doug! I knew Gabriel grabbed her (figuratively) for "peter
> Gabriel" (III), but a concert? Wowzers! Damn lucky you're local...
For the concert, it was other way around, however. Kate grabbed him.
Peter Gabriel was also the "special guest" on Kate Bush's BBC TV
special in '79, and they did a duet together -- a cover of Roy
Harper's wonderful "Another Day" (Cocteau Twin fans are probably
familiar with this song.)
> I finally fit HoL on a C90. There's NO space between songs, but....
You didn't really speed it up 3% did you???
> I got the info on "Good" from the dude who was ripping the "Import
> Gabriel" section of the store apart with me. We were talking for about
> 20 minutes. He said that he subscribed to several Genesis/Gabriel fan
> mags and all had reported that the title was going to be called
> "Good".
Did you get the addresses of any of these Gabriel fanzines? I've been
looking for a Peter Gabriel fanzine for ages. They must not be
exteremely well-known or they would have been mentioned in one of the
KB zines. (You can find both "Break-Through" and "Homeground" every
now and then in Newbury Comics, but maybe not "Break-Through" any more
because they had so much trouble getting paid by Dutch East India
Trading that they decided to only do subscriptions from now on.)
> Also, I played the whole of "Watching You Without Me" backwards (I
> have a flakey turntable) in an attempt to see if the odd-sounding
> pseudo-Indian portion was spoken backwards. It is, but it all sounds
> like "He sees heat" or "He knows knock". Anyone else tried it? Didja
> get better results???
I have the whole thing on tape backwards. The part that sounds like
"Really see" forwards still sounds like "Really see" backwards.
There's one part that sounds to me like "He was long..., he was
long..., he was longing <mumble> <mumble>", which seems to make
perfect sense in light of the song. Actually, I think it's Kate
just trying to drive us crazy. (Have you played "Leave It Open"
backwards yet?)
"Going to Montanna
Gonna raise me some dental floss"
Doug
[][][][][][][][][][]
Date: Thu, 20 Mar 86 18:18:28 EST
From: FULIGIN%UMass.BITNET@WISCVM.WISC.EDU (Peter E. Lee)
Subject: XTC info & assorted stuff from a new reader
Hi-ho, I'm new to the net, but fairly knowledgeable about 'new music',
so here goes :
On XTC :
(My favorite group)
As of the last issue of 'The Little Express' (the Canadian fan-club
newsletter), the band have not yet chosen a producer or studio for their
next album, but they have already written around 20 tracks. A complete
list of song titles is available, my favorite being "Gang way, electric
guitar coming through". They hope to have the album out by Easter.
I find that "25 O'clock" is all the more brilliant if you realize
that it was done as a joke. It was released on April Fool's Day in England
last year, and is meant as a tribute to/send up of the psychadelic bands that
XTC grew up on. All of the lyrics and music on that EP were recorded in
one take. I think, however, that the band have really captured the soul of
the music - each of the songs has a timeless quality which the best of the
original psychadellic music did, but which so little of the music of the
'paisley underground' does today. (The preceding was an incitement to riot
for some parties I'm sure).
On The Golden Palominoes :
The line-up which played at UMASS (the first official date of their
first official tour) was :
Anton Fier, Syd Straw, Peter Blegvad, Chris Stamey (SP?), Bernie
Worrel, Jodie Harris, Jack Bruce, and a female singer/synth-player whose
name escapes me.
I got to talk to the band before the show for awhile, and it sounds
like Stype will be joining them for the west coast dates. It also emerged
that the current line-up is basically settled and won't be changing too
much in the future. IE, those people who are on tour are the 'real'
Golden Palominoes, and will be appearing on all future albums.
On Peter Blegvad :
Now playing with the Golden Palominoes, Peter Blegvad is one of my
three favourite songwriters (the other two being Andy Partridge and
Declan McManus/Elvis Costello). He was formerly a member of the bands
'Faust' and 'Slapp Happy', and has also released two excellent solo LP's,
six or seven songs from which the Golden Palominoes are doing live. The
albums are 'The Naked Shakespeare' - Produced by Andy Partridge, and featuring
Anton Fier, Chris Stamey, Andy Partridge, Colin Moulding, Dave Stewart, and
(on one track) Maggie Reilly (singer with Mike Oldfield) - and 'Knights
Like This' (which was produced by David Lord, and features Chris Difford
(of Squeeze and Difford & Tilbrook) among others). 'The Naked Shakespeare'
(Virgin records, UK 1983) is truly brilliant, mixing slightly warped,
extremely intelligent pop songs with some very odd sung/spoken poetry.
'Knights Like This' (Virgin Records, UK 1985) is, in Blegvad's own words,
"Over-produced" and sounds a little too slick most of the time, but it, too,
features some exceptional songwriting with a few good hooks thrown in here
and there for good measure. The musicianship on both LPs (as you can guess
from the artists involved) is exceptional.
On Shriekback :
'Tench' was Shriekbacks first LP (EP? - 6 songs as I recall), the
single from it was 'Sexthinkone'. One or two tracks from it (I don't
have my copy near the terminal) also appear on 'Care'. The limited
edition double pack of 'Nemesis' (both 7" and 12") feature live verions
of 'Mothloop' and 'Feelers' - both of which appear in studio form on
'Tench'.
The other version of 'Jam Science' (I have both) was released by Y
records without the permission of the band when the band went to Arista
from Y. It consists of what the band had finished for the album at the
time of the label change. Two or three songs appear on it which are not
on the Arista version at all, and those songs which do overlap are
entirely different versions. The Y album is far more like like 'Care'
than is the Arista version - It has more of the dense, murky sound and
less of the slickness. Better or worse I couldn't say, but definately
different.
On life in general :
Any other fans of XTC, The Jazz Butcher, Peter Blegvad, Colourbox,
or Propaganda out there?
What do the Kate fans think of the 'Organnon Mix' of "Cloudbusting"
and "Alternative Hounds Of Love"? Anyone else seen the vid for
Cloudbusting?
And how do the Cocteau Twins fans like Dead Can Dance?
Oh well...
Space Antlers For Peace,
-Peter E. Lee
Fuligin%Umass.BITNet@WISCVM.ARPA
[][][][][][][][][][]
Date: Thu, 20 Mar 86 19:56:26 EST
From: FULIGIN%UMass.BITNET@WISCVM.WISC.EDU (Peter E. Lee)
Subject: Bill Nelson, and PIL
>I would appreciate if somebody can tell me, or point me to, the usual
>album specs for the PiL ``album'';
I don't know the whole line-up off-hand, but Ryuichi Sakamoto (ex-YMO)
is on keyboards, with Ginger Baker (ex-Blind Faith, etc...) on drums.
According to John Lydon, from a recent Melody Maker interview, he is
PiL and all of the other members are transient and chosen by him from
project to project. According to Anton Fier however, from an interview
I did with him about 2 weeks ago, Bill Laswell wouldn't let the rest of
the regular PiL musicians into the studio, and instead chose to use
session musicians who could play their instruments.
About Bill Nelson :
Nelson has a new single out (released within the last week or so),
called 'Wildest Dreams'. Very pretty, sort of in the 'Another Day,
Another Ray Of Hope' stream of things. The B-Side of the 12 inch
contains an instrumental piece called 'The Yo-Yo Dyne'. Does anybody
know what a yo-yo dyne is? Does it have a meanining at all, besides
being the name of a propulsion systems company in Buckaroo Banzai?
Also, according to a Melody Maker of awhile back, Nelson will be
(or is) producing the next David Sylvian solo-LP, which ought to be
pretty impressive, if the report is true.
-Peter E. Lee
[][][][][][][][][][]
Date: 20 Mar 86 (Thu) 11:26:36 EST
From: Robert Goldman <rpg%brown.csnet@CSNET-RELAY.ARPA>
Subject: Love-Hounds: Funny Movies
About the wierd movies -- I'd like to give a '5' to David Lynch's DUNE,
which I'd describe as follows:
David Lynch indulges many of his obsessions at with the resources of Dino
"90-Foot King Kong Doll" DeLaurentiis. Sets lavish and wonderful, the whole
effect is to make you very uncomfortable as you watch, by exposing you to
deeply disquieting images. Because there had to be an excuse to get this
huge budget, an apparently bored Lynch inserts clips from the film of the
Reader's Digest Condensed DUNE. Plot events totally uninteresting, as are
the good guys and Sting. But the Bad Guys are magnificent!
Robert
BITNET rpg@BROWNCS.BITNET (to IBMS:BROWNVM)
CSNET rpg@Brown.CSNET
ARPANET rpg%Brown@csnet-relay.ARPA
UUCP {decvax,ihnp4,allegra}!brunix!rpg
[][][][][][][][][][]
Date: Thu, 20 Mar 86 23:53:22 EST
From: nessus (Doug Alan)
Subject: KB 12" singles and Cloudbusting Video
> From: FULIGIN%UMass.BITNET@WISCVM.WISC.EDU (Peter E. Lee)
> What do the Kate fans think of the 'Organnon Mix' of "Cloudbusting"
> and "Alternative Hounds Of Love"?
I think they're gnarly to the max. And just right for 12 inch
singles, rather than album versions, without being too
12-inch-single-y. And how could one continue life without having "My
Lagan Love" and "The Handsome Cabin Boy"?
I wonder what Kate's going to do for the 12 inch single for "The Big
Sky"? (If there is one.) I don't think you'd really want to extend
it. It already is a great 12 inch single the way it is, even if it
doesn't come that way.
> Anyone else seen the vid for Cloudbusting?
Yeah! Where'd you see it? On Empty-V? I showed it to Jim Hofmann a
while back and he posted a long article here saying how he thought
Kate looked ridiculous trying to play the part of a little boy. I
think his head is up his a**, but then, isn't all of ours?
"Bless me father, bless me father
For I have sinned, UH!"
Doug
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (05/10/86)
Love-Hounds Digest Saturday, May 10, 1986, 12:51 EDT Today's Topics: OH MY BANK BALANCE Re: Album Dates The Swans 'Music for Palaces' Foetus, record labels, and Comic dreams KB and "Journey"...!?! Kate CDs [][][][][][][][][][] From: COBLEY A (on DUNDEE DEC-10) <A.Cobley%dundee.ac.uk@cs.ucl.ac.uk> Date: Monday, 5-May-86 11:44:48-BST Subject: OH MY BANK BALANCE -------- oh no do you know what youve done ????? hawkwind on cd!!!!! i always said i would buy a cd player the day i saw hawkwind on cd and shit you say its happened , what will the bank manager say????? help me , HELP ME love and peace ?? your recident hippy andy c cobley%dundee.micro%dundee@ucl-cs dundee university scotland (dept of electronics) -------- [][][][][][][][][][] Subject: Re: Album Dates Date: Mon, 05 May 86 15:48:36 -0800 From: J. Peter Alfke <alfke@csvax.caltech.edu> J. Rossi complains that many independent labels omit the dates on the album covers. This is definitely a valid complaint; fortunately, the date usually makes onto the album somewhere, on the inner sleeve or disc label. There are, however, underhanded methods for finding the date on the outer sleeve. I realized 4AD's scheme a few months ago. All 4AD releases have catalog numbers like "CAD 211" or such. Of the number, the first digit is the last digit of the year, and the other two digits are the release number during that year. Thus 211 is the 11th release of 1982. The letters work like: CAD -- LP BAD -- 12" single / EP AD -- 7" single I've also seen: MAD -- 12" single (only on one Colourbox EP) WAD -- collection of scrumptious 23 Envelope posters (not yet in the hot little hands of this author) I did NOT waste enormous amounts of time figuring this out. The letter stuff is pretty simple, and the numbering scheme just came to me one day. Red Rhino, for one, seems to use a similar number scheme. @@@@@@@@@@@@@@@ The Bauhaus collection sonds GREAT on disc. My opinion of Bauhaus is growing by leaps & bounds. --Peter Alfke alfke@csvax.caltech.edu "Some kind of useless information s'posed to fire my imagination" [][][][][][][][][][] Return-Path: <umcp-cs!jhunix!jhunix!ins_aset> Date: Mon, 5 May 86 11:27:14 EDT From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV> Subject: The Swans Darn! I'm so upset that they cancelled their Washington, DC show. I just don't get enough abuse on a regular basis... Maybe they could face-off against Red Lorry Yellow Lorry in a snarlathon. -Sue [][][][][][][][][][] Date: Sun, 04 May 86 10:00:36 EDT From: HABOURG%BROWNVM.BITNET@WISCVM.WISC.EDU Subject: 'Music for Palaces' A warning to Joe Turner and anyone else interested in the Eno bootleg MUSIC FOR PALACES (Centrifugal Records, England): if you do find a copy, listen before you buy!! It's a two record album, a 33 and a 45. The 33 I got was labelled as Eno, but actually contained a recording of Talking Heads live in some dive. Other folks have commented on this in net.music. [][][][][][][][][][] Date: Tue, 6 May 86 02:37:46 EDT From: nessus (Doug Alan) Subject: Foetus, record labels, and Comic dreams > From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV> [Regarding the Swans...] > Darn! I'm so upset that they cancelled their Washington, DC show. > I just don't get enough abuse on a regular basis... > Maybe they could face-off against Red Lorry Yellow Lorry in a > snarlathon. It wouldn't be any contest. Red Lorry Yellow Lorry would jump in their trucks and blue-shift away as fast as possible. I'd rather listen to Red Lorry Yellow Lorry, on a regular basis however. But just to annoy you, Sue, I also saw Scraping Foetus off the Wheel a short while ago. He didn't cancel in Boston, and it was quite the experience. First he filled the *whole* Rat with hot fog. I couldn't see anything except my nose for the whole first song ... and Foetus was only two feet away. I couldn't breathe either. And the lights along with the fog turned the *whole* universe solid colors. A red universe. Red everywhere. Red up. Red down. Red inside my head. Then yellow. Then orange. Then blue. Then red. Eventually the hot fog dissipated enough so that I could see about two feet. Which revealed Jim Foetus weilding a baseball bat and drinking from a bottle of yuppie spring water. He was wearing a "Motorslug" (i.e. Foetus and the guy from the Swans) T-shirt, which he eventually removed, and leather pants which where unfastened and unzipped enough to tell us that his red hair is probably natural. He sang and performed along to the "music", which was all on tape. He kept beating up on the guy next to me (I wasn't wearing an earing), and rolling around on the ground, and climbing up on to the rafters, while screaming about how women suck, or how Christians suck, or how *you* suck, or about how he's going to kill you all. All this time, I was being shoved against the calf-high stage by the crowd, so I was in extreme pain, which was very appropriate. He only played for about half an hour, and the crowd nearly rioted when he didn't do an encore. I managed to grab the half-empty bottle of spring water after he left, and gave it to a drooling fan. I hope the Karma will come back to me some day, and I'll get Kate's Coke can, or something... Before Foetus was Uzi, who were brilliant, as always. Unfortunately they just broke up. One can hope that their already-recorded album will still come out. > [Greg Earle:] > I just scanned through the 1985 Musical Archives. Of all the > entries (over 150 LP's, 12", and 7"), only ONE (that's right, O N E) > was released by a major label (Art Of Noise "Legs" 12" on > Chrysalis). I am conveniently considering Virgin a non-major, > although they sorta are. MORAL: Support your LOCAL INDEPENDENT > Record emporium, down with corporate bullshit music! Well good for you Greggie! But I'd hardly consider any record company which owns their own airline and a record store the size of a Sears to be "independent". But in any case, this attitude of "I'm only going to buy stuff on independent labels" really pisses me off! Support *good* music, no matter what label it is on. If everyone with good taste boycotts major labels then major labels will never carry good music. It will be a self-fulfilling prophecy, and by not buying good music on major labels, you will be actually helping to proliferate junk, rather than helping to get rid of it. (And what's this? You didn't get HoL!) And in regard to Joe Turner's friend in England who was at Comic Relief: For someone who wasn't taking notes and who isn't a fan, he sure managed to imagine some incredibly appropriate arrangements for songs that weren't performed. "That cloud looks like industrial waste" Doug [][][][][][][][][][] Date: Sat, 03 May 86 16:23 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU Subject: KB and "Journey"...!?! In reference to recent inexplicable comments published recently regarding "Not This Time": first of all I must state flatly that this track sounds absolutely nothing like "Journey". Second, it is extremely similar both in terms of production and song structure to Kate's other anthem-style Hounds of Love b-side, "Burning Bridge". I assume that these two recordings sound so much alike because they represent Kate's quickest and least polished new "demo" style of recording, done in her new studio with the core of her band and a very fast, OTT over-dubbing of her own voice in the huge final choruses. The recording is nevertheless completely unlike anything heard on commercial radio, not only in the strange melodic twists in verse and bridge, but in the disquieting hysteria of the final choruses, as well. Doug has reacted unexpectedly to new Kate Bush material in the past, as with "RUTH"; I am surprised that he hasn't learned that her music often demands a slow assimilation by the listener over time, but that such time is invariably well spent. This is not to say that either "Burning Bridge" or "Not This Time" are crucial parts of the KB oeuvre; only that heated and irrational references to "Journey" are as unwarranted in one case as in the other. P.S.: Have my messages of the past few days been getting through? [][][][][][][][][][] From: ma3166ay <think!harvard!cmcl2!lanl!unmvax!unmc.cc!ma3166ay> Date: Fri, 2 May 86 23:07:03 mdt Subject: Kate CDs Does anyone have a definitive list of all the Kate out on CD? I don't just mean the stuff Green lists, I mean American, Japanese, and British pressings. Here's what I've seen. Hounds of Love (of course, readily available even at the local Sound Whorehouse) The Kick Inside (Japanese -- Kate wearing pink, Japanese liner notes) Lionheart (I just saw it today, but didn't have the * $25 * they wanted for it -- another Japanese import) Of course the rumor was propagated about "The Dreaming" and "Never For Ever" supposedly coming from the new EMI plant in England, but I can't play rumors on my D5 . . . has anyone seen or bought anything other than the three discs listed above, including different versions of the same albums (like TKI with the "Country & Western" cover)? Help! I don't own a turntable or a working cassette deck! I *NEED* more Kate! .rne. ----- Ernie Longmire {{ purdue cmcl2 ihnp4 } !lanl ucbvax } !unmvax!unmc!ma3166ay ----- [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (05/11/86)
Love-Hounds Digest Sunday, May 11, 1986, 13:28 EDT
Today's Topics:
KB on CD
Saturdays show.
Re: KB and "Journey"...!?!
Re: Kate on CD
IED KT update, May 6
KTCD
TK ni segassap sdrawkcaB
[][][][][][][][][][]
Date: Tue, 6 May 86 10:34:49 EDT
From: Jean Marie Diaz <ambar@ATHENA.MIT.EDU>
Subject: KB on CD
Reply-To: ambar@artemis.MIT.EDU
Usnail: 259 St. Paul St. Brookline, MA 02146
Phone: (617) 734-0648
Random-Header:
I was in Plastic Fantastic (an AWESOME used-disc store in the Philly
area) a few weeks ago, and saw a copy of The Kick Inside with the
Country/Western cover. Didn't get it--my CD player is very much a
future thing....
AMBAR
"I need something to change your mind...."
[][][][][][][][][][]
Subject: Saturdays show.
From: KNIGHT@MAINE (Michael Knight)
Date: Tue, 6 May 1986 15:14 EDT
For those of you who haven't gotten around to reading the TV listings
for that Kate Bush concert coming up this Saturday night (Sunday Morning
technically..) here's the line up as I read it. It's on a show called
'Night Flight' on the USA Network.
12:30 'A vidio profile of Kate Bush.' Sounds like that lineup of
vidios we've all heard about recently.
1:00 'Footage of a 1979 Kate Bush concert.' 60 minutes.
If you bothered to read on it repeats again at 4:30 and 5:00am
respectively. I know *I* plan on tapeing this. Let's all pray for no
interuptions by Captain Midnight.
[][][][][][][][][][]
Date: Wed, 7 May 86 01:41:43 EDT
From: nessus (Doug Alan)
Subject: Re: KB and "Journey"...!?!
> From: A. Marvick
> In reference to recent inexplicable comments published recently
> regarding "Not This Time": first of all I must state flatly that
> this track sounds absolutely nothing like "Journey".
Well, sure the vocals are distinctly Kate, and add some value to the
song, and there is elephantotic distortion on the guitar that Journey
would never use, but in general it has the melodic, rhythmic, and
over-produced characteristic (you know, the way that lots of
instruments all merge to create a muddled wash that is so common in
Journeyish AOR pop) of American corporate rock.
I'm not the first person to notice this either. Before the single
was available here, I talked to Peter Morris in England. He said
"People don't know what to make of 'Not This Time'. They think Kate
is trying to do an American FM AOR song, like Boston or Chicago."
After hearing this I was all set to hear a cover of "More Than A
Feeling" done with Aborigine drums and Uillean pipes. Now *that*
would have been cool!
> Second, it is extremely similar both in terms of production and song
> structure to Kate's other anthem-style Hounds of Love b-side,
> "Burning Bridge".
I don't think that "Burning Bridge" sounds anything like "Not This
Time". I think "Burning Bridge" is really good!
"I know what works for me"
Doug
[][][][][][][][][][]
Date: Wed, 7 May 86 01:52:06 EDT
From: nessus (Doug Alan)
Subject: Re: Kate on CD
> From: ma3166ay <think!harvard!cmcl2!lanl!unmvax!unmc.cc!ma3166ay>
> Does anyone have a definitive list of all the Kate out on CD? I don't just
> mean the stuff Green lists, I mean American, Japanese, and British pressings.
> Here's what I've seen.
> Hounds of Love (of course, readily available even at the local
> Sound Whorehouse)
> The Kick Inside (Japanese -- Kate wearing pink, Japanese liner
> notes)
> Lionheart (I just saw it today, but didn't have the * $25 * they
> wanted for it -- another Japanese import)
That *is* the definitive list. Though *Lionheart* and *The Kick
Inside* are also available on British pressings for less. The British
"Kick Inside" has the original cover of the album (i.e. the "Kite"
cover).
> Help! I don't own a turntable or a working cassette deck! I *NEED* more
> Kate!
This is why turntables are more important to own than CD players!
> From: Jean Marie Diaz <ambar@ATHENA.MIT.EDU>
> I was in Plastic Fantastic (an AWESOME used-disc store in the Philly
> area) a few weeks ago, and saw a copy of The Kick Inside with the
> Country/Western cover. Didn't get it--my CD player is very much a
> future thing....
Are you *sure*??? The British CD has the "Kite" cover. A "Tammy
Wynette" cover on "The Kick" would mean that the CD has been released
in the U.S. I find that *very* hard to believe.
-Doug
[][][][][][][][][][]
Date: Tue, 06 May 86 15:16 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: IED KT update, May 6
As usual, all verbiage from this
correspondent concerns KT and KT
only.
IED0DXM has just received a load of earlier
Love-Hounds material covering matters Ninth
Waveological, and would like to thank Bill
Hsu and Henry Chai, in particular, for their
helpful analyses.
The latest KBC Newsletter has apparently
made it official: there is now a competition
underway to decipher "what Kate is saying"
in "Watching You Without Me", although the
announcement does a bad job of pinpointing
the position of this message within the track.
The message still makes no more sense backwards
than it does forwards, although it is clear that
something is being said. There are two distinct
sections, the second being a repeated phrase saying
something like "Really see"
(this is Doug Alan's hearing, not
mine: could the words not be "We receive," or
even "We recede"?). I will shortly submit to Love-Hounds
a transcription of the first section as heard by me,
but without any confidence of its accuracy. What
interest me even more, however, are the two or three
seconds immediately preceding this "backwards" track,
during which time the Morse code signal for "S-O-S"
can be clearly heard. I have no trouble with that message;
however, if those moments are listened to again, another
sound, like that of a high-pitched, wavering short-wave
radio transmission, also becomes audible. Could this not
be another message in Morse code, put on a loop and then
sped up to nearly inaudible Hz levels? Who can clarify for
me?
Henry Chai preceded me, I note, in deciding
that it was "unlikely" that the spelling of
Organon was unintentional; but at this point
I am willing to admit that even KT is able to
commit errors, albeit of the most trivial kind.
Knowing, however, of Kate's continued predilection
for cigarettes, it is equally possible that the
spelling is a veiled reference to an obscure
document of 1659, written by the physician Walter
Rumsey, entitled "Organon salutis: including divers
new experiments of tobacco and coffee: how much they
conduce to preserve humane health".
Mr. Chai also noted that he had a hard time reading
from the original works of Wilhelm Reich, because of the
seriousness of his tone. This tone is precisely what makes
Reich's pathology so fascinating (for as much as we may admire
the beauty of his ideas and sympathize with the persecution he
suffered at the hands of the U.S. government, it must be
admitted that Reich was, at least by the late 1940s, quite
mad). If Reich had simply taken to stumbling through the
streets of Manhattan, spouting harangues to the effect that
alien DOR forces were attacking the Earth in UFOs, and that
the only way to stop them was to open fire by shooting blue
Orgonotic energy rays into the sky through the agency of big
metal pipes, he would not be remembered today, except, perhaps,
for his early work in the field of Freudian psycho-analytic
scholarship. But because he channeled his dementia into the
narrow and highly disciplined forms of scholarly writing,
developing a large body of Orgonotical literature and publishing
heavily footnoted papers regularly in the Orgonon Press,
his name lives on, and his work is still sporadically referred
to by some of the flakier psychologists in business today.
Partly out of a feeling of empathy for such a means of justifying
one's obsessions, I have chosen to adopt Reich's pedantic forms and
ponderous style in dealing with the work of Kate Bush, since
this kind of obsessive interest in another person's life and
work is better disguised, I think, when couched in the dry-as-dust
language of the Orgonotic scholar.
Only two corrections to be made, off hand, to the transcription
of the dialogue in "Waking the Witch": The Priest asks,
"What is it, child?" I think, not "What child, what child?"
Also, in the "wake-up"-call section, I thought the male voice
which screams simultaneously with the female chorus of
"Your ma needs a shower. Get out of bed!" was not saying
"Sunday at nine and you're sleeping in bed. Get up!" Rather,
I hear: "Stop that lying and sleeping in bed. Get up!"I may
be wrong about the latter line, however.
Finally, I would like to relay the news that the promotional
film for "The Big Sky" is listed as being available for
licensed telecast in the May 8 (?) issue of Billboard.
Since it is extremely unlikely that "The Big Sky" will be
released as a single domestically, the film will in all
probability be ignored by most video programmers, MTV included,
unless we do something about it. Assuming everyone here wants
to see and/or record it, I urge another MTV dial-a-thon, with
the aim of getting at least one token cable-cast of "The Big Sky".
Could someone suggest a date and time? Thanks. Hey! What's that?
Looks like one of those...umm...
[][][][][][][][][][]
Date: Tue, 06 May 86 20:24 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: KTCD
Answering Ernie Longmire's question, those
are the only KT CDs on the market except
for the German CD of The Kick Inside, which
features the original UK cover.
I once (over a year ago) heard a rumor that
someone had seen a German CD of The Dreaming
in a store in Texas, of all places. This was
untrue. There has yet to appear a CD of either
Never For Ever or The Dreaming, though any serious
Kate Fan would tell you that quality of sound
reproduction is of relatively greater importance
for these two albums than for the
first two albums, The Kick Inside and Lionheart.
But everybody knows that the CD business is a mess.
-- Andrew Marvick
[][][][][][][][][][]
Date: Tue, 06 May 86 20:53 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: TK ni segassap sdrawkcaB
The precise location of the "backwards" track in "Watching
You Without Me" is at bar 64, ending at bar 78 (12 bars);
this translates as from 2:19 into the track to 2:48 (30
seconds). I think Paddy's entertaining demonstration of
how a backwards track is done was too simplistic. There
is more going on here than simply learning the way a phrase
sounds when played backwards and then singing those sounds,
recording the vocal normally. First, there is Kate's tendency
to distort the sounds as she records them, through God knows
how many bizarre devices (the harmonizer being only one of
many, I am sure). Second, there are the odd echoes of rhythm
that can be heard behind the vocal when the record is played
normally, which sound very much like truly "backwards" tracks.
This would not be the case if all the sounds had been "learned"
and then recorded normally. A similar "backwardsiness" can
be detected in the "weirdness" passage from "Leave It Open".
This brings up the third and I think most important reason
for distrusting Paddy's simple explanation, namely, that
words do indeed seem to come out of the "weirdness" passage when
it is played backwards. After all, Kate seemed to be playing
a joke on fans when it turned out the "weirdness" message
was a forwards message after all. Isn't it likely that she's
playing a joke now, as well? The problem is, we're ready for
her, and she knows it; therefore, I'm convinced, the new puzzle
is somehow more complicated than the first one.
Heard forwards, these are the phonetics I'm hearing (these are
*very* tentative): "Zwoh neekh lawv zwoh neekh lawveet" (rest)
"eeb vee nahd widthawng ee noy" (repeat)
N.B.: The music book wrongly begins this passage at bar 65, one
of dozens of such errors to be found within the "official"
transcription.
This passage is then succeeded by what I believe is a separate
message, the one which consists of the repeated message "Really
see," or "We receive," or "We recede".
Can anyone make sense of any of this?
-- Andrew Marvick
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (05/11/86)
Love-Hounds Digest Sunday, May 11, 1986, 13:58 EDT Today's Topics: Kate on CD "Lively Lunch" or something are YOU ready for this.... 'C/W cover on CD' If not this time, then when will you capitulate? Danielle Dax [][][][][][][][][][] From: Jeff Dalton <jeff%aiva.edinburgh.ac.uk@Cs.Ucl.AC.UK> Date: Tue, 6 May 86 19:53:07 -0100 Subject: Kate on CD > > From: ma3166ay <think!harvard!cmcl2!lanl!unmvax!unmc.cc!ma3166ay> > Date: Fri, 2 May 86 23:07:03 mdt > Subject: Kate CDs > > Does anyone have a definitive list of all the Kate out on CD? I don't just > mean the stuff Green lists, I mean American, Japanese, and British pressings. Not me, but I did happen to look at this part of Edinburgh Virgin taday. > Here's what I've seen. > > Hounds of Love (of course, readily available even at the local > Sound Whorehouse) Ditto. But the UK release is "Made in Japan". (I've gotten the impression that Japanese CDs are better made, in some way, is this true?) > The Kick Inside (Japanese -- Kate wearing pink, Japanese liner > notes) Made in Germany (I think), but a UK release (not an import). "Normal" Gold Kate on Kite cover. > Lionheart (I just saw it today, but didn't have the * $25 * they > wanted for it -- another Japanese import) Another Japanese import. I haven't seen any sign of The Dreaming or Never Forever. We do have the Cocteau Twins Treasure, though (or is that universal now?). > but I can't play rumors on my D5 Pardon my ignorance, and my departure from the proper L-H discussion, but what's a D5? [][][][][][][][][][] From: bu-cs!sam Date: Wed, 7 May 86 10:00:59 EDT Subject: "Lively Lunch" or something BOSTONIANS, REJOICE! It's a new activity for Thursday afternoons! At the Marriot Copley (in the Conservatory) at noon each week, you can see a local band AND eat a delicious buffet lunch for (get this) $3.00! This Thursday: Lou Miami. See you there. /shelli (just kidding, Jordan.) [][][][][][][][][][] Date: Mon, 5 May 86 09:49:50 edt From: Slime Ball Petroleum Jelly <wicinski@nrl-css.arpa> Subject: are YOU ready for this.... At a party I was at this weekend, somebody brought up Kate in a conversation I was listening in on. Then some girl said "Yea, Kate sounds almost *exactly* like Donna Gocheaux (like Kieth and Donna...). Yea, exactly. So I had to jump in and set the record straight...Some people just never leave the 60's. [][][][][][][][][][] Date: Wed, 7 May 86 13:06:42 EDT From: Jean Marie Diaz <ambar@ATHENA.MIT.EDU> Subject: 'C/W cover on CD' Reply-To: ambar@artemis.MIT.EDU Usnail: 259 St. Paul St. Brookline, MA 02146 Phone: (617) 734-0648 Random-Header: Yes, I'm sure. I've never seen any of the other covers, and I would have remembered if this one was different. The guy I was with pointed out the Kate CD's to me--I was digging through the KB vinyl.... AMBAR "I need something to change your mind...." [][][][][][][][][][] Date: Wed, 07 May 86 17:15 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU Subject: If not this time, then when will you capitulate? }Well, sure the vocals are distinctly Kate, and add some value to the }song, and there is elephantotic distortion on the guitar that Journey }would never use, but in general it has the melodic, rhythmic, and }over-produced characteristic (you know, the way that lots of }instruments all merge to create a muddled wash that is so common in }Journeyish AOR pop) of American corporate rock. This is, after all, a matter of opinion, and I am trying to remember that, but really! The stylistic similarities between "Burning Bridge" and "Not This Time" are clearly audible-- far more audible than the similarities which you claim exist between "Not This Time" and American corporate rock (good term). Of course the vocals are "distinctly Kate", but what's more significant is *how* they are distinctly Kate. One thing many listeners notice when listening to, say, the final epic (and, by your definition, apparently, "over-produced") choruses of "The Big Sky" is the abandon, the deliberate throwing away of technical controls in Kate's vocals. A similar liberated singing style can be heard in a more understated form in "The Morning Fog". But this kind of singing is much more obvious in "Burning Bridge" and "Not This Time", and it does not, I argue, appear before the new album. Beyond that, the whole concept of structuring a song with the overwhelming emphasis on a long closing sequence of choruses sung by Kate's voice many times over-dubbed, and consisting of "tiddle-ee-ohs" or some such traditional folk phonetics in the tradition of "tra-la-la", is distinctive of these new Hounds of Love songs. Just think of the background vocals in "Alternate Hounds" and you can see immediately how similar they are to the chorus in "Not This Time". Furthermore, such a concept, and such use of phonetic choruses, are not only absent in Boston or Journey or Foreigner or Styx -- they are completely antithetical to the musical principles (or absence of same) espoused by those bands. Furthermore, if I were obliged to find similarities between the song and the music of any of those bands, I *would* single out the guitar -- despite the "elephantotic distortion", the introduction of such guitar in the last choruses is a staple of commercial American rock. I might also cite Kate's use of the popular endearment "baby"; but this word cropped up in "Running Up That Hill" without condemning the song as a sellout to "Journey". As to rhythm, there I'll agree with you that its links with mainstream rock are strong, but not so strong that the closest musical parallel to "Not This Time" must be "Journey". The rhythms of rock have always been extremely limited, and the differences between a brilliant, adventurous rock rhythm and a dull, unoriginal one can usually be traced to slight changes in emphasis of a beat and alterations of tuning, miking and recording techniques. Finally, in response to your contention that "Not This Time" shares melodic characteristics with "Journey", well, I'm baffled. There are so many beautiful details of melody, both as written and as interpreted, which are unique to "Not This Time", and which place it so firmly within Kate's native English musical tradition, that I am at a loss to understand how they can all have failed to meet your notice. [][][][][][][][][][] Date: Thu, 8 May 86 01:45:15 EDT From: nessus (Doug Alan) Subject: Danielle Dax I just got this EP by Danielle Dax called "Jesus Egg That Wept". >From one listening, it seems pretty amazing. Danielle Dax is a strange one. Most of the tracks on this record were recorded on a 4-track Teac, and she seems to like to mix tribal and Indian music. This record contains the third song I've ever heard with an Aboriginal rhythm (it also has a digeridoo, or something that sounds like one). Danielle Dax was also in the movie "A Company of Wolves". How come no one mentioned this movie in the strange film discussion. "A Company of Wolves" is the closest to KB's music in spirit I've ever seen a film come. It is sort of a modern retelling of Little Red Riding Hood, and has a very haunting feeling to it. Does anyone know any more about Ms. Dax? "In a Holocaust-Haze your lunacy seems calm." Doug [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (05/13/86)
Love-Hounds Digest Tuesday, May 13, 1986, 05:23 EDT
Today's Topics:
Danielle Dax (2 msgs)
Jane Siberry!
Back to the 60's ?
Much Music Spotlight
The oddest promotional gimmick ever?
Recent French KT interview
KTCD continued
[][][][][][][][][][]
Date: Thu, 8 May 86 13:52:47 EDT
From: David Oskard <dno@cvl.umd.edu>
Subject: Danielle Dax
All I know about Danielle Dax is that she appeared in The
League of Gentlemen (as in Robert Fripp and the..) and is on their
album. I forget exactly what she plays, but it sounds like she has
promise from what you say, Doug. Let's all buy her EP so she'll put out an
album. Of course, I dread the thought of what would happen to her if she
became popular--money and music don't seem to mix too well.
dno
[][][][][][][][][][]
Date: 8 May 86 11:12:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: Back to the 60's ?
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>
Tim Wicinski brought it up, this leaving the 60's question. Even more so
than comparisons of Kate's style with other performers, of any decade, we
do, indeed, appear to be in a trend back toward the 60's in many creative
and moralistic dimensions. It isn't surprising that musical ideaology
which was prevalent in the 60's is showing up again in the second half
of the 80's. This is separate from any neo-psychedelicism which preys on
exact imitation of 60's type music, but a descriptive trend in the thought
processes which are responsible for creative thinking, in general.
For example, I have noted a remarkable change in the moralistic attitudes
of college students in the last 3 or so years. Initially, this change was
reflected in concern for third-world and developing countries. Most recently
the avid student protests concerning South Africa investments are of
interest. Last week, the students of Connecticut College actually took
over the administration building in protest of the discriminatory hiring
practices of the school. I'm not sure, but I think that this is the first
successfull student takeover attempt to occur since the very early 70's.
Now that the Yuppie attitude is going, and is apparently being replaced with
an attitude reflecting concern by political protest, should it be surprising
if music follows a similar path.
(VAX isa shutting down, to be continued .... maybe)
John
------
[][][][][][][][][][]
Date: Thu 8 May 86 08:49:38-PDT
From: Bob Knight <KNIGHT@SRI-NIC.ARPA>
Subject: Jane Siberry!
Just heard "Seven Steps to the Wall" on KFJC from the new album. In my
humble opinion, it blows away *anything* on the first two albums. Is
the disk in the store yet? Is it named "Speckless Sky"?
I CAN'T WAIT!
Bob
-------
[][][][][][][][][][]
Subject: Much Music Spotlight
From: KNIGHT@MAINE (Michael Knight)
Date: Thu, 8 May 1986 08:30 EDT
Last nights KB spotlight on the Canadian Much Music channel featured
the following videos, and *NO* DJ's yapping it up.
Breathing ( in cellophane, yum!)
Babooshka
Sat in your Lap
The Dreaming
Running up that Hill
Cloudbusting
I managed to find this station on a satellite receiver so many thinks
to our friends up in Canada for the early warning. Looking forward to
saturdays concert.
-Mike
'Wine_Women_&_Song := Sex_Drugs_&Rock_n_Roll'
[][][][][][][][][][]
Return-Path: <umcp-cs!jhunix!jhunix!ins_aset>
Date: Thu, 8 May 86 13:23:09 EDT
From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV>
Subject: The oddest promotional gimmick ever?
I just got my WJHU mail, and there was something from 415 Records.
I opened up the envelope, and there was a tiny envelope inside,
with a bright orange sticker reading, "Until December and W.A.R.D.
mean Safe Sex.
(Until December, by the way, are a gay disco group on 415.)
Inside the envelope was a "Prime Lubricated" condom! Can you
imagine all the college music directors in America getting condoms
from a record company? Odd indeed...
-Sue
[][][][][][][][][][]
Date: Thu, 08 May 86 16:27 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: Recent French KT interview
The following is a translation of an interview printed
in the French music magazine Guitares et Claviers, February
1986, pp. 56-60, 119, 121. The interview was conducted by
Yves Bigot and translated by Andrew Marvick. It should be
remembered that the interview was originally conducted in
English, probably not fluent, then translated into French,
and now finally, back into English, so do not interpret
Kate's replies as verbatim quotations. Furthermore, inaccuracies
-- and stupidities -- on the part of Monsieus Bigot have been
retained in translation.
PART ONE
Once again the young Englishwoman is crossing the continents.*
* -- In French this expression has a figurative as well as a
literal meaning. The expression means, roughly, "making a great
change," or "at leaps and bounds". -- * This time, she's telling
strange love stories, set to even more finely chiseled music. To
find out more about her and her album, Yves Bigot interviewed
Kate Bush between two airplanes.* * -- This interview was therefore
conducted following Kate's return from North America, between
November 25th or so and November 29th.
At exactly the age of twenty-seven, Kate Bush is an accomplished
artist. Born into a family of doctors of the London area, she was
practicing dance before she discovered that she was a musician
like her brothers. Discovered byDavid Gilmour (of Pink Floyd)
when she was still no more than sixteen, she astounded the whole
of Europe at the beginning of 1978 with "Wuthering Heights", a
bewitching song which she interpreted in an astounding voice,
half-mouse, half-cat. The United Kingdom's little darling, she
ate up the air-waves ("Man With the Child in his Eyes",
"Wow", "Breathing", "Babooshka", "Army Dreamers") and demonstrated
an excellence on stage, where her talents as a ballet dancer
and actress enabled her to incarnate a variety of characters
without ever giving a false impression. Highly aware of her
image and of the public impression her career makes, she was
one of the first to use a video as a promotion vehicle. In
1981, with the confidence of a Joni Mitchell, she decided to
take complete charge of her destiny, and, already responsible
for every aspect of her life-style, took equal control of her
music in producing The Dreaming, a ground-breaking and adventurous
album in the style of the third Peter Gabriel. "Sat In Your Lap"
brought her the success she needed in order to continue, but the
tour that had been planned did not materialize. One had to wait
until last autumn to hear talk of Kate Bush again -- and what
talk! Even if Hounds of Love is not the cut gem that its predecessor
was, it has generated a far greater success, and "Running Up That
Hill", number one throughout Europe, is opening the doors of America
for the first time...
Y.B.: More than three years between The Dreaming and Hounds of Love,
that's a lot. Were you trying to break Randy Newman's record
for laziness, or what?
K.B.: It seems a long time, but I didn't need all of it just to
record the new album! After The Dreaming, I decided to
re-organize my life, and that took me a certain amount of
time. I left the city and moved into the country, I
started taking intensive dance courses again. Then I
had to build and equip my own recording studio, at my home;
it was only after all this that I was able to compose and
put on tape what has become my new album. Eighteen months
of off-and-on work, all the same, between the first song
and the final pressing.
Y.B.: Where does this absolute desire to control everything
come from?
K.B.: Production was a logical extension of my desire to make
sure that my songs sounded exactly as I heard them. When
you write something, you want it to be in a style that
is the most precise, the most complete, the closest to
your original idea as possible. Each element that goes
into the track affects it for better or worse. I discovered
that in involving myself in the process of following up
on my music, it was necessary to become the producer,
which, today, is only one supplementary aspect of my
job as author-composer.
Y.B.:I presume that the invention of the Fairlight and the
development of automatic consoles helped your
apprenticeship as producer.
K.B.: Technology is a valuable aid for me. The Fairlight is,
for me, a marvelous invention which has allowed me to
greatly develop my capacities as arranger and composer.
Electronic drums have changed my life as well. After that,
it was natural to have my own studio, so as to be able
to work naturally, in tranquility, in proximity to the
origins of my songs.
Y.B.: You own your own Fairlight?
K.B.: Now, yes. At the time of the last album, I worried whether
it was worth the expense, because they're incredibly
expensive. But since buying it, I congratulate myself
every day.
Y.B.: You're not kidding! Your last two albums seem almost
submerged under the characteristics of the Fairlight!
K.B.: It was the sound and style that I've wanted since the
beginning. But in those days I had neither the tools
nor the capacity to express myself as I wanted. Little
by little I feel more satisfied, more free, happier.
Y.B.: Peter Gabriel, the pioneer of the instrument, has visibly
had a huge influence on your development. But one could
say that something more exists between you, like a
telepathic link. Do you disagree?
K.B.: It's difficult to say. Comparing me to him is a marvelous
compliment, and certainly exaggerated. I greatly admire
what he does; he's a brilliant artist. I think that people
like him and me are similar because we are trying to do
something new. The pop world does not enter into our
pre-occupations. We are that kind of people. Peter, of
course, but also David Bowie, who was incredibly innovative
at a moment when it was needed, Bryan Ferry with Roxy Music,
Brian Eno, who can't be honoured enough for what he's done.
All are very important musicians, whose influence greatly
exceeds their popularity, which lasts three minutes in the
charts.
Y.B.: Well, you found a magic formula there, since "Running Up
That Hill" is a worldwide success, your first hit in the
United States, and since the album stayed at number one
in England for a month.
K.B.: It's extraordinary. You can't imagined the pleasure that
brings me, after having worked so hard, to see that the
public receives this record so well.
Y.B.: Do you think of the public when you're in the studio?
K.B.: I think that one always writes a song for oneself. You
let yourself be swept away from your environment and you
listen to your "interior voices". The only censure consists
in knowing what works and when. But ultimately, you're
on the watch for the opinions of others: the musicians who
come to play their parts, the engineers; you sense immediately
if their interest is aroused, and maintained, when they hear
what you're working on. Everything is public.
Y.B.: With regard to voices, yours never stops plunging lower and
lower, with each album. It's true that, with "Wuthering
Heights", you were taking the soprano part!
K.B.: In my first two albums, I had it in my head to sing only
in my highest register. A whim, but it made people think
that it was the only way I knew how to sing. However, when
I was truly a little girl, I never sang in that way. Since
then I've been trying to explore the possibilities of my
larynx, to find that which best suits the piece. Furthermore,
in growing older, the voice changes. I'd like to hope that
it's changing for the better. In any case, I control my
voice much better than formerly. Being the producer also
allows me to devote more time and attention to the method
in which I want my singing to sound. That's another source
of progress.
END OF PART ONE
[][][][][][][][][][]
Date: Thu, 08 May 86 15:37 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: KTCD continued
I have a German CD of Kick Inside
(the eyeball cover) and of Lionheart; I
have seen Japanese editions of Kick Inside
(pink leotard cover) and of Lionheart;
and I agree that all the Hounds of Love CDs
are Japanese in origin, no matter
whether priced as a domestic release
at ca. $13.99 (as at Tower Sunset, Westwood
this week) or as an unspecified import. My
advice is, if you've seen a country/western
cover CD of Kick inside, BUY IT. Never seen it
anywhere; it's just possible it's a Canadian
edition, although I agree with Doug that
it's almost certainly U.S., and that that's
virtually impossible. A D-5 is the model number
of Sony's first portable compact disc player.
[][][][][][][][][][]
From: Jeff Dalton <jeff%aiva.edinburgh.ac.uk@Cs.Ucl.AC.UK>
Date: Thu, 8 May 86 17:51:08 -0100
Subject: Danielle Dax
In addition to Jesus Egg that Wept, Danielle had an earlier album called
Pop-Eyes, also rather weird. The first time I played JEthatW, I had it at the
wrong speed and didn't realize this for several minutes.
- JD
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (05/14/86)
Love-Hounds Digest Wednesday, May 14, 1986, 05:47 EDT
Today's Topics:
Re: Danielle Dax
[][][][][][][][][][]
Return-Path: <umcp-cs!jhunix!jhunix!ins_aset>
Date: Fri, 9 May 86 8:38:55 EDT
From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV>
Subject: Re: Danielle Dax
Danielle used to be in a band called the Lemon Kittens. Her latest
record is a 12", "Fizzing Human Bomb," which is probably the most
"accessible" track she's ever done. It's really good, treading
the line between the weird and the commercial. On the b-side, we
have "Bad Miss 'M'," definitely *not* commercial (in the vein of
her earlier "Evil Honky Stomp"), and one more which I can't remember
the title of!
I sent a very long posting last week entitled "Sue Answers All Your
Burning Questions!", but it seems to have gotten lost en route.
Anyway, somebody kept asking about Scritti Politti's "Songs to
Remember" album, and I said that it doesn't sound at all like "Cupid
and Psyche 85." You can't dance to it. It's sort of eclectic pop.
I don't really like it, even though "Cupid and Psyche" is a guilty
pleasure of mine...Green is actually a very intellectual person with
some definite political beliefs. I think he's a Marxist, but he
knows the virtues of "selling out" for those capitalist dollars.
Records I've recently bought--
That Petrol Emotion, "Manic Pop Thrill" -- Title says it all! They
used to be the Undertones. Now that Feargal Sharkey is doing covers
of Lone Justice tunes, his former bandmates are making music that's
accessible *without* being insipid.
The Three Johns, "World By Storm" -- T3J have always been capable of
making great music, but they get sloppy sometimes. I doubt they'll
ever make a truly wonderful album. This one's got a hit-and-miss
ratio of, oh, 2 good songs to every mediocre one, which isn't too
bad, I guess. This guitar-bass-& drums trio can produce some powerful
sounds.
Until December, "Secrets"/"We Are The Boys" -- The group that sent
out the condoms as a promotional gimmick. Side One sounds like every
Giorgio Moroder disco production, and Side Two sounds like Divine's
"You Think You're A Man." What do you expect from Hi NRG, though.
Actually, I didn't *buy* this, I got it in the mail at the paper.
-Sue
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (05/15/86)
Love-Hounds Digest Wednesday, May 14, 1986, 23:07 EDT
Today's Topics:
Madonna's Wazzoo / Moody Blues
Butthole Surfers redux
Message from Sussex
French interview 2
New Love-Hound?
Thanks, and a comment...
[][][][][][][][][][]
Date: 10 May 86 11:34:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: Madonna's Wazzoo / Moody Blues
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>
I was subjected to sitting through the first half of the top 20 countdown last
night on MTV. While watching I made several observations. First, Madonna is,
in my opinion, becomming one of the least attractive female performers doing
commercial music today. I don't know about her new look, but I wouldn't
want to go near her Wazzoo for fear of transmission of the severe acne problem
she is obviously having. Sean looks happy, she looks wretched. Maybe he's
wearing her out. At any rate, if she maintains her present appearance she
should probably change her name to something like Benzoila. Secondly, it is
hard to believe that the Moody Blues still sound the same as they did in
1968. What's really amazing is the fact that Hayward and Lodge look older
than the president. Eventually, one would expect that androgens will catch
up with Lodge's larynx, and his voice will change.
'Gerbiling - The paws that refreshes' [This is an example of sick humor]
John
------
[][][][][][][][][][]
Date: Sat, 10 May 86 13:21:50 EDT
From: Brutal Econo <hofmann@AMSAA.ARPA>
Subject: Butthole Surfers redux
Item: The Butthole Surfers, 80 minute video from Touch and Go Records.
Recorded: Late Febuary, Early March 1985 at TRAXX in DEtroit.
Summary: Fascinating! Worth the dollars ($24 PPD to be exact).
. This is a band that puts _ALOT_ of "professional, serious" bands to
ever-loving shame.
. This is a band that it's trendy to like, not because of their music
but because of the antics of their front man and his acidic and bent
vision.
. FACT: Forget the antics, the Buttholes play the most intense acid
rock (and by "acid rock" I don't neccesarily mean 60's retread, merely
the state of "acid rock" today) ever heard to this day and anyone
who disagrees can eat Gibby's shorts (Gib being the vocal psychotic
who sings most of their songs).
. The songs here are rejoined by shots of the band in a hotel bed (like
John and Yoko) doing the best parody of band interviews ever seen and
even improvising a song on the spot ending with a roistorious "Blow the
Man Down" chorus. Has to be seen to be believed.
. How to describe the music? Here's what I've jotted down after watching this:
"a strange (I mean STRANGE) assortment of non-influences, anti-
influences strung together by spontaneous musical experiments
both hilarious and terrifying as well as human beat-box blats,
on-stage industriotronicstapetricks, beat generation pointers
by the dozen, a real live Sousaphone players, Jesus Christ,
nudity, two inhumanly savage African style drummers, a guitarist
that acts like Robin did when he was captured by Catwoman and
put on drugs all fronted by this hardcore Zippy The Pinhead, who
just 70 years ago would have gone no further then either becoming
the village idiot or a solitary confinement case"
. Last jam of the edited version puts the 80's Grateful Dead to shame.
. Believe it or not, this isn't a vanity video. Gibby and the others
come off somewhat sad, pathetic and moronic. Touch and Go didn't
pull any punches.
. This video comes with a clear, one-sided 5 inch plastic (not flexi)
disk of "American Women" (remember Grand Funk?) done live.
. If you wait long enough after the credits, my version had a nude version
of "I shot the pope" wherein Gibby had his PJ's stolen by a bunch of
skins. This looks to be an older incarnation of the band and reeks of
bootleg quality. I figure it was stuck on long after the credits to
divert any PMRC attention (not that it won't get any) away from it. It's
kind of sad to see an audience take the guys clothes away. He apparently
didn't appreciate it but kept on playing anyway. Talk about "On with the
Show" and all.
. This is also the best line-up they've ever had. Since then they've
lost the girl drummer and the bassist (who seemed to have the second
strongest personality of the group).
. All their "hits" are included as well as very, very raw versions of
To Parter and Mexican Caravan which showed up on the EP of last year,
"Cream Corn ..."
. Great introduction to the rock band of the 80's.
[][][][][][][][][][]
Date: Sat, 10 May 86 11:14 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: Message from Sussex
The message printed below was sent directly to
me from Sussex, England (aren't these computers
amazing?!) by Hugh Maher, one of our star
American KT fans. He says he hasn't yet figured
out how to send to Love-Hounds. He gave me the
following ID #, for those who know what it means
and want to write to him:
ssud3%uk.ac.sussex.vax2@ucl-cs.arpa
I was particularly interested in your posting because
of the CD information. I have a sony D-5 compact player
which I bought about a year and a half ago, once I knew
I was going to be coming over here to study for a year.
I really wanted to get one right away, but wanted one
that I could use in the U.S., but then also bring over
here for a year and be able to plug into the wall sockets.
The D-7 at the time was the only portable player, and
I needed a portable player (i.e. runs on 9-V direct current)
to be able to do this. I was actually visiting Berkeley
over the Easter break, and I bought one of the new sony
D-7's which is really great. (I'm going to sell my
D-5 over here, since the CD player prices are about twice
what they are back home)(In fact, the CD's themselves are
also about twice as much! Lots of Value added taxes and stuff)
Anyway, that wasn't the whole point of writing! You mentioned
that all the Hounds of Love CD's were Japanese made, which
is true. However, there were two Japanese pressings, which
are very different (at least if you are sort of picky...)
The first one was sort of a "Rush job" by EMI, who wanted
a simultaneous release in Europe and the UK of the album
and the CD. So I think they ordered it pressed long before
the album was pressed. The reason I'm sure of this is because
I saw several Japanese second pressings of HoL (presumably
for domestic Japanese release - i.e. later), which are
different in that:
1) They exactly resemble the album artwork, e.g. the "Kate
Bush" and "Hounds of Love" calligraphy is off-center,
whereas on the original pressing, they are lined up,
and in black print. (they are pink on the Japanese CD)
(In fact, I saw a "proof" of the original artwork for
the album, which exactly matches the original Jap CD.
I guess they decided to revise the artwork after the
orig. CD had been pressed.)
2) The quote on the back is credited as to "The Holy Grail"
on the original CD, but is correctly replaced with
"The Coming of Arthur" on the Japanese 2nd pressing.
3) The actual label on the CD is totally different, with
the standardized "toshiba-emi" layout and print, rather
than the UK calligraphy.
4) The song titles on the back of the JapCD are in different
colors - I think the 1st side is printed in black, and
the second in gold or something.
4) The tone colors used in the photos are lighter in the Jap
ones, and more light pink, rather than purple.
There are probably more differences, depending upon how picky
there are probably more differences, depending upon how picky
you want to be! I could probably get you one if you are interested.
I've never seen the U.S. cover photo on a CD yet. Maybe when
they open the Capitol-Emi plants in the US and Canada? Are they
open yet? There's supposed to be one in England (at Swindon)
operating now, but I havn't noticed anything yet, such as
CD's of The Dreaming and Never Forever.
[][][][][][][][][][]
Date: Sat, 10 May 86 12:23 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: French interview 2
French KT interview, PART TWO:
Y.B.: The impression your album leaves, ten minutes after
listening to it, is this profusion of voices and percussion.
K.B.: That's very interesting. The voices are of capital
importance for me. They allow me to express the story of
the song in different degrees. I care very deeply about
my lyrics. What bothers me is what you just said on the
subject of percussion...
Y.B.: If I could use only one word to describe your music, it
would be: psycho-analytic.
K.B.: There's another fascinating observation.
I'm certain that everyone who writes, all artists, are
very analytical. Often, that's what expresses their
most destructive side. Tony Hancock {Goon Squad comedian
very popular in the early 60s} is a perfect example: he
was a remarkable actor, who ended up by examining himself,
criticizing himself so much that he destroyed himself. It's
something that exists in each one of us, but which one must
succeed in mastering, otherwise one risks going mad. When
writing, every time, one is really obliged to analyse the
things one is talking about. That's the essence of the
creative process.
Y.B.: Often you do not hesitate in crossing the limits of
hysteria. "Running Up That Hill", and even more,
"Hounds of Love", are two good examples.
K.B.: In "Hounds of Love" there's an energy of despair, yes.
It's about someone terrified, who is searching for a way
to escape something. My voice, and the entire production,
are directed towards the expression of that terror.
Y.B.: Could you clarify "Running Up That Hill" a bit more than
the lyrics do?
K.B.: A man and a woman love each other enormously, so much
so that the power of their love is the source of their
problems. Briefly, if they could make a pact with God
to exchange their roles, the man becoming the woman and
the woman the man, they would understand each other
better and would resolve their differences.
Y.B.: From a first listening, one gets the idea that it's with
God that want to switch roles...
K.B.: There are several people who have heard something of that
sort. THERE's a good reason for doing this interview, if
one needed one. Tell them that I would never dare imagine
such an exchange.
Y.B.: "Cloudbursting" {sic}, the second English single, is also
tricky, for those who haven't done the same reading as you.
K.B.: It's a song with a very American inspiration, which draws
its subject from "A Book of Dreams" by Peter Reich. The
book was written as if by a child who was telling of his
strange and unique relationship with his father. They lived
in a place called Organon, where the father, a respected
psycho-analyst, had some very advanced theories on Vital
Energy; furthermore, he owned a rain-making machine, the
Cloudbuster. His son and he loved to use it to make it rain.
Unfortunately, the father is imprisoned because of his
ideas. In fact, in America, in that period, it was safer
not to stick out. The drama: the father dies in prison. From
that point on, his son becomes unable to put up with an
orthodox lifestyle, to adapt himself. The song evokes the
days of happiness when the little boy was making it rain
with his father.
Y.B.: Dreams form an important part of your preoccupations, at
first glance.
K.B.: It's that there exists only a very fine barrier between
them and reality.
Y.B.: With this difference, that your dreams rarely make the
headlines of newspapers!
K.B.: It doesn't go that far, you're right. But dreams are
essential to humanity.
Y.B.: That's what the whole second side of Hounds of Love
talks about?
K.B.: More the struggle brought about by the need to stay
awake, when it would be so easy to fall asleep. It's
the story of someone who is in the sea, at night, and
the experiences through which they pass in order to
emerge a better person by morning. I'm making a long
story short.
END OF PART TWO
[][][][][][][][][][]
Date: Sat, 10 May 86 12:28 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: New Love-Hound?
Has anyone tried to contact Stephen Rabjohn from Canada,
who was listed in the latest KBC Newsletter Pen Pals
section as wanting to try communicating by computer?
I'd try myself, only I don't know the first thing about
how to link up with his computer. He "would like to
contact anyone out there on a VM/SP or MVS computer
system, and his ID is ACPS0984@RYERSON.
[][][][][][][][][][]
From: ma3166ay <think!harvard!cmcl2!lanl!unmvax!unmc.cc!ma3166ay>
Date: Wed, 7 May 86 19:47:42 mdt
Subject: Thanks, and a comment...
Many thanks to all for the quick replies on what Kate has out on CD. I
saw the "original cover" version of TKI at a CD shop here in town the other
day and am debating getting it for completeness' sake, but that would
totally blow my "impoverished student" excuse for not owning a turntable,
wouldn't it? :-)
Now a quick comment on the current "Organon" debate . . . before I heard all
the tidbits about Orgone and so forth, it was my impression that "Organon"
was merely the song's narrator's "childish" mispronounciation of "Oregon".
The only backup I have for this theory is the copy of "The Oregon Times"
that appears in the CBusting video, but I stick to my theory until I hear
different from an authoritative source, of which there can be but one in this
debate . . .
.rne.
-----
Ernie Longmire {{ purdue cmcl2 ihnp4 } !lanl ucbvax } !unmvax!unmc!ma3166ay
-----
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (05/15/86)
Love-Hounds Digest Thursday, May 15, 1986, 04:53 EDT Today's Topics: Nite Flight / KB Show (2 msgs) Lionheart Orgonon, Organon, and Oregon Love Hounds Digest - Viva Roxy Music KT Logo Songs to Remember SUBMISSION I don't think so... [][][][][][][][][][] Date: 11 May 86 11:53:00 PST From: "ROSSI J.A." <rossi@nusc.ARPA> Subject: Nite Flight / KB Show Reply-To: "ROSSI J.A." <rossi@nusc.ARPA> I wouldn't have believed it unless I saw it. Since the videos have been around, the first part of the show was not surprising. What I found totally amazing is how different Kate's music (lack there of?) must have been, pre HoL. I still don't own any KB stuff other than HoL (mainly because local stores don't have much selection, and secondly because I have been waiting to purchase The Dreaming, which seems to be out of stock in CT, and has been for some time). Is the concert footage representative of what KB was doing before (presumably) The Dreaming? If so, I now see why her bin is in the Rock/Folk section along with Roger Witticker (SP?) and not in the Rock/Progressive section with the likes of Peter Gabriel and Eno. I guess I wasn't ready for the mundane music, behind the sometimes incomp- rehensible vocals and mime/dance. I sorta expected the high pitch of the vocals, because everyone who has reviewed HoL remarked about the magnificent vocal range she has. I also expected the mime/dance since this was the first context I ever heard Kate Bush mentioned in. What I am asking myself now is, how much I could appreciate an audio only version of this stuff. Where is the creativity in musical style expressed in HoL. Does any of the earlier stuff even have synthesizers and complex rhythms, or does it all sound like a Rock rendition of Jacques Brelle (SP?) music. I was partic- ularly dissapointed by absense of originality in the music in the more rock tunes she did (the last one in particular), do all the previous LPs have music provided by that back up group of musicians used in the concert, or does Kate play instruments, other than the piano, on the earlier works? In all, I thoroughly enjoyed the concert stuff. Kate demonstrated that she has a remarkable vocal range, and an incredible dance/mime ability. Her piano playing was not too shabby either. I am still in a state of shock concerning the mundane simplicity of the 2-3 chord music behind the vocals and dht dance, however. I assume that Lionheart is on the LP of that same name, Is this a good choice for a third KB album (after I find The Dreaming), or will I find more creat- ivity elsewhere (Kick Inside etc.)? Finally, no question about it, if I had my selection of partner to be stranded John ------ [][][][][][][][][][] Date: Sun, 11 May 86 18:55:39 EDT From: nessus (Doug Alan) Subject: Re: Nite Flight / KB Show > [John Rossi:] Is the concert footage representative of what KB was > doing before (presumably) The Dreaming? It is representative of her first two albums, *The Kick Inside* and *Lionheart*. *The Dreaming* (album #4) introduced a radical change in style, and is quite more radical a departure from the norm than *Hounds of Love* is. *Never for Ever* (album #3) is also significantly different from her first two albums. Only one song from *Never for Ever* was in the concert as broadcast: "Violin". > I guess I wasn't ready for the mundane music, behind the sometimes incomp- > rehensible vocals and mime/dance. I'd hardly call the music "mundane". EMI-America didn't release "Lionheart" in the US because they thought that it was too uncommercial. I agree that it's not quite *The Dreaming* or *Hounds of Love*, but keep in mind that this concert was recorded when Kate was 20, and some of the music was written when she was as young as 12 or 13. When I first heard *The Kick Inside*, I was incredibly disapointed at first. I expected more of *The Dreaming* and I couldn't believe that this music was done by the same person. Instead of bizarre intense progressive rock, I heard love ballads (ick!) sung in a painfully high voice. And they weren't even catchy! After several listenings, however, I became aware how special and unusual they really are. And it just adds to my belief in what a extraordinary artist Kate is that she could change so radically in such a short period of time. > Where is the creativity in musical style expressed in HoL. It's all there! It's just at an earlier stage of development. Also, Kate didn't produce her first two albums, so she didn't have control over a part of her music which is crucial to her artistic expression these days. (For this reason, Kate often says that her first two albums aren't really hers.) Kate's early albums do, however, express a youthful innocence that Kate has long since lost. > Does any of the earlier stuff even have synthesizers and complex > rhythms, or does it all sound like a Rock rendition of Jacques > Brelle (SP?) music. Who is Jacques Brelle? There are synthesizers on KB's first two albums, but they are not exceptionally prominent. Almost all of her music at this point is piano and vocal-based. There was no such thing as a Fairlight when these albums were recorded. Kate Bush was one of the very first people to use the Fairlight on a record, and the Fairlight does appear on *Never for Ever*, but it does not obtain particular prominence until *The Dreaming*. (Kate has said on several occasions that she is not particularly fond of synthesizers, other than sampling synths.) > I was particularly dissapointed by absense of originality in the > music in the more rock tunes she did (the last one in > particular),... Actually I quite like "James and the Cold Gun", but it's not the most original thing in the world. Well, so neither is "And Dream of Sheep". They're still excellent, though. The record company wanted "James" to be Kate's first single, but she refused. Kate insisted on "Wuthering Heights". There aren't many who would deny that "Wuthering Heights" is not quite your typical song. > ... do all the previous LPs have music provided by that back up > group of musicians used in the concert People in that band appear on and off on all her albums, including *The Dreaming* and *Hounds of Love*. They are actually *not* the band that is featured most on *The Kick Inside* or *Lionheart*. The band on those two albums are largely The Alan Parsons Project musicians (i.e. half of Cockney Rebel and half of Pilot). > or does Kate play instruments, other than the piano, on the earlier > works? She plays piano and sings on every track. She didn't start playing synth until *Never for Ever*. > I am still in a state of shock concerning the mundane simplicity of > the 2-3 chord music behind the vocals and the dance, however. I beg to differ. If anything, her music has gotten simpler melodiclly and harmonically since her change in style (while getting much more complex in other ways). For example, according to the sheet music, the chords for "Oh England My Lionheart" are F Em C D7 Am G C D7 Dm7 Am E7 Dm7 Am E7 Am F E7 F Am F E7 Am F Em C D7 Am G C D7 D7 Am E7 Dm7 Am E7 Am F E7 F Am Fmaj7 E7 Am C F Bb F C F G Dm7 G7 Dm7 G Dm7 G Dm7 G. On the other hand the chords for "The Big Sky" are mostly F Eb/F F Eb F, etc. The chords for "Watching You Without Me" are Bb C Bb C Bb C, etc. And the chords for "Waking The Witch" are C#m C#m C#m, etc. > I assume that Lionheart is on the LP of that same name, Is this a good choice > for a third KB album (after I find The Dreaming), or will I find > more creativity elsewhere (Kick Inside etc.)? Get either *Never for Ever* or *The Kick Inside*. *Lionheart* is her least wonderful album. "Give me one wish and I'd be wassailing In the orchard my English Rose" Doug [][][][][][][][][][] Date: 11 May 86 19:06:00 PST From: "ROSSI J.A." <rossi@nusc.ARPA> Subject: Lionheart Reply-To: "ROSSI J.A." <rossi@nusc.ARPA> Well, almost immediately after the last posting, I went to the record shop[ and purchased Lionheart. I therefore have appeared to answer my own questions. I like it, a lot even, but not for the same reasons I like HoL. I will admit, that the music is not as simple as I left the TV last night with the impression I had. Also, I found that I could understand the lyrics (I guess you shouldn't base musical opinions on what you hear through 5" TV speakers{ even Sony's. 'Flying high over Arthicon' John ------ [][][][][][][][][][] Date: Mon, 12 May 86 01:09:27 EDT From: nessus (Doug Alan) Subject: Orgonon, Organon, and Oregon > From: ma3166ay <think!harvard!cmcl2!lanl!unmvax!unmc.cc!ma3166ay> > Now a quick comment on the current "Organon" debate . . . before I > heard all the tidbits about Orgone and so forth, it was my > impression that "Organon" was merely the song's narrator's > "childish" mispronounciation of "Oregon". Well, the song is *obviously* based on Peter Reich's "A Book of Dreams" (Just look at what Peter pulls out of Wilhelm's pocket near the beginning of the video). But Kate also says that it is every time anyone asks her about the song. Orgonon was Wilhelm Reich's home in New England. "Little Orgonon" was his home in Arizona. Kate doesn't know much about the U.S., though, and it is certainly imaginable that she could have confused Orgonon and Oregon, especially since the video looks like it takes place in Oregon. I doubt that one is likely to find those lush hills and "The Oregon Times" in Arizona. I still dream of trains, Doug [][][][][][][][][][] From: allegra!gamma!lcuxb!dmf2 (d.m.flanagan) Date: 5 May 1986 10:53 EDT Subject: Love Hounds Digest - Viva Roxy Music Apparently-To: Love-Hounds Hi there, my first time posting to LHD God send my ANYONE who can relate to my "abnormal" daily fix of Roxy Music &/or Bryan Ferry. Jesus, I listen to Roxy soooo much each and every year I have to replace albums.....Guess a CD would be more practical, huh? Can't explain I just wouldn't be able to live without this music SICK, why YES, but then again WHO cares.......send me a Roxy lover! Gidge [Hey, Sue! Are you reading this? -- Doug] [][][][][][][][][][] Date: Sun, 4 May 86 19:01:01 edt From: John Kitamura <ihnp4!utcsri!kato> Subject: KT Logo Apparently-To: Love-Hounds Re: Hounds of Love Album I hope I'm not rehashing old news, but has anyone found the KTBush symbol on the cover of HoL? Does it in fact exist? John Kitamura UUCP: {decvax,linus,ihnp4,uw-beaver,allegra,utzoo}!utcsri!kato [Yes, it is on the "Ninth Wave" cover, i.e. the back cover -- Doug] [][][][][][][][][][] Date: Wed, 7 May 86 15:50:51 cdt From: think!harvard!uwvax!astroatc!gtaylor (Kit Te Kudasai) Subject: Songs to Remember Organization: Licensed Clinical Tautologists, Madison, WI Apparently-To: Love-Hounds >And, fer chrissake, WHAT is the Scritti album "Songs to Remember" like??? >I'd like to know before I plop down bux for it. You've come to the right place when you ask me that sort of thing, as I am a *serious* Scrits fan. If your interest in C&P'85 is in the shiny surfaces and the subversion of language within the context of real, live commercial pop, then you'll perhaps be disappointed. You'll find the earlier work of theirs that you may recognize (the "Sweetest Girl", "asylums in Jerusalem", etc.) here, but the overally surface is far less slick and calculated. Likewise, the wordplay just isn't quite as uh...successful at being both Pop and Suversive Lacanspeak at the same time. The reggae/ska flavourings are considerable more evident, and there are female b-vox and that whompity bass. A number of my friends much prefer STR, as they feel that Green has left the fold (the Marxist fold) and sold out (witness the slickness, the recruitment of "real" musicians like Maher and Gamson, etc.) and done such a good job of imitating real pop that it *is* real pop (the implication is that it's bad...at least until your favorite star gets popular. Then, presto-Kuhnian paradigm shift!). They prefer to hear Robert Wyatt playing tweety organ against that organ drumbox/dub echo stuff on "Sweetest Girl". Not much in the electronic crack and whirr neighborhood here, but lots of indications that Green has a way with a Word (if you get my drift). I like them both, though for different reasons. And the CD is worth every cent of it (no finger, no circle in the air). "perfect way" is very nearly that. If that's not bad enough, you ought to check out "Skank Block Bologna" on the ROught TRade compilation "wanna buy a bridge?" It will leave you speechless....*That's* Scritti Politti? [][][][][][][][][][] Date: Sun, 11 May 86 14:31 +0200 From: 5836949 Shai Guday <SHAIG%HUJIvms.BITNET@WISCVM.WISC.EDU> Subject: SUBMISSION To all K.B. fans, are there any records for infecting people with Love-hounds-olitis? True perseverance has finally caused my room-mate to buy the album. At first my physical being was threatened when I would continously flip the cassette over from side a to side b. Continous K.B.! After three days of this treatment, my r.m. started tapping his foot in time to the music. A week ago he started humming tracks from side a. Friday saw success as the poor man finally broke down and told me that he had bought the album for a friend. Not convinced, I cross-examined him and he confessed to the purchase. And so, spinning off into the sunset, the masked amBUSHer rides again. Notice to all heavy metal fans! =============================== I have come into contact with a " heavy " heavy metal collector. The man will pay top dollars for hard rock video, cassettes, and tapes that are missing from his collection. Since he has been collecting for 15 yrs, these are truly few and hard to get. If you're interested, send the name of the group, date of recording, and place to me and I'll pass it on to the man. All offers recieved will be confidential. Replies sent within two weeks due to logistics - he lives in a different city and has no phone. Phone: (on weekends) 08-491488 Mail : Shai Guday 7/6 Meonot Hakiryah Jerusalem, Israel Bmail: SHAIG@HUJIVMS [][][][][][][][][][] Date: Mon, 12 May 86 06:54:11 edt From: Tim Wicinski <wicinski@nrl-css.ARPA> Subject: I don't think so... Rossi sezs: >For example, I have noted a remarkable change in the moralistic attitudes >of college students in the last 3 or so years. Initially, this change was >reflected in concern for third-world and developing countries. Most recently >the avid student protests concerning South Africa investments are of >interest... Doubtful, they're really after the almighty dollar, just like before. Now for some reason they've decided that protesting things which were basically 'safe' was a cool thing to do. These 80's kids remind me of the hippies of the 60's: I mean they got bored of fighting for their ideals and decided to join the human race, and they became the yuppies of today. They all sold out pretty much to the machinery, and in a big way. It's kind of sad to see these thirty-plus year old cretins trying to defend their actions for becoming the way they did. these 80's kids will protest and become active for while, then get bored with it, and finish their education and become part of the machine they think they despise. [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (05/19/86)
Love-Hounds Digest Monday, May 19, 1986, 16:07 EDT
Today's Topics:
for more insipid interviews....
trendy euro-fag music
Admit your roots ... (2 msgs)
re: Danielle Dax
!Flame on!
A tale of two cities and some buttholes
Reply from a 30+ year old cretin
new smiths album?
Early KT and Oregon
Not knowing Robert Palmer was bad enough, Doug... but THIS.....!!!
best music
'euro-fags' and general ranting and raving (2 msgs)
[][][][][][][][][][]
Date: Mon, 12 May 86 09:06:30 edt
From: Wimp Econo <wicinski@nrl-css.ARPA>
Subject: for more insipid interviews....
check out the latest excuse for a magazine put out by Tower Records.
They have this insipid interview with Husker Wu and just asked them the
stupidest questions. Seems to me that signing to Warner Bros. gives
every reporter a reason to ask "Did you leave the indpedent record
comnpany because WB offered more money ??" or "Do you see the
independents as a fad ??". gag.
they're so trendy now I'm suprised all you geeks who sit around
listening to euro-fag music aren't out buying their new lp and
discussing song structure, and arguing over words.
[][][][][][][][][][]
Date: Mon, 12 May 86 10:14:17 EDT
From: LustCat%UMass.BITNET@WISCVM.WISC.EDU (Net Animal)
Subject: trendy euro-fag music
You'd rather have American trendy he-man music?
No need to call us geeks for listening to music
that is better than most American bands.
I dunno...but as an observation...most American
bands DO suck. They are all soooo BORING.
THeir either thrash, garage, etc... after all,
how many R.E.M.-ish groups can we possibly need?
How many 60's clones do we need? etc...
COmpare the size and population of the U.S. to
England, and you wonder why so much better stuff
comes from such a smaller country... Could it
be the water?
I guess I am just too wimpy to be able to stand
terrible american music.
(just woke up...hopefully I'm not making too big
a fool of myself...)
Fidelis Orozco
LoveCat%Umass.Bitnet@Wiscvm.Wisc.Edu
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Date: Mon, 12 May 86 11:34:14 EDT
From: Atomic Punk <hofmann@AMSAA.ARPA>
Subject: Admit your roots ...
Amercian underground?
Sorry, lovecat but that's all I'll listen to. As for being sooo boring,
I guess they need a haircut and an nice color spread in NME to catch
your attention, no? I'm a bigot for american rock and I'll admit it!
I think all this bias AGAINST certain bands because they're from a CERTAIN
country is wrong and you are way off base, Lovecat ... BUT ... if I hear
one more whiney, insipid, English haircut I swar I'm gonna lop their balls
off (if they haven't done it already).
Great American bands (off the top of my head) ...
Sonic Youth
Butthole Surfers
Great Plains
Soul Asylum
Husker Du
Black Flag
Anti-Scrunti FAction
Sarcastic Orgasm
Lil Gents
Executive Slacks
Gone
If you can't admit your roots and would rather go whine in Europe with
a bunch of snotty haircuts, lovecat, be my guest ...
more American bands ...
Circle Jerks
Marginal Man
Tex and the Horseheads
SamHain
Beefeater
Frightwig
Adrenaline O.D.
Green River
ANYTHING on Dischord
etc etc etc etc etc etc etc
Now here's the only English bands worth the trip over the
Atlantic to play for humans ... not wavos....
UK SUBS
Robyn and the Egyptians
Billy Bragg
DISCHARGE
BROK N BONES
Cocteau Twins (at least a couple years ago ...)
----
Ok, I'll admit the English wankers are GREAT about making commercial
music and calling it "progressive" .... I mean you remember the
Smiths don't you???
"I am human and I neeeeeed to be llaaalaaaavoeeed, just like anyone else" -
{ gag, spit, puke }
Or what about the Jesus Mary Chain? .... oh you probably liked Wankie
Goes to Hollywood (the only good tunes they did were covers of American
artists by the way ...)
I suggest Mr Lovecat before you do the trendy putdowns of thrash that
you get into the pit or at least go to a live show where the English
whining is not present. Maybe you'd stop calling yourself Lovecat?
Wanker...
At least you admit you are a wimp, though.
[][][][][][][][][][]
Date: Monday, 12 May 1986 09:54:51-PDT
From: hall%beta.DEC@decwrl.DEC.COM (Buffa)
Subject: re: Admit your roots
>I think all this bias AGAINST certain bands because they're from a CERTAIN
>country is wrong and you are way off base, Lovecat ... BUT ... if I hear
>one more whiney, insipid, English haircut I swar I'm gonna lop their balls
>off (if they haven't done it already).
Great hairpin turn in that paragraph, Hoff. I think, but....
>If you can't admit your roots and would rather go whine in Europe with
>a bunch of snotty haircuts, lovecat, be my guest ...
My parents are Americans. My "roots" are Irish, Scottish, and British.
Not exactly Europe, but close enough for government work, know what I
mean Jim? What are your roots?
Go back and read your mail again. Wicinski started this with his slag on
'euro-fags'.
>From somewhere in the great melting pot,
-Dan
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Date: Monday, 12 May 1986 10:13:51-PDT
From: hall%beta.DEC@decwrl.DEC.COM (Buffa)
Subject: re: Danielle Dax
For the folks interested in Danielle Dax: there's an interview with
her in Debut, Issue 10 (the one with what's-his-name from The Associates
on the cover) and she has a cut on the record.
-Dan
(No longer melting, just smoldering a bit)
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Date: Mon, 12 May 86 14:00:31 EDT
From: LoveCat%UMass.BITNET@WISCVM.WISC.EDU (Fidelis E. Orozco)
Subject: !Flame on!
I did use to be into the american underground scene, until I noticed
how all thrash groups were extremely untalented and/or sounded the same.
This also goes for the 60's type-garage bands and the like.
So you can't possibly say that all I listen to is "trendy" music...
considering I did think of all english music as trendy...but at least
it WAS music, and a lot more listenable and enjoyable.
I could care less how they look! And I don't read NME...so don't give me
any shit about liking a group for how they look like.
If you ask me... The American underground scene is what IS TRENDY.
and so are you...
I am just sick and tired of people saying they are so cool because they
listen to ass-kickin' American bands... unlike "euro-fag bands" sheesh! :-)
AT least I don't have to prove anything... I just like what I like...
My current faves are: Art of Noise, Tones on Tail, The Chills, Jesus
and the Mary Chain, etc... and I like them for their sound, not because
I think they look neat or anything.
Have YOU subscribed to the Black Flag record-of-the-month yet?
(admit it...black flag is putting out pure crap right now)
Fidelis Orozco
ART397LAC%UMASS@CSNET-RELAY.ARPA
LoveCat%UMASS.BITNET@WISCVM.WISC.EDU
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Date: Mon, 12 May 86 15:06:30 EDT
From: nessus (Doug Alan)
Subject: A tale of two cities and some buttholes
Enough already with this pinko rightwing jingoistic radical trendy
reactionary fag neoNazi mousecrap!!!
To settle the argument, here is THE TRUTH: Good music comes from
everywhere and bad music comes from everywhere. But it is
self-evident that the best music comes from either England or Boston
or The Butthole Surfers. I mean, where else than Boston can you in
one week see as much great live music as Birdsongs of the Mesozoic,
Throwing Muses, Uzi, Black Cat Bone, Salem 66, Meta Terra, Volcano
Suns, Roger Miller, Shy Five, etc.?
London. And that's it.
"I love that dirty water"
Doug
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Date: 12 May 86 15:26:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: Reply from a 30+ year old cretin
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>
Why do I feel like starting this something like Tim, Tim, my son. I'll resist
the urge. First, there were hippies and there were real hippies and there
were freaks and there were protesters, in the 60's, that is. Today there are
fewer typecasts in the college age population (yuppies, moralistic thinkers
and assholes, then again there will always be assholes). A major diffeence
between today's protesters and those in the 60's is the fact that today's
protester lacks the biggie cause (i.e., Vietnam), today's protesting student
must find something moralistic to protest, after all, they ain't going to
go die in Southeast Asia. I agree, the two types of people can't be
equated in one dimension.
My statements concern my experience with students attitudes in classroom
situations. I should have said things like, students appear to be less
competitiv-grade-conscious lately. Oh well.
Yea, I guess all the hippies are yuppies now. I wasn't a hippie and I don't
know what I am now. Maybe I'm a cretin, though, after all, I am in the
Navy. I don't think I sold out, but, who knows. I am 16 years older than
I was in the 60's. I've got a wife and family, shit I've even got a dog
that gets so excited she pisses when I bring home my bi-monthly pay check.
I guess that in the 60's I didn't have all the needs that the contemporary
family person has. I didn't need a leave blower, a trash compactor, a CD
player, several computers, two servicable automobiles, a house to own.
But, except for the computers and the house, I guess I still don't. As a
matter of fact, wait a minute, come to think of it I still drive a 17
year old VW bus (the one I drove in the 60's was only 4 years old). I don't
own a CD player, either. I must be a cretin, Christ I'll have to stop off
at True Value on the way home to get my leaf blower and trash compactor.
My God, now that I know what I'm suposed to do, as a cretin sellout that
is, I can start to take advantage of all these technological marvels I was
afraid to purchase because they seemed like overkill. Riding mowers,
paint sprayers, microwave ovens, CD players, imported Nordic cars, I, I
I, I'm about to Orrrrrrrrrggggggaaaaaaaasssssssmmmmmmmm.......Ah.
Thanks, Tim. I needed that.
About Oregon etc. We do have plush hills in New England.
'They say you never can go home'
John
------
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Date: Mon, 12 May 86 12:49:39 PDT
From: jordan@ucbarpa.berkeley.edu (Jordan Hayes)
Subject: new smiths album?
didn't someone say there was a new smiths album coming out soon?
/jordan
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Date: Mon, 12 May 86 11:34 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: Early KT and Oregon
I was going to try to set J. Rossi straight about
early KT but Doug already did an excellent
job, and, besides, Mr. Rossi is already
recanting. But I, too, want to stress that this
was long, long ago. The Kick Inside was
universally regarded as a major stylistic
departure from anything else on the market
in 1978. I remember hearing "Wuthering Heights"
on the radio in April of that year and
thinking that *no-one* sounded like
that; but it wasn't just the voice, there was
that bizarre phrasing -- the lyrics were twisted
into strange phonetic jumbles, and the time
signature had a way of changing every few bars.
(In the final measures before the fade-out, if
you follow the drummer's back-beat, you can hear
him lose track himself, and skip a few beats rather
than make a mistake). This was a very young girl,
still without control over the production; it's
easy to hear the weaknesses in the early music now, when
we have The Dreaming and Hounds of Love to compare it to,
but The Kick Inside was definitely a break-through
album in its day. Lionheart always gets abused
nowadays, mainly because it's so smooth and safe.
That was audible even when it first came out, but
remember that Kate had to put that LP out in November of
1978, only five or six months after The Kick Inside.
Only a few of the songs on that album were newly
written, and she still had little control over the
arrangements or sound. Even so, Lionheart has a sonic
intimacy and eccentricity that sets it far apart from
other pop music of its time. And there are
many first class Kate Bush musical ideas in it, as well.
The tour, too, was unanimously accepted as completely
unique, mainly because of the use of choreography
and theatrical methods in performance. And once again, that
was *seven* years ago.
About Oregon/Organon, I completely agree with Doug. The
Orgonon reference is undeniable, just read Peter Reich's
books, or anything by the Orgonon Press. The only point
I would dispute concerns the use of Oregon in The Oregon
Times. It is only barely possible, I argue, that
Kate simply didn't know the difference between Oregon
and Arizona, where the yo-yo scenes took place in the book
(Reich was apprehended at Orgonon proper, in Maine). I think
it's more likely that she heard the name Oregon and decided
its similarity to the name Orgonon was worth exploiting.
[][][][][][][][][][]
Date: Mon, 12 May 86 09:41:31 edt
From: Joe Turner <cutter%umass-boston.csnet@CSNET-RELAY.ARPA>
Subject: Not knowing Robert Palmer was bad enough, Doug... but THIS.....!!!
Assuming you are being serious, Doug-chan...
Jaques Brel was a rather famous French pop musician during the 50s and 60s. His
music was more in the folk vein than anything, and his songs were usually
brilliant, very mood-evoking, and always beautiful. He had a nice mixture of
love songs, political songs, and always had a good sense of irony and humor.
During the 60s, his songs were translated into English and presented as a
musical revue called ``JAQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS'',
which was a phenomenal success. In fact, "If We Only Had Love" was one of the
songs to actually hit the charts from the show/album.
If you have the bux, BUY THE ALBUM! If you understand French, DON'T BUY THE
ALBUM and get his original French discs. The words in English, while absolute-
ly wonderful, are sometimes not what Brel originally wrote. But, to get used
to him, I suggest buying the "ALIVE AND WELL" album. It also has a nice bio
of Brel in it.
There is also a film of JBiAaWaLiP which I saw a number of years ago (mid- 70s
or so) late at night on channel 2 in Boston. Being about 8 years old at the
time, I don't remember much about it except that it was a little disjointed
(i.e. vignettes, no plot) but well-done. It features the same people who were
in the broadway show.
Jaques Brel was a brilliant musician, and it was a great loss to the musical
world when he died in the mid-70s. So it goes...
Later.
Save your parity bits for big cash prizes!
Joe
----------------------------------------------------------
PAPER: Joe Turner, 329 Ward Street, Newton Centre MA 02159
SOUND WAVES: (617)/969-5993
CSNET: cutter@umass-boston.csnet
ARPA : umb!cutter@csnet-relay.arpa
UUCP : {decvax,ima,linus,sri-unix}!cca!ringwld!cutter
----------------------------------------------------------
(Thanks to the folks who reviewed Scritti's "Songs..." for me!)
[][][][][][][][][][]
Date: Mon, 12 May 86 14:25:36 pdt
From: Andrew Scott Beals <bandy@lll-crg.ARPA>
Geographic-Location: The Cooler @ Ground Zulu, Livermore Ca
State-Of-Mind: security crazed
Subject: best music
You're all wet. The best music comes from San Francisco, where the dead
play *all the time*.
"Welcome to California, now go home."
[][][][][][][][][][]
Subject: 'euro-fags' and general ranting and raving
Dish-Of-The-Day: Corn Chex and Spam Casserole
The-Phrase-That-Pays: "Don't I know you?"
Fruit-Of-The-Day: blackberry
Office: MIT/Project Athena; E40-371; Cambridge, MA 02139
Office-Phone: (617) 253-0177
Date: Mon, 12 May 86 18:18:38 -0500
From: henry@ATHENA.MIT.EDU
Ladies and Gentlemen all --
All this "my music is better" crap is sounding very much
like net.music did two years ago. That's why I stopped reading
it.
I thought we were all grown up enough to respect the
differences in each others' taste in tunes.
The Art of Noise's *In Visible Silence* is pretty
nifty . . . particularly *Peter Gunn (featuring Duane Eddy)*.
One problem, though: how does one explain The Art of Noise to
someone who listens to "beautiful" music? It's tough . . .
P. S. -- BTW, the 'euro-fag' bit has lots its charm. This real-life
fag is quite offended.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Henry Mensch | Technical Writer | MIT/Project Athena
henry@athena.mit.edu ..!mit-eddie!mit-athena!henry
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Date: Mon, 12 May 86 19:25:50 EDT
From: nessus (Doug Alan)
Subject: Re: 'euro-fags' and general ranting and raving
> From: henry@ATHENA.MIT.EDU
> I thought we were all grown up enough to respect the differences in
> each others' taste in tunes.
Exactly!!!!
(Unless it's Madonna, or Phil Collins, or Sheena Easton, ...)
> P. S. -- BTW, the 'euro-fag' bit has lots its charm. This real-life
> fag is quite offended.
Don't pay Mr. Wicinski too much mind. You see, it's unfortunate, but
he's completely crazy. He told me how it happened -- he was
masterbating while wearing headphones listening to Kate Bush's "The
Handsome Cabin Boy" in one ear, and the Butthole Surfers "Comb" in the
other ear. In his frenzy, he crashed into the TV, and on came the
video for Madonna's "Lucky Star". All this sensory overload was just
too much. His mind frazzled. Sparks and bone fragments everywhere.
It was really intense. Unfortunately, he's never been quite the same
since. They say it's an extreme case of schizophrenia combined with
sociopathic tendencies, but they let him keep a terminal in his padded
room....
"You're not forgotten here
And I will say to you
That I will do what I can do"
Doug
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (05/20/86)
Love-Hounds Digest Monday, May 19, 1986, 22:18 EDT
Topics:
Re: Jane Siberry!
More Kate Rescending / Jaques Brel
Coupla notes...
U.S. vs British music, *Plus* music requests
Anglo|Amero/philia|phoiba
Message to "the Gidge"
Siouxsie, etc.
Hi RNG
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Return-Path: EMAILDEV%UKACRL.BITNET@WISCVM.ARPA
Via: UK.AC.SUSX.VAX2; 13 MAY 86 13:18:27 BST
Date: 13-MAY-1986 13:01:27
From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK
Thanks to Andrew Marvick and Doug Alan, I think
I've figured out how to post messages to "Love-Hounds"
directly from England. If anyone has any specific information
they would like me to report from this end of things, please
let me know, by mailing to:
ssud3%uk.ac.sussex.vax2@ucl-cs.arpa
I could provide up to date chart positions, or new
articles to watch out for, or live appearances,
or whatever.
The first bit of news that I havn't noticed yet on the net
is regarding the new Kate Bush cover of Muriel Hogan's
"Agent Orange Song." I just happened to notice this in
the latest (May '86) edition of "PULSE!" magazine, put out
by Tower records (which just opened up a store in London).
It is an article on "Country Joe's TAPE TALK: an `Audio Magazine'
looking for a global audience" Here are a couple of exerpts:
"`What We're presenting here,' Joe says, `Is an incredibly
diverse kind of music to a very, very sophisticated
audience of global music. When you pick up TAPE TALK,
you are liable to hear anything from African Root music
to hard core punk to Italian rock 'n' roll to Celtic
Harp music'
"A typical TAPE TALK side starts with an introduction by
the person that compiled that side. TAPE TALK 4, for example,
has Holly Near introducing "Women's Music," followed by
six cuts selected by her. On the flip, Country Joe introduces
"Music of Vietnam Veterans," followed by 7 cuts of his choosing.
"Agent Orange Song," by Muriel Hogan, is about being killed
by the chemical and not even knowing it at the time.
But it's Kate Bush's fragile acappella interpretation that
brings home the meaning with a brutal irony no human being
with one good ear could misunderstand."
The article then goes on to say that these tapes are of
very limited quantity, and will probably be very hard
to find in record stores. They are distributed through
California Record Distributors on the West Coast.
Country Joe McDonald, who puts them out, can be reached
at:
Tape Talk
Box 3316
San Francisco, CA. 94119
I havn't heard this song yet, and would be very interested
to hear is someone gets hold of one of these tapes.
Hugh
[][][][][][][][][][]
From: Jeff Dalton <jeff%aiva.edinburgh.ac.uk@Cs.Ucl.AC.UK>
Date: Fri, 9 May 86 15:55:53 -0100
Subject: Re: Jane Siberry!
Suddenly, I want these records even though I don't know
anything about them. What is this stuff like? How easy
is it to find?
[][][][][][][][][][]
Date: 13 May 86 11:11:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: More Kate Rescending / Jaques Brel
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>
A further apology, Since Sunday, I have acquired Never Forever, also. I have
listened to Lionheart about 3 times, and I am growing quite fond of it. It
unclear to me how a 12 year old can convincingly come up with some of the
sensual sexuality expressed in some of the lyrics, but if that is the case
Kate must have been, quite the date in high school (i.e., this is not a slang
comment concerning the possibilities of her past, but a sincere statement
arising from the lack of intellectual facilitation in high school). Concerning
Never ForEver, I saw mention of the Fairlight in the credits. I have listened
to it less (haven't owned it long enough) than Lionheart, but after about 1 1/2
listenings, I thinl it is going to get a lot of play in my car on the way
to work (Yea, its a 70 VW Bus, but I splurged on the audio).
A thank you to Joe Turner who even aparently can spell Jaques Brel's name
correctly, for answering Doug's question. Actually, I believe that Doug would
probably like the French versions of any of the early Brel material, language
nonwithstanding. My only real contact with Brel's music was from getting to
listen to the French stuff, while Pascal's dad, Jaques Languirand, was putting
a French CBC special together in 76. I think that the majority of LH readers,
not caught in a rut of listening only to one type of music might find it
interesting to listen to. I wouldn't recommend purchasing it, but this is
the kind of stuff that most libraries have in their, 'seldom-played' collectionsso the listening would be free.
Well, today I continue my quest to find an LP of The Dreaming, and I guess
I might as well pick up The Kick Inside, while I'm at it.
John
------
[][][][][][][][][][]
Date: Tue, 13 May 86 09:21:27 edt
From: Joe Turner <cutter%umass-boston.csnet@CSNET-RELAY.ARPA>
Subject: Coupla notes...
Anyone know when the domestic "Jazz Butcher" elpee is coming out?
Saw the video for "Sledgehammer". Brilliant.
Good bands/Bad bands: I listen to what I consider good music. So do you.
End of topic.
I finally heard "Godstar", from Psychic TV. What IS this?
Finally this week, the "We've Got a Fuzzbox and We're Gonna Use it" ep has
hit number one.... go for it, ladies!
"U2 did nothing of interest this week. Again."
- New Musical Express, 5/10
Save your parity bits for big cash prizes!
Joe
----------------------------------------------------------
PAPER: Joe Turner, 329 Ward Street, Newton Centre MA 02159
SOUND WAVES: (617)/969-5993
CSNET: cutter@umass-boston.csnet
ARPA : umb!cutter@csnet-relay.arpa
UUCP : {decvax,ima,linus,sri-unix}!cca!ringwld!cutter
----------------------------------------------------------
[][][][][][][][][][]
Subject: U.S. vs British music, *Plus* music requests
Date: Tue, 13 May 86 11:47:31 -0800
From: J. Peter Alfke <alfke@cit-vax>
Yahhhh!
Here I am, just out of the shower and dressed, hair dripping into the sleep
in my eyes, I read my mail and *wham*
"Hey! You got net.music in my love-hounds!!!!"
If the debate doesn't cool off a bit verrry soon, I hope friend Doug will
put on his honorary brown-shirt (given free to all moderators) and squelch
it. 'Nuff said for now.
My position? I have always seemed to favor British groups, from my "prog"
period (Genesis, Floyd, Yes...) up to now (today I read my mail to Cabaret
Voltaire and am replying with Joy Division playing). Dunno why. I do get
very sick very easily of he-man attitudes, and these turn up a lot more
often in American music.
It might also be that more interesting things get into the top 40 in Britain
than in the U.S. (much much smaller sample size, so more volatile, and small
groups don't get overlooked as easily), and so people or radio stations who
keep up with the British scene can find interesting music more easily --
finding alternative U.S. music requires some digging.
My current problem: There are no really good record stations I can pick up
from here in Pasadena. The best I can manage is KROQ (trendy nu-wav). I
should be able to get KSPC from Pomona, a college station playing college-
station music, but my receiver just won't.
--SO--
Can people reccommend good obscure new music (esp. American) for me to
search out? I can find the stuff easily enough, thanks to Poo Bah records,
but I just don't know what to buy.
Warning: I have a low tolerance for thrash -- "Never Mind the Bollocks",
early X and Dead Kennedys are enough for me thank you.
I also get sick easily of people screaming in a big room while a portable
tape recorder picks up the instruments. That is: I liked Big Black's "Lungs",
but "Racer X" left me totally cold, as does anything by Jim Foetus. I do
like Throbbing Gristle, however ...
Anyhow, I'd really appreciate seeing some descriptions of various bands'
sounds and albums. I'm especially intrigued by the following:
* Butthole Surfers (always assumed they were hardcore!)
* Meat Puppets
* Executive Slacks (other than "You Can't Smile...", which I have)
...and any of the other names people have been tossing around.
Are there any great American synth bands, other than Executive Slacks?
--Peter Alfke
alfke@csvax.caltech.edu
PS: In response to someone's query: The
new Smiths album should be out in
two weeks. Yum!
PPS: What rhymes with "innocence"?
[][][][][][][][][][]
Date: Tue, 13 May 86 15:00:49 EST
From: hsut@ec.purdue.edu (Bill Hsu)
Mini-reviews time again!!
Disclaimer: These are just things I picked up recently. It's pure coincidence
that 1) most of these are American bands
2) most of these bands are not hardcore
so they just happen to be relevant to recent discussion. See,
it's synchronicity again...
ART BEARS THE WORLD AS IT IS TODAY
This is biting political music, quite unlike the static,
frozen-in-time quality of the Winter Songs album. Much more jazz-tinged than
Winter Songs, with some gloriously satirical fake operatic arias and atonal
mini-jams, just so you don't forget who you're listening to. Great stuff;
if you don't like venomous political lyrics, just listen to the great
playing. (The album has a beautifully detailed B&W cover, and comes with a
neat booklet with lyrics and drawings.)
SONIC YOUTH CONFUSION IS SEX
I thought Bad Moon Rising was better, but that's like saying
The Dreaming is better than Hounds of Love. CIS is an earlier album,
and has the trademark Sonic Youth jangling guitar noise, but the music
and lyrics are simpler and less atmospheric than Bad Moon Rising. Some
good songs nevertheless.
CHRISTIAN MARCLAY RECORD WITHOUT A COVER
I found this somewhat less interesting than expected. Marclay
plays records: he cuts them up, glues them together, scratches them,
makes collages, etc. The album (there's only one side) starts quietly,
then builds to a zany collection of musical fragments. There are some
hilarious moments. His performances must be something to watch...
NEGATIVLAND NEGATIVLAND
More collage music. There are 20 short tracks, peppered with
found speech, radio broadcasts, industrial noise, etc. I really enjoyed
the warped music on Side 1, from the fake carnival anouncement ("Welcome
to Negativland...") to the acoustic-folk stuff with industrial noise.
Side 2 is more disjoint, with more noise and speech and fewer instruments.
There are some truly haunting post-holocaust soundscapes, tho.
CHRIS D./DIVINE HORSEMEN TIME STANDS STILL
Raw, mostly acoustic street folk. Chris D. screeches his lyrics
of degradation and despair to sparse instrumental backing, mostly
acoustic guitar and wailing violin. This is what Robyn Hitchcock might
have done instead of I Often Dream of Trains if he had lived on the
streets.
Most of these albums can be ordered from New Music Distribution
Service (mail me a note if you need the address). Your local Tower
Records probably won't carry them...
Bill Hsu
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Date: Tue, 13 May 86 15:18:16 edt
From: Bob Krajewski <lmi-angel!rpk>
Subject: Anglo|Amero/philia|phoiba
Boy, you guys really touched a sensitive nerve there. A few observations:
. Look at things from a musical history point of view. It is clear that
the most vigorous forms of music on the worldwide scene all heavily borrow
from American sources. In other words: no blues, no America, no nothing.
The United States has blues, gospel, jazz, r&b, rock and roll, funk,
country, and many strange hybrids thereof (like big-band country
``cowboy'' jazz, the proto-funk/reggae r&b of New Orleans [well, that's
what I hear in Allen Toussaint productions], and so on). Ironically, most
people in the US who don't really ``live'' with these kinds of music don't
realise what their heritage is. On the other hand, the rest of the world
(especially Europe, and again especially England) does realise this.
. Since Americans in general are so ignorant of their musical heritage, many
of them don't realise what possibilities lie in the music. On the other
hand, the British come from a different context, change things, and then
sell it back to America in a new light. The rhythms and styles are still
there, but now the music works as ``pop'' rather than just ``folk'' music.
Thus, the success of the Beatles, Stones, Eric Clapton, Culture Club, the
Smiths, JAMC, etc. And of course, you've got people like Hendrix and the
Stray Cats (now don't laugh just because there's a conjunction between
them) who had to England first to get support. Not to mention many jazz,
funk, and soul people. Hip hop is just as big in Manchester and
Birmingham (England) as it is over here. On the other hand, all those 60s
punk/pysche groups in the 'burbs of the USA were trying (at first) to
sound the like Stones and the Yardbirds, who themselves loved American
music.
. To make things a little more relevant, take the sound of records. It has
been said that the English don't like music, but love the racket it
makes. It is somewhat true that these days (ever since about '79 or so)
British indie and pop stuff tends sound ``interesting,'' or affected, or
textural, or stylish. American stuff is more straightforward, and
usually the studio sound itself isn't interesting (just guitars, guitars,
guitars); most US bands have one mode and stick to it.
. The Emperor Has No Clothes: (anti-flame)
. Synths are evil.
. These American bands rely on songwriting and sincerity, not gimmicks.
. The ``roots'' concept is valid.
. The ``roots'' stuff you're hearing is really covers all the diversity
of American music.
. Pop is evil.
. The studio is evil.
. Amateurism is cool.
. Beer-drinkin' music is honest.
. Synth-poppers aren't rockists.
. Loud guitars are always rad.
. Jangle bands are less ``sound'' oriented than synth-crap.
So what do I like ? Here are recent faves (in no particular order)
Art of Noise, the Bodeans (US group), Kate Bush (or else I'd be kicked off),
Can (getting into the back catalogue of the truly rhythmic and
``progressive'' German group), Husker Du, Bill Frisell & Vernon Reid, the
Residents, Big Stick, Volcano Suns, Birdsongs of the Mesozoic, Sam Cooke,
Scott Johnson, Pandoras, Elvis Costello, P/Funk, James Brown (30 Golden Hits
is domestic, remastered, and cheap, GET IT NOW, it's both ``roots'' [haha]
and RAD), Christmas, Dumptruck, O-Postive, Soul Asylum, Butthole Surfers,
Thomas Dolby, Throwing Muses, David Sylvain, Tom Waits, Hoodoo Gurus, Toure
Kunda, Love & Rockets, Camper Von Beethoven, and a cast of thousands.
Cool American Producer: T-Bone Burnett.
Cool Region: New Zealand.
Hoffman Bullseye Review: Big Audio Dynamite.
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Date: Tue, 13 May 86 14:46:02 EDT
From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV>
Subject: Message to "the Gidge"
Gidget, if you're looking for true devotion to Roxy Music, you
need look no further. Why, this right hand now typing has actually
*touched* the hand of Bryan Ferry. And you can bet I never wanted
to wash it again. I have everything by them, all 7"s and 12"s and
LPs (except for the first 5 singles). If you care to discuss this
obsession further, we'd better keep it off love-hounds, so e-mail
to me at the below address.
*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-
Sue Trowbridge
"HOODLUMS FROM ANOTHER WORLD ON A RAY-GUN RAMPAGE!"
-"Teenagers from Outer Space," 1959
arpa : ins_aset%jhunix.BITNET@WISCVM.WISC.EDU
uucp : ...{ihnp4!whuxcc | seismo!umcp-cs | allegra!hopkins} jhunix!ins_aset
(or) : ...decvax!decuac!aplvax!aplcen!jhunix!ins_aset
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Return-Path: <umcp-cs!jhunix!jhunix!ins_aset>
Date: Tue, 13 May 86 14:39:09 EDT
From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV>
Subject: Siouxsie, etc.
Well, I saw Siouxsie and the Banshees for the first time last
night. They played the Warner Theatre in DC to kick off their
two-month US tour, promoting their new LP "Tinderbox."
I had great seats, thanks to the friendly folks at Warner Bros.
Records (we rockcrits get so many freebies it almost makes up for
the abuse), so I didn't have to do battle with the Siouxsie-clones
by the stage. I also had a good view of Siouxsie's bald spot
(that's what you get for teasing your hair that way for 10
years, I guess...)
Ah yes, the music! They did all the songs from "Tinderbox," and
lots of oldies, like "Israel," "Spellbound," "Nightshift,"
"Christine," and "Bring Me The Head of the Preacher Man." The
playing was first-rate, Siouxsie has an amazing stage presence
and voice, and there was plenty of neat lighting. Go see
Sioux if she passes through your neighborhood.
******************************************************************
Travesty -- At Tower Records yesterday, all their monitors were
showing the video of "Wuthering Heights," but the sound-system
was blasting the Long Ryders!!! Phooey!
I thought I would add a bit of personal KB-history. Right after
"Never For Ever" came out, my best friend at the time heard a bit
of Kate and rushed out and bought all three albums. Hoping to
convert me, he bought them for me too. Needless to say, I was
converted. We anxiously awaited the release of "The Dreaming,"
and we both loved it right away. I think I may have a review of
it somewhere that I wrote when it came out. That would be funny,
I'm sure.
-Sue
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From: COBLEY A (on DUNDEE DEC-10) <A.Cobley%dundee.ac.uk@Cs.Ucl.AC.UK>
Date: Wednesday, 14-May-86 10:03:05-BST
Subject: Hi RNG
--------
will some one please tell me (either over list or by mail)
what Hi rng music is and what it stands for
thanks
love and peace
andy c
cobley%dundee.micro%dundee@ucl-cs
--------
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--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (05/20/86)
Love-Hounds Digest Tuesday, May 20, 1986, 05:53 EDT Topics: Raunch Hands Dometic Jazz Butcher Album Hi-NRG music(?) /// Chris & Cosey Re: Anglo/Americo/Notes from all over Neato keeno bands and records!! Ministry "A little net.music" [][][][][][][][][][] Date: Wed, 14 May 86 9:03:31 EDT From: Atomic Punk <hofmann@AMSAA.ARPA> Subject: Raunch Hands So Sue, I understand the Raunch Hands opened up. Were you too busy gobbling up promos to give them lissen? I understand they blow the old phart Siouxsie and the Badshees to little tiny cinders. Is this true? [][][][][][][][][][] Date: Wed, 14 May 86 13:06:22 EDT From: LoveCat%UMass.BITNET@WISCVM.WISC.EDU (Fidelis E. Orozco) Subject: Dometic Jazz Butcher Album The domestic releasJazz Butcher album is a "Best of" collection. It is on the BIGTIME label... As far as I know, it IS out...or should be out very soon... Since WMUA had it when I dropped in the station last night. Fidelis LoveCat%UMASS.BITNET@WISCVM.WISC.EDU [][][][][][][][][][] Subject: Hi-NRG music(?) /// Chris & Cosey Date: Wed, 14 May 86 13:37:29 -0800 From: J. Peter Alfke <alfke@cit-vax> Andy Cobley wants to know what "Hi-RNG" music is, and his mail address looks awful scary to me, so I'll reply to the digest. It's really "Hi-NRG", which makes things a bit clearer -- "High-Energy", get it? As far as I can tell, it's synth-pop that has reverted into out- and-out disco. I defy ANYONE to show me how Hi-NRG music is not disco. I would guess that disco has such a bad rep these days that people now have to call it something else to keep the respect of others and to hide the truth from themselves. Now, disco doesn't automatically make me retch, but it's pretty vacuous. The major Hi-NRG hit I know of is Trans X's "Living On Video", which was a big KROQ hit two summers ago, and which I, while recognizing it as complete sh*t, still maintain a somewhat soft spot in my heart for since it blared from radios all the time while I was having a quite fun summer. Besides, there's a sort of unconscious campiness to the song, as it manages to recapitulate all your favorite synth and disco cliches: * Verrry-fast drumbox hi-hats * Star-Wars blaster bleeps (turn up the "resonance" all the way!) * Sexxxy female vocals * Voices run through vocoder/harmonizer * Dumb "video" imagery in the lyrics * Inane high-pitched hook repeated over and over and... A laff riot! @@@@@@@@@@@@@@@@@@@@ Chris and Cosey played L.A. last Friday, and I MISSED THEM because I had A DUMB LAB that I COULDN'T MISS without FAILING THE CLASS. Arrrrrrgh! Did anyone see them? Has anyone seen them elsewhere? How was it? Are they going to do a second tour just like The Boss?? Grumble grumble. I'm changing my lab section to Tuesday because FRIDAY NIGHT LABS SUCK THE INFINITE WEENIE! --Peter Alfke alfke@csvax.caltech.edu [][][][][][][][][][] Date: Wed, 14 May 86 17:20:00 EDT From: Swingset Disaster <hofmann@AMSAA.ARPA> Subject: Re: Anglo/Americo/Notes from all over >From: Bob Krajewski <lmi-angel!rpk> >Subject: Anglo|Amero/philia|phoiba >Boy, you guys really touched a sensitive nerve there. A few observations: >. Look at things from a musical history point of view. It is clear that >the most vigorous forms of music on the worldwide scene all heavily borrow >from American sources. In other words: no blues, no America, no nothing. Bob said everything I was trying to say without using the esoteric art of flaming. The people here who say they're enamored with the "art" of it all are really just amused by the cleverness of all the hidden meanings they've found in stuff. For the most part, the English music is fey, surface music. >. Since Americans in general are so ignorant of their musical heritage, many True, not all of us but yes, in general and yes, the Brits do tend to take it and mangle it (MaClaren being the prime abuser). There was a comment where someone called Amercan music "he-man" music. If that means, it's an active yet agressive form, hell yes! I see this as a compliment (thanks whomever) But, I'd venture to say this wanker stuff disscussed here is in turn "she-man" musak. It's much more passive and introspective and stagnant. Now that I' ve insulted all the genders, we continue. >funk, and soul people. Hip hop is just as big in Manchester and >Birmingham (England) as it is over here. On the other hand, all those 60s >punk/pysche groups in the 'burbs of the USA were trying (at first) to >sound the like Stones and the Yardbirds, who themselves loved American >music. I'd say hip-hop in England is even "bigger" in the sense of the attention it receives particularily among white people. White Americans generally seem to be ignorant of the true roots of hip-hop (i.e. a hybrid of spoken word/hard rock/ and funk). Go-go may succeed in bridging this gap since it isn't as alienating and race-identity-concious as rap. It should be noted that Prince and the Minneapolis progressive attitude towards race has paved the way. >. The Emperor Has No Clothes: (anti-flame) >. Synths are evil. As the cost of Synths goes down, they become less and less so. American music (or at least the most heartfelt Amercan music) is music of economy. There are some up and coming bands who are using synths in front of audiences that would a couple of years ago trashed and gobbed them for doing so. >. These American bands rely on songwriting and sincerity, not gimmicks. Exactly, they put their sh*t on the line. The poseur wimp bands distance themselves from their audience, lose all sense of perspective and even end up degrading the audience (and in turn themselves) by stealing stuff off the street but at the same time looking down at this scene. >. The ``roots'' concept is valid. As long as it isn't overdone (or merely just redone over and over again). There's nothing more boring than a band playing straight R&B covers. Almost as bad as a Top 40 band. >. The ``roots'' stuff you're hearing is really covers all the diversity > of American music. Damn straight, hip hop is as much "roots" as is hardcore. >. Pop is evil. Only in the sense that it usually is phoney and braindead. Some of the better English types have proven this wrong (Hitchcock and yes, Kate) but I sasid in my initial flame that English bands make great commercial (read: pop) stuff. >. The studio is evil. Again, it depends - this attitude comes from bands I have talked to who have gone into the studio ignorant of recording but still wanting complete control of what was going on. Alot of times they had no "producer" to act as a buffer between the band and the engineer and ended up totally alienating the technical talent. Bands that have attempted basement recording with 4 or 8 track porta studios generally are ready for the studio so the idea of "studio being evil" is sort of a question of experience. Certainly, a lot of fans would agree mainly because it's so foriegn and sterile to them. A good homey studio where the band is totally cognizant of what's going on behind the window is not evil. >. Amateurism is cool. As a means for learning as you go - yeah, sure. Again, it's an attitude that eventually loses out to experience (in the long run). The best rock musicians generally learn as they go. The most boring (and self-indulgent) musicians are usually classically trained. I've taken great pains to forget everything classical I've learned (and I'm not ashamed). >. Beer-drinkin' music is honest. Hmmmm, honest music is honest. I think this is a weak point in your anti-flame.Counter-Examples being Minor Threat, J.F.A. etc etc` >. Synth-poppers aren't rockists. Unless they get off their synth and stop making pop. Using the synth in lieu of an expensive organ or using the wierd sounds very sparingly is cool. I imagine as the synth becomes further ingrained and less expensive it will become more cool to use it for other things. >. Loud guitars are always rad. Damn straight! Even the art cliques in New York have come to that conclusion. Check out Sonic Youth, Live Skull, Glenn Branca, etc etc. >. Jangle bands are less ``sound'' oriented than synth-crap. No comment. >Cool American Producer: T-Bone Burnett. I've only recently been exposed to his stuff. Can you recommend any opuses? >Cool Region: New Zealand. And Australia - need we mention the Birthday Party, Civil Dissident and scads of others from Down Under. I guess I'm not really a bigot but the intensity of these bands puts their sister island to shame. ----------------------------------------------------------------------------- "If you can't keep it in your pants, keep it in the family" - The Inbred. [][][][][][][][][][] Return-Path: <umcp-cs!jhunix!jhunix!ins_aset> Date: Wed, 14 May 86 15:23:35 EDT From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV> Subject: Neato keeno bands and records!! 1. What, Mr. Hoffman, is "Sarcastic Orgasm"? Have you heard of the Dayglow Abortions? We got a record by them at WJHU. I swear, it takes a lot to disgust me, but the cover of this album did it. It depicts a cartoon Nancy and Ronald Reagan sitting down for a hearty meal of foetus with vegetable sauce...urp. Noway was I going to put that sucker on the turntable. 2. The Smifs should have a record out by the end of June. The title has something to do with the Queen. I used to think they were God, but that was just a passing craze. I'll still be interested in ' hearing the new record, though. 3. BANDY INVADES LOVE-HOUNDS!!!!! "Mr. Beals, love-hounds is for the posting of Kate Bush related news and reviews, not whatever happened to strike your fancy today." Actually, if Doug sent a nastygram to everybody who posted non-Bush related things, he'd be one busy man. (Pardon to those of you who don't read net.rumor and have no idea what I'm talking about) 4. I would like to pause and recommend a record to all love-hounders, especially those who are into Suzanne Vega. The artiste is ANNA DOMINO. Her voice and lyrics remind me of Suzanne, even though there is no guitar on her self-titled LP, just out as an import on Crepuscule. The music...well, Sade comes close only infinitely cooler than that. It's a little jazzy. A fine, fine record. -Sue [][][][][][][][][][] Date: Thu, 15 May 86 02:48:04 EDT From: nessus (Doug Alan) Subject: Ministry I have I told all you lust-dogs that you should all buy Ministry's new album "Twitch"? No, well then I'm telling you now. It's sort of like Cabaret Voltare, only more melodic and better! It wouldn't have left my turntable if it weren't for Danielle Dax (whose stuff you should also run out and buy (if you can find it)!). "Crash and burn" Doug [][][][][][][][][][] Date: Thu, 15 May 86 03:13:13 EDT From: nessus (Doug Alan) Subject: "A little net.music" [This is a note that Gregory Taylor (gtaylor@astroatc.UUCP) posted to net.music about his usenet music compilation tape. He asked me to tell all the Love-Hounds about the tape, so here it is...] Well, it's on it's way to the duplicators even as you read this. "A Little Net.Music: The USENET Cassette" is now reality...or virtual reality, anyway. Very soon, you'll be able to subject yourself and your boombox/walkperson/kooky cat tape player/golden ears stereo to 90+ minutes of music produced and recorded exclusively by net denizens. That's right, a double album's worth of the same plucky signal-to-noise pluralism you know and love in PHYSICAL, 1 7/8 ips form. The logistics of all this will be contained in the followup "Release Party" posting. I can't tell you the neat stuff (the colour of the cover, the name of the person who did the Japanese calligraphy, etc.) until then. But for now, I'll bet you'd be REALLY curious to know what is actually on the tape, right? Okay...scan this list and see if there aren't a few net names you recognize. We'll talk about the rest later (ie DON'T send me any mail about getting one in your hot little hand NOW, okay??? I got other stuff to do)> (DRUM ROLL, LIGHTS UP, BRING ON THE DANCING TAKE-UP REELS...........) Side One: tjjw!?vax Intro/Vegetableland What? Toejam Jawallaby HERE? On this cassette? No lawsuits? Es verdad? Yes, it's all true. The man himself has elected to include a golden oldie that obviously influenced George Martin's production of Jeffy Beck's "Blow by Blow". Isn't it wonderful that Toejam is such a pro that he suffers imitators so gladly? Nina Blackwood (presumably clothed) elected to introduce things. guidos@brl-lfd.arpa Got A Bad Heart That drawl draws you into a story of mayhem, government harassment, and ruin. Some Derridian thoughtfully added a Guiro for accompaniment, and Bernie blows the harp. Folk Rock? PostModern Narrative? Features the prize couplet (from memory, I could be wrong) Dogwood's Dog/Gotta Lotta Heart/Hair Like Wire/Goin' Arf Arf Arf. Pins the needles on the smile meter. bentley!egw The Fall of the Shah Devotees of Der Deutscher Pulse take note. We're looking at that European inflected electronic beat, with a little synth that neatly recapitulates the fall of the mighty. In MacLuhanesque terms, we mean Hot title and Cool Medium. Like the fall of the mighty, it's business as usual right up until the threads pull loose and rain random notes on the masses. pur-ee!hsut The YoYoDyne Mix You're a fan of the treated piano? You wanna know what a tape recorded at high speed in reverse sound like when used as a rhythm track? You wanna hear Bill Hsu reading a Conceptualist text written by Doug Alan? Well, here you go. Pour yourself a bowl of Green Elephant Breakfast cereal, turn the Kate Bush poster to the wall, and listen. iham1!rwn Baby Do Your Thing for Me Serious technopopper Bob Neumann crossbreed Kraftwerk, Oberheim, and a little Prince to come up with this little ticker. This cut features the best little strangled yelps and vocal utterances on the tape, synched right up with the Tin Man's heart. esc-bb!brad Gosharaku Kyu The subtle and refined music of the Japanese courts is rat cheer on the net tape to realign your hearing. A probable source of trouble for those of you who are serious Ethnocentrists, this cut falls into the "pre-emptive" strike category. If it's any easier, you can imagine the Art Ensemble of Chicago in one of their most careful moods. But when you're done, as Brad the questions. It's not often we get a real expert on the net. tellab1!etan Crossover As they say, the family that plays together stays together. Nate and the wife and band turn in a shiny performance about the vagaries and split allegiances of the modern world, with a nod to the roots of the Authoritarian urge ("Tell me what I am"). Again, the title is cleverly punned, since this is crossover material. g.cs.cmu.edu!ckk I Have A Dream Chris is working as a composer in residence at the Carnegie-Mellon electronics studio, and spending much of the rest of his time playing a kind of Chamber Free Improv. On this cut, he takes Martin Luther King's famous oration (done in Sprechstimme), hooks his voice to a Pitchrider, and sweetens things with a little trumpet and woodwind. The aural effect is a little like watching a yard full of rambunctious children at work- darting bits of improv, randomized sounds, and the occasional snatch of intelligeable text. All this fits the simple spirit behind all of the text's portentious rhetoric. svaporvax!bornak Sno-Cones in Hell If Pandemonium (Milton invented the word for use in "Paradise Lost") had a nightly news show, this would probably be the human interest story portion. The scene of the disaster is New Jersey, and the backing is that relentlessly skewed clatter that reminds you of the look and feel of some parts of Northern NJ...the portions that resemble the inside of an old radio. dadla!jrb Scrapple From the Apple The only appearance of a VAX on the tape, and a drum machine that you're gonna love. Free associative pattern drumming over those FM vibe patches. The elite lay awake at night worrying that there are people who work on this kind of stuff. Binkley rescues them from worry by giving what they worried about with a twist all his own. NOTE to purists: this is the closest to jazz we come here, so look out. This is not your normal cover it and blow session. ihuxx!phedge Electronix Again, we hear from the 20th century. THe music of the line priinter opens and closes this very intimate dedication of undying affection to that thing in the chilly room that crunches your numbers for you. Features the closest to speed vocals you'll find on this tape, and one of those lovely bits where the singer almost loses it and starts laughing. Self control is so much fun to listen to. Side Two: nrl-css!wicinski Electroglide This is definitely "skank around the house vacuuming the blinds" stuff. A slithery little slap-bass funk groove with that Loooooowwww ZZ Top rumble vocal and little splinters of noise. It churns away and then fades out. Tim Wicinski is probably still dancing out there, wondering how life is on the *outside* of the Cabaret Voltaire/Material/ Shreikback orbit. dec-pldvax!janzen Caterpillar Blews Tom Janzen, that erstwhile performance artist, net.music.synth whiz and theorist, lays out an ?? to the bar blues that more closely resembles the rippling euphonia of Fats Waller crossed with Philip Glass' additive cycle technique. An interesting introduction to the man's work. hofmann@amsaa.arpa Suburban Voodoo Don't let the marimba fool you (don't worry, it won't). From deep in the heart of darkest Amerika, the conceptual son of Chuckie Bukowski and Ronold Shannon Jackson link up with the marimba player from Mister Rogers' Neighborhood to give you not one but two little slices of life on the ranting edge. Is it poetry? Is it confession? Is it theatre? What is Hofmann's back yard *really* like, anyway? pyuxd!rlr Fair Exchange Sure, he's the darling of many a terminal's n-key, but did you know that he can play? If you want to spend the rest of your life dealing with an image of Good Old Rosen, don't dare listen to this restrained meeting of Minimalism and the Solo Guitar. Not only that, I heard a *whole* tape of his stuff and guess what? He knows what he's doing. Oops, now the cat's out of the bag. I'm against cruelty to animals and also all for a little hosing with the standard Min format. potomac!jsl What is Wrong with My Dog You remember wondering about exactly how difficult it was to correctly identify specimens from Phylum Chordata in High School Biology? Well, the protagonist of Johnny Labovitz's little epic has the same problem in spades. No hassle for John, though....monster CHUNKCHUNKCHUNKCHUNK CHUNKCHUNKWAH licks, epic dog howl imitations, and quite an ear for the rhyme. Nasty, brutish and short. stolaf!robertsl Ink Now Blood For this to work, you've got to imagine Lawrence Roberts in a big room full of Minuteman and 2i posters up there in the dead of the Minneapolis winter. His pogo pals are gone, the record is spinning furiously at the end of some single, the party is over and the boy's heart is still full of the unresolved tensions of like in the modern world. There's this piano there, and they're all alone. LR sits down and begins to play.... dec-baxta!bottom_david Just for Kicks Poor Dave. He is the tried and true victim of that archetypal mean old woman who plays with heart while he plays his guitar alongside his drummer and bassist pals. Those blue notes just come sputtering out of that guitar, stopping only for those little syncopated hooks at the end of the 32 bar phrase. The guitar hero with the tale of romantic woe and those nights by the phone lives on. hao!pete Shakuhachi I This one leaped off of Pete's cassette on first hearing, and is a very small slice of what I tend to call "Imaginary Ethnography" I like it. What can we say here? The music of an invented culture? Do It yourself Home Ritual Recordings? The only appearance of an oven rack as a percussion instrument? My only complaint is that it was too short. amdcad!linda Chopin Polonaise No. 2 Op. 40 And you though you could escape without any High Culture whatsoever, didn't you? No way, you little Philistines. Siddown and listen to a pro riff through a little piece of 19th century weather. The modulations are complicated, the shifts like a pack of fleecy clouds before a high wind. Not a I-VII-IV chord chain in sight. Linda acquits herself well, and may never forgive me for allowing such control and grace into the rest of this madhouse. cubsvax!dss Sergury You remember analog synthesis, don't you? Like Walter/Wendy Carlos and those great little signature tunes with the shifting timbres they used to play on National Public Radio's "All Things Considered"? This is the hard stuff, and we've got a nifty piece of it here from David Silver. The title derives from the Serge Modular System that the piece was realized on. rossi@nusc.ARPA Psychadelic Nightmare You may have heard about Coitus, Rossi's old band. Here's your chance to get a taste of their work. This could easily fit in nicely to one of those "Teens Gone Astray" movies, full of black light shots and loony camera work. As a piece of psychedelia, this was a pretty restrained bit of production, betraying a certain commitment to craft. astroatc!gtaylor Answering the Cloud Since I was worried about all this stuff fitting on a 90 minute tape, I stuck myself at the end. Due to the length, there wasn't enough space for what I'd planned, so you get the first and only rough dub of a work in progress. One of those collisions between that awful atmospheric stuff and a little Javanese subdivision with little bits of leftover solo instruments flying in and out of things. We're talking cultural plunder, I think. Mea Culpa. [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (05/23/86)
Love-Hounds Digest Friday, May 23, 1986, 04:55 EDT Topics: Dayglo Abortions Sarcastic Orgasm. . . Re: Re: Anglo/Americo/Notes from all over End of French KT interview Hi-NRG PG on KT machorock vs discowimp, (Alfke babbles) Synths aren't evil ... self-explanatory (more alfkebabblespeak) answers those Brian Eno videos Roxy Romance [][][][][][][][][][] Date: Thu, 15 May 86 12:17:38 EDT From: Hofmann@AMSAA.ARPA Subject: Dayglo Abortions You mean they send you albums and you don't EVEN PLAY THEM????? BEcause of the cover????? Whatdafug??? Give it to me - I'll get it mentioned somewheres. . .actually I hear LOTS of good things about that band,,, this really makes me puke when I hear of people getting free records and not even playing it. That's bad, Sue ... I should forward that to all the record companies and especially the Dayglo Abortions. You should be ashamed, not proud. [][][][][][][][][][] Date: Thu, 15 May 86 12:35:20 EDT From: Swingset Disaster <hofmann@AMSAA.ARPA> Subject: Sarcastic Orgasm. . . Here's a review I sent over to a local zine on sarcastic orgasm THE UNDECIDED/ SARCASTIC ORGASM /PUNCHLINE @ The Eutaw Clubhouse on May 10, 1986. Two bands from D.C. played last Saturday. Never heard of any of these two from the regular D.C. grapevine and babblezines. SARCASTIC ORGASM are worth seeing - their attitude reminds me of A.O.D. but their music is orginal. They approach hardcore from the jazz/improv end but unlike a lot of others are pretty successful. The singer does a great drunk and ate a dog bisquit I gave him. Synth player switches from keyboards to trumpet to violin feedback to metal guitar like you and me change underwear. Some little leather clad kid exclaimed after one number, "You guys blew me away and you aren't metal!" 6 to 8 dancers doing the slamorgy thing - you know where the couples roll around in the pit. One particulary cute young thing in a black flag shirt catches my eye. Ah, youth. Next band, PUNCHLINE does the early C.o.C. imitation quite well. Seem to be emerging from cover band status and include about three going thru Van Halen (Atomic Punk sounding better than the original) and others. They threatened to do Led Zep but instead did a H.R. cut up (who they say is in jail ... so is Joseph I - so there must be some good jamming going on there) ... their originals give them five up and coming stars from me. I want to hear them again. Fast as shit, the guitar is metal, the singer is punk, the rhythm is speed - the result is speedmetal. See them, they're the best around the area in this genre. Oh yeah, the dancing? on and off - some older fellow with a pink mohawk was putting the young kids to shame. Haven't seen him around so I assume he was one of the band member's parents? First band, THE UNDECIDED were ending as I showed up. It sounded like they were doing a cover of "Salad Days" ... pretty good. DAG NASTY never showed - the word is they broke up! That's three Dischord bands in this year! Who's next? SCREAM? - hofmann [][][][][][][][][][] Subject: Re: Re: Anglo/Americo/Notes from all over Date: Thu, 15 May 86 10:33:44 -0800 From: J. Peter Alfke <alfke@cit-vax> Swingset Disaster <hofmann@AMSAA.ARPA> sez: >>From: Bob Krajewski <lmi-angel!rpk> >>Subject: Anglo|Amero/philia|phoiba >>Boy, you guys really touched a sensitive nerve there. A few observations: >>. Look at things from a musical history point of view. It is clear that >>the most vigorous forms of music on the worldwide scene all heavily borrow >>from American sources. In other words: no blues, no America, no nothing. >Bob said everything I was trying to say without using the esoteric art of >flaming. The people here who say they're enamored with the "art" of it >all are really just amused by the cleverness of all the hidden meanings >they've found in stuff. For the most part, the English music is fey, >surface music. >>. Since Americans in general are so ignorant of their musical heritage, many >True, not all of us but yes, in general and yes, the Brits do tend to take >it and mangle it (MaClaren being the prime abuser). There was a comment where >someone called Amercan music "he-man" music. If that means, it's an active >yet agressive form, hell yes! I see this as a compliment (thanks whomever) >But,I'd venture to say this wanker stuff disscussed here is in turn "she-man" >musak. It's much more passive and introspective and stagnant. Now that I' >ve insulted all the genders, we continue. Well, you haven't insulted all genders, just the female. Your "Hell yes! Toss me another brewski, duuuude!" bit was doubtless not intended as offensive to males ... As for "mangling": what's wrong with it? Many many American bands are working directly from the "roots" framework, which is O.K, but it's just one way of doing things. British bands take the American blues/country/ gospel basics, as well as the rock refinements, and interpret and deconstruct them. As I'm a postmodern kinda guy, I often find this more interesting than the basics. (This is not to say that all American bands stick to the roots, but they're usually much more reverent toward them.) >>. The Emperor Has No Clothes: (anti-flame) >>. Synths are evil. ..etc.. I thought that Bob was just quoting all the American-testosterock cliches as an "Emperor has no clothes" thing, and Hofmann goes on taking them all at face value. Who's right here? I think some of the statements Bob quotes (and I don't know if he believes them) have some validity, but most are just ridiculous. Synths are evil, indeed. "Anything new is *strickly* for faggots", hmmm? The proggers showed that you didn't have to be an avant-garde Stockhausen-oid to use synths, the syth-poppers showed that you didn't have to be pompous to use them, and bands like Cabaret Voltaire and Executive Slacks show that you don't even have to have binky-binky bouncy hooks or moussed haircuts to use 'em. The synth is an amazingly versatile instrument, and dismissing it as "evil" is an absurd generalization that goes nowhere. And kids: let's not fall back on homophobic (British music is by and for flaming-limp-wristed-pouffter-dickless-faggots) or sexist (British music is feminine, i.e. "much more passive and introspective and stagnant") cliches. Get real. --Peter Alfke "`That's by Stockhausen', the hip graybeard informed her, `the early crowd tends to dig your Radio Cologne sound. Later on we really swing. We're the only bar in the area, you know, has a strictly electronic music policy. ...we got a whole back room full of your audio oscillators, gunshot machines, contact mikes, every- thing. That's for if you didn't bring your axe, see, but you got the feeling and you want to swing with the rest of the cats, there's always something available.'" --Thomas Pynchon, "The Crying of Lot 49" [][][][][][][][][][] Date: Thu, 15 May 86 11:37 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU Subject: End of French KT interview Y.B.: How did you come upon the idea of working on this concept which fills an entire side, which has become extremely out of fashion? K.B.: It's not nice to call it a concept, because automatically it causes panic, and everyone is convinced that they're going to die of boredom. But that's an idiotic attitude. A concept allows you to develop a piece of music around a theme, at a length which exceeds ten minutes. Before pop music, all the great works of music were of this kind, of this shape and of this attitude. It's unjust. I've wanted to work on something of this kind for a long time. For me, the more an idea is extended, the more riches it contains. Y.B.: This allowed you to use traditional music, which you like very much. K.B.: Irish, as far as this particular album goes. English and Irish folk music have had a gigantic influence on me, since I was a child.My brothers played it constantly at home and that affected me profoundly. Whenever I hear Irish folk music, nowadays, I feel drawn to it; I greatly enjoyed introducing it into my own vocabulary and using its musicians. Y.B.: On The Dreaming you went to some pains to announce on the sleeve that this music must be played very loudly. That amused me at the time. K.B.: In the studio, you heard it really loud. For mixing, we had to turn it down, to pay attention to details, but my desire was to be totally overwhelmed by the flood of sound. In any case music, all music, was made to be heard at the volume at which it was played, that is to say in this case LOUD. Y.B.: That album was a difficult one to accept, for the uninitiated. K.B.: I have no doubt that those who buy singles because they like my hits, are completely mystified upon hearing the albums. But if it comes to that, they should listen to it LOUDLY! If a single theme linked The Dreaming, which is quite varied, it would be human relationships and emotional problems. Every being responds principally to emotions. Some people are very cool, but they are silenced by their emotions, whatever they might be. To write a song, it's necessary that I be completely steeped in my environment, in my subject. Sometimes the original idea is maintained, but as it takes form, it possesses me. One of the best examples would be this song that wrote on Houdini: I knew every one of the things that I wanted to say, and it was necessary that I find new ways that would allow me to say them; the hardest thing, is when you have so many things to fit into so short a space of time. You have to be concise and at the same time not remain vague, or obscure. The Dreaming was a decisive album for me. I hadn't recorded in such a long time until I undertook it, and that was the first time that I'd had such liberty. It was intoxicating and frightening at the same time. I could fail at everything and ruin my career at one fell swoop. All this energy, my frustrations, my fears, my wish to succeed, all that went into the record. That's the principle of music: to liberate all the tensions that exist inside you. I tried to give free rein to all my fantasies. Although all of the songs do not talk about me, they represent all the facets of my personality, all my different attitudes in relation to the world. In growing older, I see more and more clearly that I am crippled in facing the things that really count, and that I can do nothing about it, just as most people can do nothing. Making an album is insignificant in comparison with that, but it's my only defense. Y.B.: Alot of people complain that your music has become too complex, inaccessible, exclusive. K.B.: People's reactions before any kind of music reflect more their own personality than that of the composer. As far as my lyrics are concerned, I take a great deal of care; they are very oblique and describe situations that are not always simple. It's not always easy, but it's necessary to make an effort and listen actively, give of oneself. But even if nobody understands my stories, to understand the music, once more, they must play it LOUD! Y.B.: As a general rule, you're not very optimistic. K.B.: I wouldn't say that I'm not. I think I'm realistic. If you want to accomplish things, you must accept compromises. That applies particularly to human beings, who are so determined to get what they want, that they only give in when they've been defeated. It's necessary to know how to give in, to accept and defer, sometimes. Situations of love, for example, begin very simply, then, even before you can perceive it, they become a spider's web of problems, so inextricable that they end in the most complete chaos. I just lived through a marvelous and destructive adventure. I believe furthermore that love and inter-personal relationships are the most important things in existence. My family represents everything for me. And even if, every time, failures repeat themselves, I never take them as such, but rather as new tests on the path that I have still to run. Y.B.: This makes more than five years since you last mounted a stage. Is there hope for 1986? K.B.: I was hoping to avoid that question!!! I certainly want very much to play on stage again, but it's a decision for which the consequences are enormous, both financially and in terms of the amount of time and energy that are necessary. I've just given everything in me to complete this album and I'm not certain that it's for the best that I plunge into such a venture, all the more as I've received several propositions of an entirely different order, but which would not be compatible with a tour. As they say over here: "Allons voir {Wait and see}!" END OF FRENCH INTERVIEW [][][][][][][][][][] Date: 15 May 86 16:13:00 PST From: "ROSSI J.A." <rossi@nusc.ARPA> Subject: Hi-NRG Reply-To: "ROSSI J.A." <rossi@nusc.ARPA> I thank Peter Alfke for describing the essentials of Hi-NRG music. I am surprised, that TRANS-X's 'Living on Video' is a good example of it, however. Frankly, I'm surprised that Living on Video is a good example of anything. Alfke is right, however, it is 'shit' but only 'nearly complete shit'. It is only roughly approximate to the rest of the stuff on the album (same name) although the production standards suck, overall. There are reasons for this suck-out trash, though. First, when Pascal was working in a French medium, he remained largely unsold. Not only was the language barrier a problem mut the cosmic-mind-expanding-space-out nature of the music he was doing was not so popular either. So, what's a young drummer turned guitarist turned synthesist to do ? SELL OUT, of course. Unfortunately, Pascal did not know how to sell out correctly. His first move was buying a lot of MIDI synths and some new effect boxes. Next he needed a medium. Since the sequencer cliches of Georgeo and Gary Numan are easy enough to duplicate, they made a nice backdrop for the rest of the stuff. His next step was in finding other musicians that would contribute to the material (i.e., play that stuff without getting sick). He failed to be successfull in that area. Thus, as he had in the past, he did a pretty much solo (except for the vocals) album. So what resulted was, correctly identified as disco, and what's worse, lo quality disco. What I find really funny about this, is, that Pascal hates disco. Back during the first disco revolution in the mid-70's (Bee Gees, AWB, etc), when we were exploring mind-ZAP music, Pascal and I actually penned a song parody entitled Disco on the Moon. It seemed as though the whole progressive Montreal music scene was telling disco jokes (I think disco was taken much more seriouslythere then here). Ten years later, Pascal has a disco album which is pretty bad on most levels, not hyped to any great extent (as a matter of fact, LOV is almost unknown on the East coast), but manages to go gold in Mexico and Germany despite its hopless inadequacies. This is, in effect, an example of how people will buy trash, if it is packaged well. Also, it is a sad commentary on how and why musicians sell out. Pascal maintained a low profile for about 8 years as a starving progressive musician. His three previous albums (all French) were dedicated to the beliefe that there can be mind/music meld, and were reasonably good tries at that end. Now, in one swoop, he becomes popular (at least in Mexico and Germany), and starts to see a payoff. Reinforcement works in strange and mystical ways. Now to sadly tie this in with the proposed topic of conversation, Kate Bush. I predict that we have seen the near end of her non-commercial efforts. Hell, Fairlights are expensive, as are home studios (especially ones that enable production of a product that is up to the technical standards of the industry). I will be very much surprised if the next LP release is not more commercially oriented than HoL. Also, I expect that the first single from the next release will make Sledgehammer sound like The Dreaming, so as to make the name Kate Bush a household word among the high school set. I could be wrong, I don't know Kate personally. I would also like to see her not sell out, we all need our heroes. Unfortunately, I do know Pascal Languirand quite well, and in the long run, money talks (money is of course not the only reinforcer here, popularity and fame are also important iongredients in a mass sell out). I hope all of the high school fans of the sell out album will be ready for the mental explosion eminent when they rush out and buy The Dreaming. I hope I'm wrong, but I've given up believing in 'the perfect dedication to musicianship' in artists who depend on their product as a livelyhood. The trend Kate has exhibited from Lionheart to The Dreaming falling back to HoL, is sufficient to warrant my speculation. This disease, called success, is catchy, indeed. 'Impaled on nails, of ice' John ------ [][][][][][][][][][] Date: Thu, 15 May 86 16:01 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU Subject: PG on KT Interviewed in Record Mirror, May 10, p. 27, Peter Gabriel was asked about Kate's work on his album, So. Here is the relevant passage, written by Mike Gardner: "Don't Give Up" -- probably a future single and a duet with Kate Bush -- is a look at relationships under the stresses and strains of unemployment. The song features allusions to the American dustbowl and has gospel and country influences. In fact, a country singer {NME alleges Dolly Parton} was first mooted for the female vocal until he {Gabriel} again picked Bush -- a collaborator on "Games Without Frontiers" and "No Self Control" on his third album. "Kate did a great job. I'm a great fan of her singing and her voice. I think she sang on that track very differently to how she sings on her own records -- in a very sensitive way. There are similarities in the way we work. She works as slowly as I do -- with is reassuring." [][][][][][][][][][] Date: Thu, 15 May 86 16:51:45 EDT From: Swingset Disaster <hofmann@AMSAA.ARPA> Subject: machorock vs discowimp, (Alfke babbles) Let me start this with pointing out that I forgot about alot of really good English bands ... including: Rudimentary Peni Sacrilage (London) and Part 1 The rest? Well, I ain't gonna say anything since it's obvious others have made up your mind for you ... Hi NRG? *GGGGAAAAGGGG* >>True, not all of us but yes, in general and yes, the Brits do tend to take >>it and mangle it (MaClaren being the prime abuser). There was a comment where >>someone called Amercan music "he-man" music. If that means, it's an active >>yet agressive form, hell yes! I see this as a compliment (thanks whomever) >>But,I'd venture to say this wanker stuff disscussed here is in turn "she-man" >>musak. It's much more passive and introspective and stagnant. Now that I' >>ve insulted all the genders, we continue. >Well, you haven't insulted all genders, just the female. Your "Hell yes! >Toss me another brewski, duuuude!" bit was doubtless not intended as offensive >to males ... Who the hell are you to speak for females. Shit, who are you to speak for males or me? I don't consider agressiveness a particular compliment, it's just the w a y t h i n g s a r e. >As I'm a postmodern kinda guy, I often find this more >interesting than the basics. (This is not to say that all American >bands stick to the roots, but they're usually much more reverent toward >them.) Define post-modern ... you obviously don't know what you're talking about. >I thought that Bob was just quoting all the American-testosterock >cliches as an "Emperor has no clothes" thing, and Hofmann goes on taking >them all at face value. Who's right here? I think some of the >statements Bob quotes (and I don't know if he believes them) have some >validity, but most are just ridiculous. Synths are evil, indeed. >"Anything new is *strickly* for faggots", hmmm? The proggers showed >that you didn't have to be an avant-garde Stockhausen-oid to use synths, >the syth-poppers showed that you didn't have to be pompous to use them, >and bands like Cabare That's right - bandy some obscure names around, think you're real cute don't ya? There was a lot of validity in what he said ... not all but some. Yeah .. testosterock ... but give me more ... mmmmmmmmmmmmmmmmmmmmmm .... At least it's rock and not disco ... ya know? [][][][][][][][][][] Date: Thu, 15 May 86 17:04:01 EDT From: don't forget the Blow Monkeys <hofmann@AMSAA.ARPA> Subject: Synths aren't evil ... It's just that some synth players ARE obnoxious. I really don't find anything interesting about the machine (derivative of macho by the way), tin-pan, rubber band electronically timed artifical for the sake of being artifical sounds. I think synths are wonderful as a low-cost, easy to transport substitute for organs or (if set up properly) pianos. Though I'd prefer to hear flute or violin or oboe in a piece played on the real think - I can certainly empathize when the band can't afford to bring a flotist or violinist along and substitute synthesizer. The bands that I consider the prime offenders of over synthesizing are like Depeche Mode, Peter Gabriel and Genesis, Yes etc etc etc. I say - "Use it - don't abuse it" I never said I agreed that "synths are evil" and RPK is right - this is an attitude among some bands but mostly among the fans of American underground. Most of the bands either can't afford a good synth (yeah, I know the shouldn't be playing music then, right Alfke?) or what they can afford they don't feel as comfortable with it up on stage. >From what I've heard of Great Plains and some others, they use synths very sparingly and as ornament (and perhaps melody) only. When the synth becomes a centerpiece, it becomes pretty boring - quick unless you are Birdsongs of the Mezzizoic (sp) or (obligatory Kate note) you know who. But then these are usually recording masterpieces and very hard to duplicate on stage without "cheating" ... Take THAT however you want, Alfke as it's obvious your level of comprehension has faltered from too much synth musak .. and let Dick Clark work out all the details. [][][][][][][][][][] Date: Thu, 15 May 86 17:27:02 EDT From: yeah - let's get real <hofmann@AMSAA.ARPA> Subject: self-explanatory (more alfkebabblespeak) sexist>And kids: let's not fall back on homophobic (British music is by and for sexist>flaming-limp-wristed-pouffter-dickless-faggots) or sexist (British music sexist>is feminine, i.e. "much more passive and introspective and stagnant") sexist>cliches. Get real. Alfke, get yer head outta yer butthole! Lissen up - tho you didn't accuse me - let me say that I've never equated wimpwavo with gays that would be an insult to some very fine people (mainly, gays) ... but as for SEXIST you're the one who called American underground for the MOST PART "HE-MAN" music. Now correct me if I'm wrong but doesn't sexist cliches include those that MAKE THEM ABOUT MALES TOO? The liberal asswipe double standard STTTTTTTRIKES AGAIN. "and what's behind curtain number 3, Johnny?" { KABANG!!! ... solitary sound of wavo head rolling down a otherwise quiet alley- way } Get real, Mommy.... --James Hofmann [][][][][][][][][][] Return-Path: <umcp-cs!jhunix!jhunix!ins_aset> Date: Thu, 15 May 86 17:38:29 EDT From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV> Subject: answers "Where can I get those Jane Siberry albums?" Her latest is distributed by the mighty A&M Records (Windham Hill/ Open Air is the actual label, though) so even the most dreadful mall record shop should have it. If not, it should be ridiculously easy to order. Of course, I went looking for the Smiths' debut album in the summer of '84, after it had been out for at least four months, and the hopeless record shop I went to had never even heard of them, even though they are affiliated with the mighty Warner Bros/Sire. It pays to patronize the shops of those who actually make an effort to keep up with music that isn't necessarily in the top-40. "What is Hi-NRG music?" High energy...it got its start in the gay discos, but there is some crossover (Pet Shop Boys began working with the master of Hi-NRG stuff, Bobby Orlando, or just Bobby O for short). It's basically synthesizer music with lots and lots of beats per minute. Disco, even. Donna Summer's "Love To Love You Baby" is Hi-NRG. Some of the better known artists are Divine (yes, the star of John Waters' films), Hazell Dean, The Flirts, Princess, etc. Quite a bit of it can be found on the British charts. Most Hi-NRG "artists" have very little to do with the creation of their music; they are just mouthpieces for producers like Bobby O. If you want to hear it, seek out a gay disco (like our fabled Hippo here in Bal'mer) and you will undoubtedly hear quite a bit... -Sue [][][][][][][][][][] Date: Wed, 14 May 86 14:01:18 cdt From: ll-xn!caip!uwvax!astroatc!gtaylor (Greg Taylor) Subject: those Brian Eno videos Apparently-To: Love-Hounds >From: John Kitamura <ihnp4!utcsri!kato> > >Brian Eno update: > The CD version of MORE BLANK THAN FRANK has at least one ambient >track on it ("1/1", from Music For Airports). I don't recall if it differs > Also I noticed a video and CD release by Eno (I can't remember the name >but I think it's something like "Thursday Afternoon") with little or no >information regarding what appears on either product. Does anyone have >these items? Yeah. I have the stuff. The video is a series of portrait-type paintings of a semi-nude woman. The monitor must be turned on its side to view the pieces. The video treatments are very slow and very subtle, often just little skeins of colour being blown slowly onto the skin. The CD is actually the music to the piece. It's the late-period Eno technique of setting up multiple loops of subtle changes. Unlike some of his other ambient stuff, there's a single, sustained chordal wash that covers the whole of the piece. It's in the "The Pearl" and "Apollo" vein, only much longer and slower. Many very nice little touches are done at excruciatingly low volume levels. I initially did not care all that much for it, but now find that it's really grown on me. And the patented Eno tape hiss that colours everything else he's done is or seems to be largely absent. By the way, the CD from MBTF replaces King's lead hat with "back in Judy's Jungle" Heaven knows why they did that, but hey. "As one who sees within a dream, and, later/the passion that had been imprinted stays,/but nothing of the rest returns to mind,/such am I- for my my vision almost fades/completely, yet it distills within/my heart the sweetness that was born of it."(Dante/Paradiso,XXXIII 58-63) [][][][][][][][][][] Date: Thu, 15 May 86 15:22:41 cdt From: ll-xn!uwvax!astroatc!gtaylor (oh...*Gregory* Taylor...never mind.) Subject: Roxy Romance Apparently-To: Love-Hounds >Love-Hounds Digest Thursday, May 15, 1986, 04:53 EDT >Who is Jacques Brelle? It's Brel. He's a French songwriter who wrote a particularly lovely kind of bittersweet ballad. Many of his songs were made famous by Edith Piaf. If you ever heard any Judy Collins' "Whales and Nightengales" there is a lovely cover of Brel's "Marieke" on it. Problem is that you've got to speak French. There are English translations of Brel's things, but they aren't as good as the originals in my humble, non-Frogspeak-with-particular-aplomb opine. >God send my ANYONE who can relate to my "abnormal" daily fix >of Roxy Music &/or Bryan Ferry. Jesus, I listen to Roxy soooo >much each and every year I have to replace albums.....Guess a >CD would be more practical, huh? Yes, I can, though my needs aren't daily. For all our whining about how wonderful Kate is, I'd be hard pressed to find any other single group of artists who so successfully redefined everything that came after them (like Diane Arbus' use of the 2 1/4" square photograph) quite apart from specific style (read "emphasis on style" and have so singularly changed the face of British popular music. With the exception of Paul MacCartney's old band. I guess that one could claim that the Sex Pistols fall into that category, but I feel that they're indicative of a trend rather than actually the original harbingers of it. That's a bad thing to say here in a Kate Bush newsgroup, I guess. Anyway, the Roxy CD is all it's cracked up to be, and clocks in at a great time. I've only the slightest argument with their concentration on "Flesh and Blood" period stuff, and the slightest argument with which Brian Ferry covers they chose, but hey. The canon ain't half bad, and most of the important work is all there. George Melly coined the phrase "Revolt into Style" (and Bill Nelson ripped it off) to characterize the co-optation of "youth culture" in the marketplace in the "trad jazz" era. Listening to the RM stuff, I think we have a case of "Style into Revolt...." The elevation of the surfaces of "pop" music to a kind of self-conscious world-weary construct that has strongly affected the whole of Britpop for the last 12 years or so. All you young whippersnappers here cannot possibly imagine how the first Roxy album sounded buzzsawing out of the speakers when I first brought it home (I heard "Virginia Plain" on the BBC world service and spent weeks looking for the record back then. Note that this makes me visionary and cool. And old.). Between that and "Is your love strong enough" there is a world of shift that's worthy of some serious thought. Tim W.: >These 80's kids remind me of the hippies of the 60's: I mean they got >bored of fighting for their ideals and decided to join the human race, >and they became the yuppies of today. They all sold out pretty much to >the machinery, and in a big way. It's kind of sad to see these thirty-plus >year old cretins trying to defend their actions for becoming the way >they did. Sad is the word for it, Tim. As Hannah Arendt has suggested in her writings on the roots of Authoritarianism, the death of idealism is a rich ground for fascism, since the burned cynic has little or nothing to lose. Multiply that by x00,000,000 and you've got the 80s. As for the causes themselves, they still defy easy categorization, and still refuse to collapse at the touch of the ideological/economic/epistemic wand. Now we even have a really lovely set of straw men (Falwellians, the new Right, etc.) to moan about. They're great targets, but I fear that they blind us to something very simple: the ease with which they can be lumped together in a single, faceless mass allows us to believe that they're not like us and never could be. Such a view also allows us to neatly sidestep whatever vague dread of whiff of apprehension we may ahve that we're not very happy with our identifications, either. Of course, this mailing list may not be the best place for us to talk about this in detail (I keep thinking about the extent to which Kate Bush is a kind of modern-day apotheosis of the "Romantic Egotist" hooked to a mass-market and a technology that extends her reach). And the *really* interesting bit for all you youths is to wonder how many of your peers will deal with the notion that the "realistic" attitudes about money and influence and drive in the marketplace require an endlessly extensible economic infrastructure that cannot hold, and a kind of attitude about self-empowerment that may turn out to be at odds with the vagaries of the world-where the Heathen rage and the Unrighteous prosper (you must, of course, redefine those terms for a secular age). The key phrase here is "diminished expectations" and it will be interesting to see how *their* diminised exps are different than *mine.* End of sermon/ramble/essay, and back to the hounding already in progress. Hi, Tim. "As one who sees within a dream, and, later/the passion that had been imprinted stays,/but nothing of the rest returns to mind,/such am I- for my my vision almost fades/completely, yet it distills within/my heart the sweetness that was born of it."(Dante/Paradiso,XXXIII 58-63) [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (05/24/86)
Love-Hounds Digest Saturday, May 24, 1986, 03:56 EDT Topics: Re: Roxy Romance Video Question re KB (2 msgs) synths and music The better part of valor The Big Sky Kate and the commercial KB & PG, and a Cure question [davidl%tekgen.tek.csnet: Clearly,] [][][][][][][][][][] Sender: Paul Benjamin <Benjamin@HIS-PHOENIX-MULTICS.ARPA> Date: Fri, 16 May 86 09:40 MST From: Paul Benjamin <Benjamin%PCO@CISL-SERVICE-MULTICS.ARPA> Subject: Re: Roxy Romance > Date: Thursday, 15 May 1986 13:22 mst > Really-From: ll-xn!uwvax!astroatc!gtaylor (oh...*Gregory* Taylor...never mind.) > >God send my ANYONE who can relate to my "abnormal" daily fix > >of Roxy Music &/or Bryan Ferry. Jesus, I listen to Roxy soooo > >much each and every year I have to replace albums.....Guess a > >CD would be more practical, huh? > Yes, I can, though my needs aren't daily. For all our whining about > how wonderful Kate is, I'd be hard pressed to find any other single > group of artists who so successfully redefined everything that came > after them (like Diane Arbus' use of the 2 1/4" square photograph) > quite apart from specific style (read "emphasis on style" and have > so singularly changed the face of British popular music. With the > exception of Paul MacCartney's old band. I guess that one could claim > that the Sex Pistols fall into that category, but I feel that they're > indicative of a trend rather than actually the original harbingers of > it. That's a bad thing to say here in a Kate Bush newsgroup, I guess. Not at all. > Anyway, the Roxy CD is all it's cracked up to be, and clocks in at a > great time. I've only the slightest argument with their concentration > on "Flesh and Blood" period stuff, and the slightest argument with > which Brian Ferry covers they chose, but hey. The canon ain't half > bad, and most of the important work is all there. What are you talking about? There are, of course CDs of all of the Roxy albums. It sounded like you might have meant "Roxy Music - The Atlantic Years", a rather confusing import that is mostly stuff from Avalon and Flesh and Blood, plus Love is the Drug and The Strand, but you mentioned Bryan Ferry covers. This is something different. Details, please. [][][][][][][][][][] Date: 16 May 86 12:33:00 PST From: "ROSSI J.A." <rossi@nusc.ARPA> Subject: Video Question re KB Reply-To: "ROSSI J.A." <rossi@nusc.ARPA> Were there any other video releases from the Dreaming other than Suspended in Gaffa. More specifically, was there a video release of the title track? Does anyone have information of any Laser Disk video releases of Kate's stuff? John ------ [][][][][][][][][][] Date: 16 May 86 14:10:00 PST From: "ROSSI J.A." <rossi@nusc.ARPA> Subject: synths and music Reply-To: "ROSSI J.A." <rossi@nusc.ARPA> How can you overuse a musical instrument. Those comments by Hofmann concerning the proper amount opf synthesizer a piece should have are so absurd they are hard to take seriously. Hof, wouldn't you say that Chopin used a little too much piano in most of his work, or maybe there was a little too much brass in Herb Alpert's band? Why should a synthesizer be treated any differently than conventional (older) musical instruments? There hasn't been a synthesist that I respect that has gone around trying to imitate conventional instruments. As to the comments about 'organ imitation' (not to be confused with the organ imitation employed by heavy metal guitarists with a sexual identification crisis) this is, I believe, a deplorable use of ther instrument. The only multiphonic electronic kbd I ever owned was a Univox string synthesizerand it did only one thing, that's right, sounded like a phase modulated, slightly distorted string section (when played properly, and its amazing how misused that particular instrument was for about 6 years in the mid 70's). When scoring a composition for an electronic music class at McGill, I penned in 'PM-Strings' (phase modulated Univox), I was told by the lab assistant 'THERE IS NO SUCH INSTRUMENT AS STRINGS'. Maybe there wasn't before string synths, but there certainly was after. I didn't want a string section in the piece, I wanted PM-Strings. Today we have sophisticated electronic music personnel (I hope) who understand such concepts. Unfortunately we also have people like Hof who want to cling to the safety of conventional musical expression. I also resent the mentioning of Kate Bush as an example of someone who is apart from the rest in that her overuse of synths is ok. Get it straight, there are synthesizers and there are Fairlights. While using a Fairlight as does Kate, shares a lot in common with some synthesizer techniques, the whole technology of sampling musical kbds (notice I didn't say sampling synthesizers which is a misnomer) opens up the world of 'real sounds' (i.e., not synthetic) for use in a musical context. Ive noticed (now that I have the whole set) synthesizer use (CS-80 and the like) is much more restrained on HoL than it was even on Never For Ever. Kate is an exectpional pianist, and a master of the use of a Fairlight, but I've seen no evidence of any sort of exceptional synthesis on any of her stuff which can be attributed to more than excellent overall keyboard dexterity. Also, the album credits usually point to another musician when a 'real synthesizer' is included anyway. I do, I guess (I'm trying hard to be objective here) see how someone could believe that Hi-NRG music has too much synthesizer. Such an opinion can easily be explained by lack of understanding of fundamental concepts. If Hi-NRG is supposed to sound like it does then it has just the right amount of synthesizers. There is a general concept here, Hof, ANYTHING THAT SOUNDS THE WAY IT WAS INTENDED HAS THE CORRECT AMOUNT OF EVERYTHING IT HAS. Period. You can criticize the work, you can criticize the gendre, but saying that Hi-NRG sucks because it has too much synthesizer is the same as saying that Vivaldi's music sucks because it has too much violin. Hi-NRG would probably suck if it was played with congas and digeridus. Away from Hi-NRG and other pop styles where synth is prominent, there is a serious side of pop synthesis. Philip Glass, Tomita, Lary Fast are among the most easily mentioned examples of serious synthesists. Glass, being the most radical member of this set in that in the future, when Butthole Surfers are forgotten, Glass will probably be revered as a classical composer. In closing, synthesizers are instruments. They should be considered equally with their longer lived cousins. A musical composition, should not be evaluated based on the instruments with which it is played but on the time tested critical evaluations of the quality of the final product. Sh*t will sound like sh*t no matter what it is played on. Maybe if Coitus used more synths.... (sigh) John ------ [][][][][][][][][][] Date: Fri, 16 May 86 17:54:23 EDT From: nessus (Doug Alan) Subject: Re: Video Question re KB > [John Rossi:] > Were there any other video releases from the Dreaming other than > Suspended in Gaffa. More specifically, was there a video release of > the title track? Does anyone have information of any Laser Disk > video releases of Kate's stuff? Yeah, Kate Bush was one of the first people to do videos. She has done a video for every single she has released and then some. There is a compilation of her videos called "The Singles File". It contains videos for "Wuthering Heights", "The Man With The Child In His Eyes", "Them Heavy People", "Wow", "Hammer Horror", "Breathing", "Army Dreamers", "Babooshka", "Sat In Your Lap", "The Dreaming", "There Goes A Tenner", and "Suspended In Gaffa". Unfortunately, it was never released in the U.S. and is thus only available as a Japanese import. (I wouldn't play a British import video tape in my US VCR, and expect to see anything, if I were you). Price for video cassette: $75. (In England it sells for 19.99 Pounds). Price for laser disk: $29.99. The laser disk can be ordered from Instant Replay in Waltham, MA. They do mail order and their phone number is (617) 890-9262. "Kate Bush Live at the Hammersmith Odeon" is also available on laserdisk for $29.99. The video cassette of this *was* released in the US and is available for about $55. Regarding Kate and synths... Kate has said that personally she isn't overly-fond of synthesizers much. She thinks they sound too mechanical and artificial. She much prefers the organic sound and distorted reality sound of sampling keyboards. "Roxanne, you don't need to turn on the fair light" Doug [][][][][][][][][][] Subject: The better part of valor Date: Fri, 16 May 86 15:02:52 -0800 From: J. Peter Alfke <alfke@cit-vax> * James Hofmann * Peter Alfke ...one of us is turning into Larry Palena, and I'm determined that it shall not be me. I have more to say on the subject of our argument, and in reply to some of the more personal accusations thrown at me, but I'm not going to say any of them. It's just not worth the time, neither to me nor (especially) to the other people reading this. Backing off was a technique that kept my face intact in high school, and I suppose it's time to re-use it now. Say what's necessary to appease them, but make sure they see the contempt on your face. I have enough self-respect to shut my mouth before things get out of hand. I hope Mr. Hofmann has the same. Sigh. 'Nuff said. --Peter Alfke alfke@csvax.caltech.edu [][][][][][][][][][] Date: Fri, 16 May 86 18:27:23 EDT From: nessus (Doug Alan) Subject: The Big Sky I talked to someone at EMI today and he said that "The Big Sky" is being released in the U.S. as a single on 5/28 and that a 12" is being released on 6/4. He says that the video is great (but this is the person who said that RuTH is just a bunch a ballet dancing, so we shall see...) He also said that he feels this song will revitalize sales of the album. "But I never go in now" Doug [][][][][][][][][][] Date: Fri, 16 May 86 15:59 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU Subject: Kate and the commercial In response to John's ominous predictions of Kate "selling out", let's set aside for the moment the fact that nobody can reasonably predict what Kate's next album will sound like before it is heard; and come instead to the question of what defines "selling out". The big mistake being made in Love-Hounds (and everywhere else, for that matter) is the confusion of "innovation" with "quality". The words are not synonymous. I am willing to concede that Hounds of Love was probably not as "daring" or "challenging", from a musical standpoint, as The Dreaming. This does not, however, by any means indicate that Hounds of Love is a "worse" album, even in reference to its musical content alone. The Dreaming is raw where Hounds of Love is polished. Kate may hone the jagged edge of her creative development to an even smoother finish in the future, or she may react against her recent tendency to perfect a fully developed style. This is a relatively insignificant matter, when one realizes that, whether partially accessible to a large and unconsidering public or not, whether rough or smooth in texture and effect, whether related to recognizably "commercial" musical idioms or not, it still cannot fail to be the best music of its time, because it will evolve out of the mind of Kate Bush. There are different ways of defining the nature of "progressive" music. Is Thursday Afternoon, Brian Eno's nth edition of non-commercial and highly sophisticated ambient music, really deserving of greater respect than Gabriel's unabashedly commercial new record, simply because Eno's work still bears hallmarks of an avant-garde sensibility, despite the inescapable fact of its similarity to Discreet Music, a recording of nearly ten years earlier? I don't particularly like Gabriel's venture into the musical idiom of Otis Redding, but I see no reason why his deliberate change of direction should be deplored, simply because the result is more palatable to the public. Should not the stagnant productions of a self-conscious avant-garde be deplored equally? For the same reason, I will argue, Ferry's latest -- and admittedly highly commercial, even cloyingly commercial -- record, is not to be regretted more than the recent work of his renegade colleague; there is, after all, in the tameness of "Is Your Love Strong Enough?", at least a sign of movement, evidence of a kind of creative development which Thursday Afternoon's rolling fields of arcane sound lack. Commerciality is not in itself proof of poor quality or low artistic value; conversely, an unswerving devotion to pre-conceived ideas of the "new" does not in itself gain admission into the neverland of the "good". So, as we recognize the audible signs of commercial finish in Hounds of Love, we should appreciate, as well, the novelty that such a finish can acquire, when born of a union of the commercial and -- Kate Bush. [][][][][][][][][][] Date: Fri, 16 May 86 12:22:44 EDT From: Nancy Everson <everson@BBN-SPCA.ARPA> Subject: KB & PG, and a Cure question Hi. This is the first time I have sent anything to Love-Hounds, so maybe I should say that I'm a recent convert to Kate Bush, but a bit fanatical (as converts tend to be). My tastes in music run heavily to the Cure, OMD, New Order, Echo & the B-men, and Elvis Costello. I heard the new Peter Gabriel/Kate Bush duet from _SO_ on the radio yesterday afternoon. I was at work, so I didn't listen to closely, but it was pretty. I think it will get lots of play on progressive easy listening stations everywhere. :-) Now, the real reason for my first posting, I finally got the cd of the Cure's _Seventeen Seconds_ yesterday, and noticed two "flaws". I was wondering if all the disks are this way, or if I should take it back for a replacement. The flaws: 1.) 2:22 into "M", the right channel drops out for a split-second. 2.) at the end of "Seventeen Seconds", the song ends apparently in the middle of a note, sort of like a careless person had been taping the song and turned off the recorder before the song was quite over. Otherwise, it sounds great. Are these problems found on other disks, or is it just this particular one? By the way, I happened to notice yesterday at the Harvard Square Newbury comics: the Kate Bush cd's are found directly behind the Jaques Brel cd's. I was amused, in light of recent LH discussions. - Nancy (everson@bbn-spca.arpa) (i don't know uucp) [][][][][][][][][][] Date: Fri, 16 May 86 9:52:33 EDT From: Hofmann@AMSAA.ARPA Subject: [davidl%tekgen.tek.csnet: Clearly,] Forwarded message ----------- From: davidl%tekgen.tek.csnet@CSNET-RELAY.ARPA this individual >1. What, Mr. Hoffman, is "Sarcastic Orgasm"? Have you heard of the >Dayglow Abortions? We got a record by them at WJHU. I swear, it >takes a lot to disgust me, but the cover of this album did it. It >depicts a cartoon Nancy and Ronald Reagan sitting down for a hearty >meal of foetus with vegetable sauce...urp. Noway was I going to put >that sucker on the turntable. has missed the ENTIRE point - which is, (1) the NEW Dayglo Abortions album, "Feed Us Foetus", only contains PART of their earlier release, "Out of the Womb", (2) I, God, do not HAVE a copy of this earlier release, and (3) I will do anything, including torture small children to death with a blowtorch, to get it. (I'm God, right? I ENJOY stuff like that). Anyone, particularly YOU, !hofmann, who hasn't heard "1967", which is at LEAST on that earlier release, hasn't heard the final word on 1960's... hey, face it - preppies think it's IN to hate anything punk (unless it's something "in" like the Replacements - but, then, they never were....... and NOW, they're just...... snicker....) (still lookin' fer that mushroom cloud...) >THIS IS REALLY PISSING ME OFFFFFFFFFFFFFFFFFFF!!!!!!!!!!!!!!!!!!!!!!! >Ruptured blood vessels split Why? I mean, it's FUNNY! That dork DJ is looking for somebody to agree with it - here's your chance to dismember it! OH, I forGOT - you've got a college-radio fixation. Hmmmmm..... WHY in the hell do you somehow EXPECT college radio in deGENeral to somehow rise above the norm of scummercial radio? I mean, after all, college radio is just a breeding ground for the next degeneration of teeny-pop wankoff DJ's. It's a miracle we get ANYthing out of it! SH*T, hofdorker - I took the TV antenna off the roof of my hovel and put up a high-gain FM antenna and I get ONE HARDCORE SHOW A WEEK from 90 miles away and that's ALL THE RADIO OR TV I GET ALL WEEK. I refused a free cable hookup when they ran the damned electronic sewer past my house. Like I said - you swim in the cesspool, you're gonna stink! >2. The Smifs should have a record out by the end of June. The title >has something to do with the Queen. I used to think they were God, >but that was just a passing craze. I'll still be interested in ' >hearing the new record, though. (note - it needs to be informed that God doesn't have the first Dayglo Abortions release, and might kill it just for fun, if he doesn't play the one IT'S got) HEY....... you KNOW, that station PROBABLY got that for FREEEeeeeee from Toxic Shock - if you really wanna raise hell, !hofdingler, you could call up Toxic Shock and explain the situation to them, and then mail them a copy of what he wrote, AND and and. Sh*t, you're into blithering nonsense about college radio, you oughta be UP for it. >4. I would like to pause and recommend a record to all love-hounders, >especially those who are into Suzanne Vega. The artiste is ANNA >DOMINO. Her voice and lyrics remind me of Suzanne, even though >there is no guitar on her self-titled LP, just out as an import on >Crepuscule. The music...well, Sade comes close only infinitely >cooler than that. It's a little jazzy. A fine, fine record. That cum-hounds list sure must be a cesspool,if there's anybody on it that's heard of this sh*t GET A HIGH-GAIN ANTENNA AND PUT IT ON YOUR ROOF, hofdorker. I'll even help you get it working if it'll make you quit wanking endlessly about crawledge radio... ----- End of forwarded messages [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (05/24/86)
Love-Hounds Digest Saturday, May 24, 1986, 11:44 EDT Topics: The Big Sky PG and KB (2 msgs) WFNX is trying to drive me crazy!!! Re: PG and KB [really about cowboys and cowgirls] Boys, Boys Educating Fuey Power Rotation [][][][][][][][][][] Date: Sat, 17 May 86 16:25:40 EDT From: nessus (Doug Alan) Subject: The Big Sky The video for "The Big Sky" has been spotted on Empty-V! So it's just a matter of time til Kate is as big here as Prince, right? No? -Doug [][][][][][][][][][] Date: Sat, 17 May 86 17:02:44 EDT From: bu-cs!sam (Shelli Meyers) Subject: PG and KB What is that duet? "Don't Give Up"? Anyway, my friend said she saw the VIDEO for it on V66 the other night and said it had something like "I'll be your cowboy and you be my cowgirl" in it. Is this the right song? I haven't heard it yet. She also said she saw the video for "Indoor" by Clannad. - Shelli [][][][][][][][][][] Date: Sat, 17 May 86 20:23:25 EDT From: nessus (Doug Alan) Subject: Re: PG and KB > [From Shelli:] > What is that duet? "Don't Give Up"? Anyway, my friend said she saw > the VIDEO for it on V66 the other night and said it had something > like "I'll be your cowboy and you be my cowgirl" in it. Is this the > right song? I haven't heard it yet. She also said she saw the > video for "Indoor" by Clannad. The duet is called "Don't Give Up". I haven't heard it yet. WFNX has the record and last night I called up N times to request it. They played "Sledgehammer". They played "Wuthering Heights". They played "Games Without Frontiers"! But they wouldn't play "Don't Give Up"! Finally, one of the DJs told me she *really* wanted to play it, but couldn't because it's a new record and it's in a certain pile and she didn't have anymore slots in her playlist for that pile.... In any case, I dunno about this cowboy, cowgirl thing... There's a song that used to be the number one song on WFNX called "I Wanna Be Your Cowboy" and the lyrics went something like "I wanna be your cowboy. And you can be my cowgirl. I wanna be your cowboy....". But it had nothing to do with PG or KB. Don't give up, Doug [There's a song called "I Wanna Be a Cowboy" by Boys Don't Cry that has this lyric -- it's at #28 with a bullet on Billboard's Hot 100. --gregbo] [][][][][][][][][][] Date: Sun, 18 May 86 04:03:06 EDT From: nessus (Doug Alan) Subject: WFNX is trying to drive me crazy!!! I requested "Don't Give Up" (the PG/KB duet) and instead they played "No Self Control" (a PG song with KB doing bvox, the DJ said on the air "Okay Cambridge, you wanted Peter Gabriel so here's some Kate / Peter Gabriel"). So far I've requested this song four times. I've gotten "Sledgehammer", "Wuthering Heights", "Games Without Frontiers", and "No Self Control", but no "Don't Give Up"!!! Is there something hideously wrong with this song? Does it have leprosy? Is it blacklisted? I don't get it.... I won't give up... Doug [][][][][][][][][][] Subject: Re: PG and KB [really about cowboys and cowgirls] Date: Sun, 18 May 86 08:27:12 -0500 From: henry@ATHENA.MIT.EDU >In any case, I dunno about this cowboy, cowgirl thing... There's a >song that used to be the number one song on WFNX called "I Wanna Be >Your Cowboy" and the lyrics went something like "I wanna be your >cowboy. And you can be my cowgirl. I wanna be your cowboy....". It's by a group called *boys don't cry*. unfortunately the song in question seems to exist only on a 12-inc disco single. has anybody seen an album by these folks? -- henry mensch -- henry@athena.mit.edu -- ...!mit-eddie!mit-athena!henry [][][][][][][][][][] Date: Fri, 16 May 86 18:57:46 edt From: Bob Krajewski <lmi-angel!rpk> Subject: Boys, Boys Umm, in my ``Anti-Flame,'' I was enumerated poses that I thought were composed of at least 70% bogosity, though some of them have a grain of truth in them. It's directed mostly at the pat-on-the-back sceneness that the zine-droolers engage in. Lots of good (hey, great) American bands have been slaving away when the ``groovy train'' was nowhere to be found, and now that there's a reasonable grapevine and distribution network for independents (well most of them, anyway), Sturgeon's Law is more apparent than ever. My greeatest distress originates from that fact that there's this mythical American sound out there that marks you as being honest. Well, excuse me, but I just listen to the stuff. Hey, how ``American'' did Pylon sound ? Why do smug DJ's (and I'm not even talking about the usual spoon-fed cawlitch radio types here) say things like, ``Remember when we used to play reggae ?'' When REM were making their first rounds, it was OK for them to acknowledge New Order as an influence (not that any REM influence-elements would be easy to spot). Nowadays, I can't even convince a local hipster that this guy I met who plays in a tight funk band also likes Alex Chilton. Gosh, how could anybody be like that ? I do not include the hard/post-core community and all the other original misfits in this bunch. It's not even the few good bands caught in the whole stampede (though, sadly, the stampede is mostly towards the good ol' days). The music comes first, dammit. Let's talk a little about synths. First of all, I think there are a lot of synths that are cheaper than `good' guitars now. I also want to muse on sampling for a while. Of course ``post-modern'' types (hey, I can get in the mood for it !) like quote-power, the deconstructionist capabilities. I don't believe that this mode of music/art-construction is neccessarily wonderful, but in good hands, it can add undeniable sensual power while making its references. (As you can infer, I do like sounds, and lyrics are usually only of secondary importance.) There are very few machines that give as much control over really organic, dirty, and laden- with-meaning sounds as Fairlights and their ilk. The best context for these things seems to be ``real'' instruments, mostly acoustic. You should all be familiar with two examples: The Dreaming and the Hounds of Love. (I'd also like to throw in The Flat Earth by Thomas Dolby.) Rather Random Ripostes: Somebody mentioned Birdsongs of the Mesozoic as a band that used synths. Well, they do have a little Moog, a funky Roland drum box, and a Linn (the one new piece of equipment in two years), but everything is low-tech, like worn, comfortable electric tennis-shoes. I'm afraid the Cab's current approach is running out of steam: I find that two chunks (Crackdown and the Arm, the Sword...) are enough for me. Try something like Hula or Guerilla Warfare (hope I got the name right) from Canada instead. Hey, is your local college radio outlet going to play a record by a group that does Wild Cherry and Ohio Players covers ? (Well, if RUN-DMC can do Aerosmith...) [][][][][][][][][][] Posted-Date: 15 May 86 13:00:59 PDT (Thu) Subject: Educating Fuey Date: 15 May 86 13:00:59 PDT (Thu) From: tsung@aerospace.ARPA KXLU played one side of this group "Partly Cloudy"'s (apparantly first) album, labelled "Left Hemisphere". The other side is, you guessed it, "Right Hemisphere". My first impression was: "Hey, Laurie Anderson Jr.!"; only there is less emphasis on lyrics and more on music/sound effects/noise. Now I think their music resembles more Tones on Tail (the 3EP-in-1 I have). For fans of both I think "Partly Cloudy" is worth checking out. Anybody know more about them? *** Would somebody describe a little the music of Throbbing Gristle/Chris & Cosy/whats-the-other-one to me? (Alfke?) What's a good first introduction to Butthole Surfers (besides the latest one) and Camper Van Beethoven (what's the folksy song that goes "...take one step from here ... second step ... third step ..." etc)? Anybody else think the song "Hawk" from the movie "Trouble in Mind" (sung by Marianne Faithful) is TOTALLY AWESOME? Is there any chance I can get it without buying the whole soundtrack (which I think contains only one other MF song and otherwise unremarkable instrumental music)? Tune in next time for more annoying questions, Fu-Sheng [][][][][][][][][][] Date: Sun, 18 May 86 21:11:48 EDT From: nessus (Doug Alan) Subject: Power Rotation Empty-V has added PG's "Sledgehammer" into it's "Power Rotation". I guess it's only a matter of time now until he's as big as Phil.... "This is the new stuff I come dancing in" Doug [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (05/25/86)
Love-Hounds Digest Sunday, May 25, 1986, 02:03 EDT Topics: You can't back off now, Peter. In reply to Herr Rossi. . . IED IN MTV SOS PG Selling Out in style Robert Fripp gets married Dannielle Dax Cd Plants SO.... Hey, Krantz (a non Kate Bush person recommends) [][][][][][][][][][] Date: Mon, 19 May 86 9:00:11 EDT From: Hofmann@AMSAA.ARPA Subject: You can't back off now, Peter. Come on. You said you were a "post-modern" type of guy. Tell me just what you mean. What is "post-modern"? Just because you can't come up with a counter-argument doesn't mean this discussion can be interesting. Come on, guy. ---- Oh, as long as I'm here, Herr Rossi ... I said "obnoxious" not "overuse" Obnoxious ... tinpanschreechingrubberbandssoundsjustlikeeveryothersynth recording ... Obnoxious ... dink, dink. [][][][][][][][][][] Date: Mon, 19 May 86 12:28:43 EDT From: Young Adult in a Septic Tank <hofmann@AMSAA.ARPA> Subject: In reply to Herr Rossi. . . Mr Rossi points out: >Unfortunately we also have people like Hof who want to cling to the safety of >conventional musical expression. Then he goes on to tell us... >Hi-NRG is supposed to sound like it does then it has just the right amount >of synthesizers. There is a general concept here, Hof, ANYTHING THAT SOUNDS >THE WAY IT WAS INTENDED HAS THE CORRECT AMOUNT OF EVERYTHING IT HAS. Period. >You can criticize the work, you can criticize the gendre, but saying that >Hi-NRG sucks because it has too much synthesizer is the same as saying that >Vivaldi's music sucks because it has too much violin. Hi-NRG would probably >suck if it was played with congas and digeridus. >Away from Hi-NRG and other pop styles where synth is prominent, there is a The point is this use of the synth has become VERY conventional - almost TOO conventional to the point of idiocy. (disco) I think the synth pop bands are among the most conventional ... I'm sorry, but is it wrong to find new ways to coax sounds out of guitars? Are guitars a dirty word among you electronic geniuses? Is *this* an example of "the empororer wears no clothes" ... is anyone going to confirm this or should I just wallow in my ignorance. >serious side of pop synthesis. Philip Glass, Tomita, Lary Fast are among >the most easily mentioned examples of serious synthesists. Glass, being >the most radical member of this set in that in the future, when Butthole >Surfers are forgotten, Glass will probably be revered as a classical composer. >In closing, synthesizers are instruments. They should be considered equally >with their longer lived cousins. A musical composition, should not be >evaluated based on the instruments with which it is played but on the time >tested critical evaluations of the quality of the final product. Sh*t >will sound like sh*t no matter what it is played on. When Glass is revered as a classical composer (or imposter) you shall be dead. So will Glass. Live for now I say ... I find The Butthole Surfers recent work alot more interesting than Glass's work. Maybe what all you "serious" art-rockers can't comprehend is that rock is a fad, a trend and any attempts to mangle it or compose it are fruitless and is a basic solitary indulgence. So, the Surfers won't be remember two generations hence - I'll certainly remember them long after I have forgotten Glass's recent work, that's for sure ... is that all that counts? When it comes to rock, hell yes! At least the Surfers don't rise to these prententions because as Neils Mayers goes, "it doesn't really matter (ad infin)..." I've heard Tomita and if he is a serious synthesists then why am I hold my guts in laughing at the mere mention of his name? By your defintion, John, serious synthesists are pretentious assholes. Again, I don't want to assume that P. Glass feels this way, only what Rossi said ... As for Chopin, Vivaldi et al ... their music is mildly interesting to me but really is devoid of any message ... it's a good showcase for "talented" musicians to show off and build their ego to tuxedoed audiences though. How cum people always fall asleep at these concerts, though? >Maybe if Coitus used more synths.... (sigh) I don't know about all this "time-tested" and "serious musical composition" arguments that permeate net.music and now this list? I think since it is nearly impossible for an artist to reach every person in the universe with his message that success can come if you've influenced/moved/been understood by at least one person. But the more the merrier. So don't feel bad as I understand alot of people enjoyed your music. By the time you're dead and revered/or spat upon - it won't matter, you won't be here to get your ego gratified/degraded. Unless of course, the geneticists are right and we live to be 300 years old. Ignorantly yours, James ---- p.s. I think all these putdowns of Larry Palena are classless and just as sexist and discriminatory as the worst of what I've seen. Even more so. The guy isn't here to defend himself - when you attack Tim for using the word "fag" at least he can defend himself... even if you do sound like the PMRC and all. [][][][][][][][][][] Date: Mon, 19 May 86 11:49 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU Subject: IED IN MTV SOS For self-therapeutic reasons I have decided to let everyone know that, in hopes of recording "The Big Sky" promo film, I have now watched nearly 13 hours of MTV. This has been a thoroughly depressing experience even in fast scanning speed. Iknow it sounds naive, but I simply cannot understand how the people who run that station can go to sleep at night, knowing what they do, how much bad taste they are responsible for. I don't mean to imply that I have any moral objection like the senators' wives, or anything like that -- but can someone explain to me how any self-respecting teen-ager (I assume the large majority of their audience are in their mid-teens) can submit to video after video of these bands of beefy men with elaborately coiffed hair and ludicrous electric guitars, strutting about in striped or leopard-spotted tights and wiggling in front of paid models? How many garish orange-and-blue lighting effects will the audience take without objection? For how long will they tolerate the exhibition of an endless succession of mindless, preening, narcissistic morons? And how many viewers have been really deluded into a belief that lip-synching is actually a live performance? If none, then why does lip-synching continue? I assume that Kate continues to do it out of an obligation to satisfy the demands of her business, but who in the business could still be convinced of the efficacy of lip-synching? It seems to me that whatever advantage gained from letting the original recording substitute for a potentially imperfect live performance of the music is more than offset by the ridiculous visual effect of lip-synching itself. Half the time now the performers don't even go through the minimal attempt at deception of holding a microphone. I'm down, L-Hs, I'm really down. And it's going to get worse as the days go by, as long as I have to keep watching that crud. [][][][][][][][][][] Posted-Date: 19 May 86 15:44:16 PDT (Mon) Subject: PG Selling Out in style Date: 19 May 86 15:44:16 PDT (Mon) From: tsung@aerospace.ARPA Caught the unmistakable Peter Gabriel voice in a strong-beat, simplistic, funky song on KROQ that will make those of you who didn't like "Sledgehammer" **FAINT**. It's a cut from "SO" called "Big Time". It has the same female chorus as in "Sledghammer" doing "Big time, big time" in the background throughout. Ah, but wait, seems like he's just having a ball. Here's some lyrics as I could make out (my ears apologizes to Mr. PG for screw-ups): The place where I come from Is a small town They think so small They use small words But not me I'm smarter than that I worked it out I'll be stretching my mouth To let those big words come right out I've had enough I'm getting out To the city, the big big city I'll be a big noise With all the big boys (So much stuff I will know) And I will pray to be good As I kneel in my big church I know my way I'm making it ... ... My party have all the big names And I greet them with the widest smile Tell'em how my life Is one big adventure (They all stood amazed) As I show them around my house ... And my heaven will be a big heaven And I will walk thru the front door (big time) I know my way I'm making it (big time, big time) I've got to make it show, yeah (big time, big time) So much larger than life (big time) I'm gonna watch it growing (big time, big time) My car's getting bigger My house's getting bigger ( --various other items getting bigger-- ) And my BANK ACCOUNT Look at my circumstance (something?) Big, big, big, big, big, big, big, .... big. Whew (thanks to my nimble fingers on the tape recorder). Anyway, music-wise we're talking Instant Top-10 contender here. "Sledgehammer" sounds like "The Dreaming" in comparison ... (ok, so I'm overreacting a little). At least now we know where those rumors come from. "Absolutely the BEST song I've heard in SOooooo long ... I can only wonder how Marvelous the 12" of that song's gonna be ... I suggest you go out and get that album 'cause it's Extra Wonderful." -- KROQ DJ Fu-Sheng [][][][][][][][][][] Return-Path: <umcp-cs!jhunix!jhunix!ins_aset> Date: Fri, 16 May 86 11:33:05 EDT From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV> Subject: Robert Fripp gets married Yesterday (5/15), Robert Fripp married British singer/actress Toyah Willcox. I thought someone, somewhere may be interested...it's supposedly still a big secret, but I have good sources for such gossip... Fripp is also producing Toyah's new album for EG Records. Anybody out there like Toyah? I've always thought her voice was like that of a second-rate KB, but she's done some good songs, notably "Dance" (that's "dahhnse"!) on the "Urgh" soundtrack... -Sue [][][][][][][][][][] Date: Tue, 13 May 86 23:08:56 edt From: John Kitamura <decvax!utcsri!kato> Subject: Dannielle Dax Apparently-To: Love-Hounds Miss Dax was once a member of the Lemon Kittens who had one release (We Buy A Hammer For Daddy) on some independent British label. A track off of that album appeared on the Glass Sampler (so the album was probably on Glass Records, but I'm not sure), which is available from Wayside Music. She also sings on the original release of Robert Fripp's The League of Gentlemen album (though the track was removed off of the re-released version retitiled God Save the King), as well as creating the cover art on both that album and Fripp's Let the Power Fall album. That's all I know. John Kitamura UUCP: {decvax,linus,ihnp4,uw-beaver,allegra,utzoo}!utcsri!kato [][][][][][][][][][] Date: Sat 17 May 86 16:05:58-EDT From: "Scott Frazier" <DPH.SWF@OZ.AI.MIT.EDU> Subject: Cd Plants Apparently-To: Love-Hounds There are currently 2 fully operational compact disc plants in the world at this time. One is owned by Sony/Epic and the other is owned by Warner Communications. When you see that a disc was made by another company, they have contracted one of the plants to make their CD's. I am not sure if there are other plants in production, but I do know that if Compact Disc ever catches on, the companies would LOVE to phase out vinyl. One of the claims to fame of this product is not in the disc itself, but in the case that your disc comes in. They are relatively cheap and they also won't break under any normal pressures that either shipping or storage could inflict. They do an excellent job of protecting your investment. If you buy a disc and the prongs that hold it inside are broken, you might consider taking it back. Swf [Jeez, I can't stand those tiny ugly little boxes that CDs come in! I wish they'd come in normal record jackets!!! -- Doug] [][][][][][][][][][] Date: Tue, 20 May 86 04:00:14 EDT From: nessus (Doug Alan) Subject: SO.... 3 and a half years waiting for this! Sigh... maybe next time... Even Kate can't save "Don't Give Up" from being any more than mildly interesting. "Sledgehammer" and "Big Time" are the two best songs on the album, other than "Mercy Street", which is pretty good. The rest isn't all that commercial -- it's just kind of dull. The album has its moments, but this just isn't what you would expect from a God. At least nothing on the album is as bad as "Not This Time". Well, back to listening to Ministry and the Buttholes and Danielle and Kate sing "Breathing" at Comic Relief (the performance of this song is worth twice the 17 smackers it cost me for this album... sob, sob, sob...)... "one dream" Doug [][][][][][][][][][] Newsgroups: net.music Subject: Hey, Krantz (a non Kate Bush person recommends) Date: 19 May 86 20:13:07 GMT From: astroatc!gtaylor (oh...*Gregory* Taylor...never mind.) Apparently-To: Love-Hounds [This is something that Greg Taylor posted to net.music. I thought that some of the KB fanatics in Love-Hounds might want to see it and debate with Greg Taylor over whether or not *The Dreaming* is a Derridean mistake, whether or not KB is better than sliced bread, and whether or not KB will ever be able to top *The Dreaming*. (Nah, the reason why it's such a great album is because so many intense things were happening to Kate at once: she was learning how to use the Fairlight and the studio, she's was risking her career by taking full control of production, John Lennon had recently been killed, which shattered her, she was unhappy living in the city, she had to bounce from studio to studio and was getting uptight about all the money it was costing to record the album, and from the sound of "Get Out Of My House" was having relationship problems. This level of combination of events is unlikely to happen again. Miserable people make better music. Question: do we want Kate do be miserable so she'll come out with another album as good as *The Dreaming*? What a dillema!) --Doug] >>>> [mike krantz:] Perhaps I should investigate the music of this >>>> little Defender Of The Faith. > >>> [Doug:] You should! Hey, Krantz. Blow off all the other stuff and get "The Dreaming." Forget all the "who did it first, Peter Gabriel or Kate Bush?" nonsense. The albums are timbrally similar because of the Fairlight technology itself. Gabriel bought one first, but who gives a hoot. (Danger. Words of praise for Kate Bush) "the Dreaming" is a great album. As a whole, coherent piece of work, Ms. Bush will have to really work to do any better at all-kind of like Boz Scaggs. He should have simply quit after recording "Somebody Loan Me a Dime" with Duane Allman. Kate Bush is not, however, the greatest thing since sliced bread. She's okay, but hey. So is Professor Longhair, and he's DEAD. If you hate the Dreaming for how it sounds, go and hunt up either an earlier album of Doug's choice or Hounds. I think that you'll have missed what makes the Dreaming really good if you can't stand the way it sounds, though. I think that the Dreaming is a properly Derridean collision/mistake: Kate Bush crossed her sort of usual, precious, privatist, prog-rock poetic leanings with a Fairlight and made a beast that was bigger and more resonant than the sum of its parts. To the extent that the center of her music is essentially Egoistic (I'll do what I want), she *did* use the studio as an instrument...but I think that it used her, too. It is the sort of precious and rare fluke that you hope the marketplace produces again. I suspect that she'll spend the rest of her career trying to formalize what worked about the Dreaming, or trying to go back to her neo-Gothic stuff, and failing in what might be some interesting ways. Put it up on the list with Bob DYlan's "Blood on the Tracks" There. Is that enough bias for you? Trust me. Then go buy David Sylvian's "Brilliant Trees". Same sort of general thing. Ditto for Jan Gabarek's "aftenland" and..... -- "Dangerous? It's very dangerous. It's a liability nightmare. But this is California. You can do anything here." (-Mark Pauline of Survival Research Laboratories) Gregory Taylor/ ...uwvax!astroatc!gtaylor [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (05/25/86)
Love-Hounds Digest Sunday, May 25, 1986, 12:23 EDT
Topics:
sonicmeatchristianbaitvoid and cd's
CDs VS LPs (2 msgs)
Infinite Loops, BOSurfers, NZ, ``Not This,'' Dolby, T-Bone, Meatmen
synths, fads and guitarprocessing
Random Noise
Promos
Looking for "The Big Sky"
[][][][][][][][][][]
Date: Tue, 20 May 86 12:06:31 EDT
From: Swingset Disaster <hofmann@AMSAA.ARPA>
Subject: sonicmeatchristianbaitvoid and cd's
New Sonic Youth LP is out on SST entitled EVOL. Carries on in the
tradition of Bad Moon Rising. Kim is sounding more and more like
Britt (FALL) and some of the tunes *are* sounding the same despite
their claims otherwize. Doug ought to be proud of one of the tracks
which is alternatively entitled "The Crucifixtion of Sean Pean" or
"Sean, Madonna and Me" or "Expressway to your Skull" ... this track
has a built in repeat at the end so it can time in on infinity and
lyrics like "I want to explode the milken maidenhead" (Madonna?). My
favorite cut is "death to our friends" which reminds me of a modern
chamber orchestra with guitars. Continuing in the tradition of Branca ...
New Meat Puppets LP is their worst. They're going downhill fast. At
least Up on The Sun had some unique qualities - this new one (I forget
the name ... wonder why) sounds just like Green on Red sounds just like
R.E.M. sounds just like Long Ryders. Denigrators of Amercian guitar
music take note ... here's a slab to truly put down. Saved by a thrash
and racous version of "Good Golly, Miss Molly". Purchase at your own
risk (or if you're a deahead ...)
Got a limited (500 copies) edition recording by Blackhouse, the industrial
group with a twisted twist - suprise - they're Christian. This record is
called "hope. . ." and every cover is different (looks like they cut up
some baroque art books and pasted different religous prints on each cover,
my copy had Jesus et al in a boat on a stormy sea). Aside from the Christian
overtones, this might serve as a good intro to industrial music. After this
you'll know whether you like this genre or not. Me? I can only take it in
short doses but texturists may have a ball with this. Kinda leaves a perma-
sneer on your face, and empty feeling in your chest (like you're falling) ...
Squirrelbait EP/LP? has been out on homestead for awhile. They sounds
like Green on Red/REM again except it's speeded up
immensely and the vocalist sounds like he's been gargling
with Doug's razor blades.
The Pherenomes do a hilarious tune called Yuppiedrone - if you
can find the 45 get it - you'll die laughing. STarts off with
the narrator droning mechanically the specs of his new stereo system
with the rejoinder "so I can listen to Adult Contemporary music ...
cranked up to three" or talking about his condo development ("and
no one knows I'm here ... unless I park in their space") and a
bridge-chorus-round of "I love my car and house" ...
If you want a godly example of metalcore to fill out your collection,
you can try Voivod from Canada. Unlike the increasingly populated field
of rehashed commercial heavy metal this genre is turning into (far away
from its' punk roots), Voivod sports the old D.I.Y. ethic. The drummer
painted the cover (heavy metal primitive) which jumps off the shelf and
grabs you by the t-shirt. And if you don't like it - you can always give
>From: "Scott Frazier" <DPH.SWF@OZ.AI.MIT.EDU>
>Subject: Cd Plants
>am not sure if there are other plants in production, but I do know
>that if Compact Disc ever catches on, the companies would LOVE to
>phase out vinyl. One of the claims to fame of this product is not in
>the disc itself, but in the case that your disc comes in. They are
>relatively cheap and they also won't break under any normal pressures
>that either shipping or storage could inflict. They do an excellent
>job of protecting your investment. If you buy a disc and the prongs
>that hold it inside are broken, you might consider taking it back.
Well, it's obvious the "companies" would LOVE to phase out vinyl. They've
lost their control over the means of production right and they'd LOVE
to get it back. My solution: don't buy/give credence to any CD's unless
they come out independently. That's about 2 or 3, right?
>[Jeez, I can't stand those tiny ugly little boxes that CDs come in! I
>wish they'd come in normal record jackets!!! -- Doug]
Then don't buy them.
[][][][][][][][][][]
Date: Tue, 20 May 86 11:42:19 EST
From: hsut@ec.purdue.edu (Bill Hsu)
Lots of truly random observations and responses...
Re: synths vs. non-synths
Uhh... I think you guys are arguing the same position here. I agree with
Hof that many groups are using synths in the same boring way. I also
agree with John Rossi that there are people doing interesting things
with synths. Instruments are instruments; you can do boring things
with them or you can do interesting things with them.
Re: fads vs. immortality
< Hof sez rock is a fad >
This "test-of-time" thing was discussed superbly in a Greg Taylor
article in net.music. I used to be pretty concerned about whether
something I like will stand the dreaded "test of time", but then that
was my (half-discarded) classical training showing :-) :-). Nobody
can tell what people 100 years from now will consider the real :-) music
of the 20th century. Maybe rock is just a fad. Maybe it will last.
If I enjoy it, I'll keep listening and that's enough. (Of course that
doesn't explain why I get upset about Top 40, but oh well...)
Re: Glass
I still haven't warmed up to Glass. I don't think he's a good
example of someone who uses synthesizers creatively, since a lot of
his music that I'm familiar with can be done on conventional instruments
(e.g., Glassworks, stuff from Einstein otB)
Re: Throbbing Gristle
I'm a recent convert to TG, and my suggestion is don't start with the live
stuff (except maybe Heathen Earth). I've heard Greatest Hits, Heathen
Earth, and some of the live stuff. The TG sound is fairly varied, lots
of synth drones, subtle textural changes, treated instruments, and
distorted vocals. There are some truly intense and harrowing tracks,
and light-hearted dance numbers. Greatest Hits offers a good range of
their work. Heathen Earth is a 50 min. live-in-the-studio album which
is more diffuse (there's only one cut) but has many interesting moments.
Chris and Cosey is lighter stuff, mostly the same TG tricks without
the sleaze.
Bill Hsu
[][][][][][][][][][]
Return-Path: EMAILDEV%UKACRL.BITNET@WISCVM.ARPA
Via: UK.AC.SUSX.VAX2; 20 MAY 86 18:29:03 BST
Date: 20-MAY-1986 18:24:20
From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK
Just a few questions regarding the new Peter Gabriel album
I bought yesterday:
1) Maybe I should have made it "the new PG - CD", since
Virgin records issued the CD simultaneously with the
album. Was this the case in the U.S.? Did Geffen records
release the CD of "So" yesterday?
2) I was really expecting a digital recording, in light of
all the fuss over "security", as well as it being one of
the first US CD's and all.....however, the SPARS code on
this new CD says "AAD", which seems a bit suspicious, since
not only does the CD sound excellent, but one would think
that at least he'd MIX the album digitally. Perhaps they
made a mistake and it should be "DDD"?
What does the Geffen CD say about this?
More reaction to the album to follow tomorrow.
Hugh Maher
[][][][][][][][][][]
Date: 20 May 86 14:17:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: CDs VS LPs
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>
For some time now I have been considering adding a CD player to my somewhat
ancient audio equipment. For the most part, the thing that had turned me off
was the high cost of the music after purchasing of the relatively inexpensive
disks. At $15-18 the CDs certainly are not cheap. Well, lately I decided
that maybe I was ready to make the step. What with the event of $179 CD players,I figured I could afford one. Just as I was about to purchase one, this
quarter's issue of the Computer Music Journal arrived at the lab. There was
an interesting critical/review article on CD players as well as digital
mastering and digital reproduction of music as a whole. Finally, I found
a non-profit, musically (as opposed to engineering/technology) oriented,
no-holds barred review of the state of the art in music reproduction (Done at
MIT, no less). The results, wghich I will summarize briefly here, were
surprising, especially considering all the 'hype' the CD medium has been
receiving lately.
Greenspun, P. and Stromeyer, C.F. Audio Analysis IV : Compact Disk Players,
'Computer Music Journal', 1986, '10(1)', pp 87-95.
The article is somewhat technical so I'll summarize, quoting directly, where
appropriate.
Point number 1. Using technology available today, CD players can not achieve
the high fidelity possible with conventional turntables using moving magnet,
or moving coil cartriges. ... When testing the fidelity of CDs vs an audiophile
stereo system the authors found that for high quality analog media , (i.e.,
high quality pressings), the analog equipment produced remarkably beter
fidelity. Consider, the frequency response of a typical home use cartrige such
as Audio Technica, Grado, Sure etc with frequency response in excess of 35K Hz,
going to an amplifier (again the type you might have at home in a standard
system >$500 receiver or integrated amp) which is linear out to about 40K,
reproducing music with harmonic content out to 48K, in comparison to the CD
response which is electronically limited to 20K, going through the same amp and
speakers. It stands to reason that if nothing else, the analog system was
going to produce the best frequency fidelity. Of course, this argument must be
tempered with the knowledge that true audiophile recording pressings in standardmedia are hard to come by, however, techniques such as DBX encoding, have been
used to enhance the performance of vinyl (out to 90 dB dynamic range, giving
vinyl similar dynamic characteristics to CDs, upcutting their only real sonic
advantage.
Point number 2. CDs are getting better at sound reproduction but the best CDs
will be cut from analog mastered tapes (i.e., the worst of all possible
combinations is digitally mastered tape to CD). The problem in the CDs play-
back comes mainly from phase distortion, it has been corrected by changing the
sampling rate from 44.1 Khz (the initial Sony standard) up to 176.4 KHz and
incorporating better analog and digital filtering networks. With the newer
technology, phase distortion has been eliminated for frequencies up to just
under 21K (notice however, there is no comparable phase distortion in cartrige
systems which extend frequency response up to 40KHz). Therefore, CDs are now
capable of faithfully reproducing (more or less) musical frequencies up to
20K more or less perfectly (or at least as good as the best analog equipment).
"There is experimental evidence that frequencies beyond 20K are important for
the preception of transient sounds, although surprising little research has
been conducted in this area. It is well established that that most humans can
not perceive steady state tones much above 20KHz, but it is also well est-
ablished that the ear is highly nonlinear. The most detailed-sounding records
come from companies that use high band with tape recorders (analog) and
mastering equipment. If 'ultrasonic' frequency response is important, CDs may
never sound as detailed as records (p 93)". The authors site the failure of
digital recording techniques to correctly record musical signals as being
mainly a problem with aliasing (sampling rate insufficient to make proper
time/amplitude discriminations in a complex signal), phase distortion (when
the propragation time through a circuit is different for different frequencies),and ringing (when using a steep anti-aliasing filter, a multiplying of
frequencies due to extremely phase-incoherent characteristics). Most of these
problems stem from the use of extremely steep sloped filters ... "The design
therefore calls for 90dB of attenuation within thw one-tenth octave that lies
between 20KHz and 22.05 KHz, which requires a 900 dB/octave filter. As one
of us noted earlier in this series (Greenspun, 1984), it is very difficult
to design a filter this steep that doesn't introduce severe nonlinear dis-
tortion and ringing aftertransients (p. 87).
Thhe conclusion is that, although they did use 'primo' analog components (they
also used CD players averaging over $1000 in price, however), except for
dynamic range diferences (which are easily fixed by companding circuits such as
DBX), more faithfull recording/reproducinmg is possiblle with analog equipment.
The authors final comments (now all you anti-corporate, haters of the music
industry's scrotum grabbing techniques, who own CDs, take note).
"It is possible that the construction of an oversampling tape recorder that
introduces no phase distortion or aliases will alleviate many of the medium's
problems, but it is also possible that imperfect digital-to-analog converters,
quantization noise, and other distortions will prevent the CD from becoming
a truely high fidelity medium (p 93)."
"Aiwa's president, Heitaro Nakajima, and one of the original proponents of
the CD while a vice-president of Sony, put it best in a letter explaining
why such a low sampling rate was chosen for the CD (caps mine) 'We had to
decide on the cutoff point for the sampling frequency, and we HAD TO TAKE
ECONOMIC AND PRODUCTIOV FACTORS INTO CONSIDERATION. The CD system WAS NOT
DESIGNED as the ultimate level sound reproduction medium. However, THIS DOES
NOT MEAN WE FEEL ANY NEED TO CHANGE THE PRESENT STANDARD.' (p 94)".
So what does all this mean? First, we probably don't want a CD version of
The Dreaming anyway, since it is a highly 'transient' piece of music and would
only be belittles bu a CD reproduction. Maybe we should push for a DBX encoded
version. Second, it means that I personally am going to stay with high
quality pressings and dynamic enhancement insteas of getting sucked into the
recording/record industry's latest sham. By the way, I understand that
since CD's were chewed up so well, the next corporate gambit is going to be
a return to quadrophonics, except this time, done right (no doubt in this case
'done right' means that propoganda will be immense, Len Feldman and the boys
will eat it up, and that the corporate dollar will be better spent duping
the public into another, software intensive expense which will enable the
empire to continue to have fuel as the CD myth is finally disclosed.
'Read em' and weep'
John
------
[][][][][][][][][][]
Date: Tue, 20 May 86 14:27:48 edt
From: Bob Krajewski <lmi-angel!rpk>
Subject: Infinite Loops, BOSurfers, NZ, ``Not This,'' Dolby, T-Bone, Meatmen
It's amazing how synths and studio-ness have become such a straw man in
little ``discussion.'' Let's just say that it's easy for arty types to
approve when they hear certain trappings (synths, cut-ups, heavy echo) just
as grungy guitars and sneered vocals seem to insure approval for the
righteous types who are defending us from the anything learned after 1978.
Of course, people do all kinds of things and somehow good can come of it, thank
goodness. Nuff said, OK ? Let's do some real networking !
* Butthole Surfers: For my money, the most exciting band at the moment. Texan
Art Damage (in the Good sense of the phrase) that shakes, rattles, and rolls
yr bod and yr mind. The tunes are catchy and varied even as they threaten
to fall apart. And they aren't afraid to use the studio, either. (Then
again, I thought Throbbing Gristle were kinda pop, too.)
* New Zealand: Well, now the underground tastemakers are rap- umm,
concentrating their cool-rays on this region. I've been hearing various
pieces of this stuff on 'MBR, mostly from the Flying Nun label. This is
probably a little off the mark, but the Velvet Underground is to NZ as the
Stooges are to Oz. The sound tends to be more textured (one song I heard had
added to sitar (?) to the aural rush) and less ``thick'' than what's coming
out of continental Down Under (children of Radio Birdman, like the Exploding
White Mice). Burning Question: Are Split Enz cool now ?
* The Way Heavy Metal Ought to Be: Go see the Meatmen. You might be
offended, but you won't be bored (or disappointed, if you've got even the
tiniest sense of humour).
* T-Bone Burnett: I mentioned him a few Love-Hounds ago. Credits include
albums by Elvis the Costello, Los Lobos, and the Bodeans (the last is his
best effort as a producer qua producer, in my opinion). Along with Mitchell
Froom, Mr. Burnett works with groups identified with the ``roots'' movement
and then -- gasp -- actually makes good records with them. The records
sound natural and smooth without overt slickness. He's not afraid of a
little studio manipulation, like emphasising drums in a heavy percussion
break in the Bodeans' ``Fadeaway.'' Both Burnett and Froom try to give each
song a different character, and to try to escape or transcend the major
pitfall with so many r&r-revival records: textural and rhythmic similarity.
* ``Not This Time'': Well, it's certainly B-side material. There's a good
song in there trying to get out, but the arrangement is pretty naff.
* Thomas Dolby: After collaborations with Prefab Sprout, Joni Mitchell,
Ryuichi Sakamoto, and George Clinton, and then finishing his new studio
(ThinkTank), he went off to do the soundtrack to ``Howard the Duck,'' a
Lucasfilm. So, you might see an album from him in 1987...
[][][][][][][][][][]
Date: 20 May 86 14:48:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: synths, fads and guitarprocessing
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>
In reply to Hofmann, I agree that the getting of new sounds out of guitars is
something to be explored (those same old rock cliches need updating), after all
isn't that what Fairlights are for?
When I mentioned Glass, Tomita and Fast, I had no intention of being examples
of an elitist group. I was simply trying to contrast musicians who use
mainly synthesizers to create textures and sound montages which are interesting
and different with Hof's (presumably) villians, such as Hi-NRGers who give
synthesizers an irritating name. My comment on Glass still stands, though.
But, I agree, that as is the case with most 'Classical' musicians, it takes
a considerable time for their music to reach classic status.
Although Tomita is the most commercial of three synthesists I mentioned, he
bears mentioning for his pioneering work in 'true synthesis'. I'm sure
that few people laugh when they hear 'Snowflakes are Dancing' from which
even Kate Bush ripped off a sound (although I would also entertain the
possibility that she never heard 'Snowflakes' so arrived at a similar sound
by herself) [ the sound to which I refer is the modulated 'whistling' on
Never For Ever'].
Isn't 30 years a little long a period to consider a fad? The industrial
revolution, should therefore also be looked at as a fad, I guess.
'Expunging files the Navy way"
John
------
[][][][][][][][][][]
Date: Tue, 20 May 86 15:30:23 EDT
From: nessus (Doug Alan)
Subject: Re: CDs VS LPs
Regarding whether or not CDs are a sham....
Yes, they have their problems.... No, a CD will never sound as
good as the first play of a perfectly recorded carefully cleaned
record pressed on audiophile vinyl and played on an expensive and
perfectly set-up turntable. On the other hand, it will probably sound
better than the tenth play. No one makes DBX encoded records any more,
and true audiophiles shudder at DBX anyway. Like CDs, it reduces
noise at the expense of true high fidelity.
Fildelity wise, records and CDs are pretty comparible. CDs, however,
don't wear out, don't pop and click, and don't require careful
handling. The little boxes suck, however. The only thing worse is
cassette packaging (there Hofmann!)
*The Dreaming* is sure to sound better on CD -- it was digitally
mixed. All the 20KHz+ transients are already gone. Kate Bush said
that she couldn't tell any difference in fidelity between digitally
mixing it and analog mixing it. She chose digital, because she
thought the slightly "crystaline" sound the digital distortion added
was appropriate for the album.
-Doug
[][][][][][][][][][]
Subject: Random Noise
Date: Tue, 20 May 86 13:23:36 -0800
From: J. Peter Alfke <alfke@cit-vax>
[1] "POSTMODERN": Postmodern is a wonderful buzzword, which is part of the
reason I love using it. But apart from that, I am taking a class on
"Postmodern Fiction and Culture", in which we are reading such works as
"Lolita", "The Crying of Lot 49", and "Naked Lunch" ... so I should have
some idea of what I'm talking about. While modernism reviled the
ever-growing mass-culture, postmodernism embraces it and uses its
forms and techniques to study the world we live in, a world in which
history and the artistic tradition are effectively dead, killed by
television and breakfast cereals. Postmodern art likes to take
mass-culture icons and mix'n'match them out of context. POP-art is
postmodern. Early Talking Heads lyrics are way postmodern. Throbbing
Gristle were postmodern. Cabaret Voltaire, especially their videos, are
postmodern as all hell. The Fairlight/EMU/etc. is an inherently
postmodern instrument, taking further what the tape-recorder started.
Anyhow, don't take it so seriously.
[2] THROBBING GRISTLE, ET AL. I'll only begin to explain this.
Throbbing Gristle were an (anti)music group that grew out of an
extremely bizarre performance-art group called Coum Transmissions. With
minimal instrumental prowess, T.G. attempted to create music for the
industrial age, primarily in live performances (which they called
"Psychick Rallies"). Said music ranged from screamed ranting over walls
of ugly guitar/synth noise ("Blood on the Floor", "Subhuman"), to creepy
droning dirges ("Hamburger Lady"), to synth-pop-from-hell ("Hot on the
Heels of Love"). T.G. released several studio albums (of which I've
heard "Second Annual Report" and "20 Jazz-funk Greats") and a
bewildering variety of semi-bootleg live recordings (they encouraged
people to put out bootlegs), of which "Thee Psychik Sacrifice" is one of
the best. There is also a posthumous greatest-hits album,
"Entertainment Through Pain". That album, released on Rough Trade, is a
really nice introduction to their work, and not too hard to find.
T.G. broke up in 1981, splitting into two halves: Chris Carter (synths)
and Cosey Fanni Tutti (guitar,cornet,vox) formed Chris and Cosey, and
now produce "electronic wallpaper music for insomniacs", as the LA Times
put it. I like their stuff a lot, but you can't really listen to it as
foreground music. Industrial Windham-Hill?
The other half, Genesis P-Orridge (vox,bass) and Peter Christopherson
(tapes), formed Psychic T.V. I've never heard anything of theirs, but
from reports I hear and album covers I look at, they seem to be sticking
pretty close to the T.G. spirit.
[2] THE GUITAR IS NOT DEAD. Hofmann asks "what about people getting new
sounds out of guitars?" Right on. Short, off-the-top-of-the-head list:
* King Crimson (81-84 incarnation)
* ..and Adrian Belew's work on Talkingheads' "Remain in Light"
* ..and Robert Fripp's stuff in general
* Cocteau Twins (Check out Robin Guthrie's early guitar sound,
and the neat acoustic-guitar effects on "Victorialand")
* Bauhaus (sass that hoopy Daniel Ash!)
* Led Zeppelin ("Houses of the Holy" (the song) in particular
has an amazing guitar sound)
* Sonic Youth (whom I've heard less of than about)
More power to 'em all. Now if we can only persuade the AOR sh*tmongers
to burn their Boston albums and drive stakes through their Marshall
amps!
[3] THE SYNTH IS NOT EVIL, EITHER. More on this soon.
--Peter Alfke
alfke@csvax.caltech.edu
"...cause I can play this here CZ101
and I won't stop 'till I'm a star
on Broadway..."
[][][][][][][][][][]
Date: Tue, 20 May 86 19:44 CDT
From: Jeff Larson <larson@DRAGON>
Subject: Promos
Just what we need, a morality question.
How does everyone feel about promotional copies of records
that always seem to appear at record conventions and used
record stores. I seem to have collected quite a few since
they are generally kept in good shape.
Is it OK to take advantage of a good deal or are we lining
the pockets of unscrupulous DJ's at the expense of the artist ?
Jeff
[][][][][][][][][][]
Date: Wed, 21 May 86 03:04:13 EDT
From: nessus (Doug Alan)
Subject: Looking for "The Big Sky"
So, I stuck a tape in the VCR before I went off for work today, hoping
I might catch "The Big Sky" on V66. I don't really know why, since
the reception is so bad I can barely see anything anyway. When I got
home, I put the tape in scan mode and within five minutes Kate
appeared! They had a little special on Kate: they had an address you
could write to to win a free HoL album, they showed "Cloudbusting",
"Hounds of Love", and "The Man With The Child In His Eyes". They
showed three seconds of "The Big Sky".... Arghhhhhhhh!
Most of the rest of the six hours of video tape was pretty boring.
But I noticed they didn't show a single video more than once in that 6
hours. I'm mildly impressed. If this were Empty-V, I'm sure I would
have seen "Sledgehammer" and "When the Heart Rules the Mind" four
times each....
"Looking out for the Big Big Time"
Doug
[][][][][][][][][][]
Return-Path: EMAILDEV%UKACRL.BITNET@WISCVM.ARPA
Via: UK.AC.SUSX.VAX2; 21 MAY 86 10:59:12 BST
Date: 21-MAY-1986 10:54:37
From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK
NEWS FLASH FROM ENGLAND:
I just got a postcard in the mail this morning from the
Kate Bush Club, reading as follows:
KATE BUSH - The Big Sky
(Special Single Mix)
Limited Edition 7" PICTURE DISC
Featuring two stunning photographs of Kate
AVAILABLE NOW!
at all good record shops
Catalogue number: KBP4
EMI
So all you love-hounds out there, keep an eye out for
it in your local import shop.
Hugh Maher
Brighton, E.Sussex, England
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (05/28/86)
Love-Hounds Digest Tuesday, May 27, 1986, 22:31 EDT
Topics:
What? Someone's heard of the PHEROMONES?
cassette packaging (3 msgs)
Sue roasting on an open fire...flames tickling her nose...
DBX
foetus
i'm here...
[][][][][][][][][][]
Date: Wed, 21 May 1986 09:24 EDT
From: David M. Hardy <HAADAV@MITVMA>
Subject: What? Someone's heard of the PHEROMONES?
We've had 'Yuppie Drone' at WMBR for a few months now. The Pheromones also
have an album of the same name, which I managed to get ahold of at Newbury
Comics. It's got some great comedy/novelty stuff on it, including "Money
Go Round", and for all you who scorn the current President, "The Great Rondini"
Now, for all you MTV haters out there, check out Tommy Koenig's album The Real
Story. It's new to me but came out in 1984 I believe. It's a comedy album,
and includes a cut called something like "The Empty Video Music Channel With
Nina Blackfeet".
Any station that shows "The Big Sky" (I SAW part of it the other day :-) :-) )
can't be all bad. The remix of the music sounded interesting too.
"Servicing McDonaldland's Economy"
>>> Dave
[][][][][][][][][][]
Date: Wed, 21 May 86 9:42:10 EDT
From: another sac's man <hofmann@AMSAA.ARPA>
Subject: cassette packaging
Doug, I'd be interested in hearing your ideas on how to improve
cassette packaging.
---
Whurps, you ran rungs aroung my lawgeckly.
O interbibe the Preakness
Jim Rosen.
[][][][][][][][][][]
Date: Wed, 21 May 86 13:12:54 EDT
From: nessus (Doug Alan)
Subject: Re: cassette packaging
Cassettes should come in shoe boxes packed with plastic eels and lots
of interesting newspaper clippings. Each one should also come with
an original Dali painting.
-Doug
[][][][][][][][][][]
Date: Wed, 21 May 86 16:38:10 EDT
From: another man's swingset <hofmann@AMSAA.ARPA>
Subject: Re: cassette packaging
no really (actually that wasn't that bad of an idea of *mailer*)
but what is better for cassette packaging than a norelco box ...
i mean their thickness doesn't lend itself for being stuck in
an album cover like cds do. i mean what is better than norelco
boxes?
[][][][][][][][][][]
Return-Path: <umcp-cs!jhunix!jhunix!ins_aset>
Date: Wed, 21 May 86 15:46:31 EDT
From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV>
Subject: Sue roasting on an open fire...flames tickling her nose...
>Date: Thu, 15 May 86 12:17:38 EDT
>From: Hofmann@AMSAA.ARPA
>Subject: Dayglo Abortions
>You mean they send you albums and you don't EVEN PLAY THEM?????
>BEcause of the cover????? Whatdafug??? Give it to me - I'll get it
>mentioned somewheres. . .actually I hear LOTS of good things about
>that band,,, this really makes me puke when I hear of people getting
>free records and not even playing it. That's bad, Sue ... I should
>forward that to all the record companies and especially the Dayglo
>Abortions. You should be ashamed, not proud.
Cripes, hof, have you been in a bad mood lately or what? If you
will recall, I said, "No way was *I* going to put that sucker on
the turntable." I didn't mean I was going to throw it away,
ferGod'ssake. We do not THROW records AWAY at WJHU unless they
are really useless MAJOR LABEL 12" singles, like the latest
Julian Lennon, that we would never play and nobody wants.
I checked the record in, put it in the New Record section of the
library, and let the program director check it out (he's much
more into hardcore than I am.) I'm sorry that I'm so SQUEAMISH
that I was offended by the cover. Seems that some of these bands
just want to see how much they can get away with. I for one am
not amused by gross images of the Pope, the President, foetuses,
Jesus, etc. I am an agnostic, but that has nothing to do with
it. I just don't see why these people feel the need to be so
disgusting and offensive. Just to be shocking, I suppose.
*****************************************************************
There now, may I take off my asbestos suit? What is it about me
lately (snif)? I innocently recommend an Anna Domino record, and
I get flamed for that too (by someone who seems to have me and
Hof confused, no less!). Some people are so closed-minded. Some
people seem to think, "Well, I love (music type A), so anybody
who doesn't listen to (music type A) and prefers (music type B)
must be a WANKER." It isn't so. Some of my best friends are
Madonna fans...
******************************************************************
The Roxy Music CD that gtaylor referred to earlier must have been
the double-LP/CD set, "Street Life," which contains songs by Roxy
and Bryan Ferry's solo material.
Taking the heat,
-Sue
[][][][][][][][][][]
Date: 21 May 86 22:07:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: DBX
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>
The nature of the emphasis and pre-emphasis circuits in Pro-DBX are the only
conceviable place that frequency response alterations would be affected by
the system. Enven then, the alterations would come at the high midrange
where the circuits have their effect. If the encoder and decoders are matched
no frequency distortion should (I realize nothing is perfect) occur. Unlike
Dolby, DBX utilizes the principle of linear compression/expansion. It's only
effect is to improve dynammic range, reduce rumble floors and increase noise
ceilings. In theory, there should be no frequency response limitations using
the DBX system. Who are these audiophiles who are complaining? More than
likely the same lot who don't believe you can build an accurate solic state
amp.
My solution to the virgin vinyl crisis is to record first playings to Pro-DBX
reel tape. I have heard no changes in frequency characteristics between the
'live' play and the 'Memorex' version through the same equipment.
If anybody out there experiences frequency disturbances using DBX, they should
chheck the calibration in the emphasis/deemphasis circuits.
I'm glad, Kate acknowledges that digital reproduction sounds different (albeit
better in the caser of the Dreaming) than the actual performances.
'Living in Analog'
John
------
------
[][][][][][][][][][]
Date: Wed, 21 May 86 22:31:21 EDT
From: Hofmann@AMSAA.ARPA
Subject: foetus
ok, it's alright to CAL yourself
foetus and draw up all sorts of
images about foetus but to show
it in full technicolur
that's wrong? right. right.
sue, before you go off - at least
listen to it and read the lyrics.
that is all i have to say.
[][][][][][][][][][]
Date: Wed, 21 May 86 22:35:24 EDT
From: Swingset Disaster <hofmann@AMSAA.ARPA>
Subject: i'm here...
>Re: fads vs. immortality
>< Hof sez rock is a fad >
>This "test-of-time" thing was discussed superbly in a Greg Taylor
>article in net.music. I used to be pretty concerned about whether
>something I like will stand the dreaded "test of time", but then that
>was my (half-discarded) classical training showing :-) :-). Nobody
>can tell what people 100 years from now will consider the real :-) music
>of the 20th century. Maybe rock is just a fad. Maybe it will last.
>If I enjoy it, I'll keep listening and that's enough. (Of course that
>doesn't explain why I get upset about Top 40, but oh well...)
Well, the last statement is what I meant. I guess if you enjoy prententious
art-rock - that at least is reason for it's existence. So .... I'm backing
off for now.
What I meant is that it being a "fad" was what made it so fun - so the butthole
surfers are a "fad" in this sense, they're "new", they do different stuff, etc.
Probably I'll be bored of them in a couple of years or they'll "XXXX" out like
Chriss and Cosey? So now I'm defending trendoiditis...
On Throbbing Gristle - I think Sonic Youth said: We want to be a cross between
TG and Black Flag.
Krajewski sez about the Buttholes:
>Art Damage (in the Good sense of the phrase) that shakes, rattles, and rolls
Welllll, i don't know if THEY know they're artists have you asked him, your
bobness? ...
having seen them live and seen that video - they come off more like
drug-crazed individuals who have lots of good, new ideas. Did they go to Art
school to get this moniker? Is *that* what makes people artists? hm?
>* The Way Heavy Metal Ought to Be: Go see the Meatmen. You might be
>offended, but you won't be bored (or disappointed, if you've got even the
>tiniest sense of humour).
Sure! when do they play, though? There's an interview with them in the
lastest WDC Period - but should inform all those who were offended by the
use of "fag" that they may not enjoy this. (same for the PMRC)
Alfke defines postmodern and sez:
>Anyhow, don't take it so seriously.
Do the post- moderenists believe that anyone can be an artist?
on promos:
Just what we need, a morality question.
How does everyone feel about promotional copies of records
that always seem to appear at record conventions and used
record stores. I seem to have collected quite a few since
they are generally kept in good shape.
Is it OK to take advantage of a good deal or are we lining
the pockets of unscrupulous DJ's at the expense of the artist ?
The promos you see at record stores are usually put there by unscrupulous
people and they're usually in good shape because said unscrupulous people
don't even listen to them. That's the apparent scoop on WHFS, the so-called
"progressive" commercial radio station in this area. The only independents
I ever hear them play are the cute, funny ones (Jerks on 45, Faith No More
and The Pherenomes, for instance) and the music/program director supposedely
doesn't even like rock (except for the Dead (!) ) and listens to jazz at home.
But the question I think to be asked is: would you rather PAY for the promotion
or trust a label to generally put out good records like Dischord (dj's never
hear about this label since they refuse to promote), Homestead, SST or Crass
(whoops, another English project I like) and charge fair prices (like the avg
dishordian price is $5 mail-order and I think SST is selling their new stuff
for $6.50 mailorder). Me? I'd feel just as enriched sampling these labels
because I trust the taste of the people behind them and also respect the
inherent honesty and price. (not saying ALL independent companies are
sterling examples - note: Enigma and PVC for instance).
Jim Wicinski
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (05/28/86)
Love-Hounds Digest Wednesday, May 28, 1986, 00:35 EDT Topics: Art, with a capital A meatmen,tesco Prof. Longhair My evening with Helios Drugged out idea for today [][][][][][][][][][] Organization: The MITRE Corp., Bedford, MA Posted-Date: Thu, 22 May 86 09:50:56 edt Date: Thu, 22 May 86 09:50:56 edt From: cv%linus@mitre-bedford.ARPA >Some people seem to think, "Well, I love (music type A), so anybody >who doesn't listen to (music type A) and prefers (music type B) must >be a WANKER." It isn't so. Some of my best friends are Madonna >fans... Are some of your best friends WANKERS too? ...couldn't resist, so sue me ... suzie. o & o chris [][][][][][][][][][] Date: Thu, 22 May 86 16:47:19 edt From: Bob Krajewski <lmi-angel!rpk> Subject: Art, with a capital A When I mentioned the Buttholes as being Art Damaged, I was talking more about their effect that any ``credentials'' they might posess (but they didn't they pop out of college anyway ?). I don't want to get into arguments about Art, but what I'm definitely interested in is the end product, and how it hits me. The Meatmen played a local club here (T.T. the Bears) and were rock hard. As far as sex'n'stuff goes, Tesco himself is probably an omnisexual. Anyway, they may be coming to your town, though there doesn't seem to be any new record... [][][][][][][][][][] Date: Thu, 22 May 86 20:59:44 EDT From: Swingset Disaster <hofmann@AMSAA.ARPA> Subject: meatmen,tesco sheet, come to our town, the mmen live here! i was suprised they play clubs they claim to be holding out for an arena show. which would be wild. Tesco is married btw but still fantasizes about Agnetha of ABBA aand your mother. Maddona, Kate and Me. [][][][][][][][][][] Date: Wed, 21 May 86 15:56:37 cdt From: ll-xn!uwvax!astroatc!gtaylor (G.N. Excelsis-Deo) Subject: Prof. Longhair Organization: Tandoori House of Tofu and Speedcore of Madison, WI Enquiring Minds wonder about life beyond Pop Culture.... > >Professor Longhair is dead???!!! Say it ain't so, Greg. Say it ain't >so ... > >Who was Professor Longhair and why does he merit comparision with Kate Bush? I was thinking of someone else besides KB who did what they did in a particularly idiosyncratic way (not that that betokens goodness or badness, mind you....) and the Professor just popped into my head. Professor Longhair *is* indeed deceased. He was an extremely unusual New Orleans-style piano player who influenced the daylights out of everybody from Fats Domino to Alan Toussaint and Mac "Dr. John" Rebennac. His style crosses this crazy left-hand driven syncopation with a kind of standard "whomp those key clusters and whistle" barrelhouse right hand that you can spot a mile off. Little Feat and the Meters both have that kind of stop-time gumbo in their stuff. I know it's stupid and unexact and whatever, but this is honest-to-G*d the way that I understand the phrase "toe-tapping." The Professor is probably not real popular these days also because the stuff if *unbelievably* snappy...happy in that way that less moderate drinkers than myself may define as the "excuse me, I seem to have slipped..." party out of bounds whoop it up happy. Very outre in these days of cynical dissonance and power tool solos in the dub version. Anyway, George "If I get any more mellow, my heart will stop" Winston took some of his megabucks and re-released a great record of the professor's stuff recently-I'm almost sure that it's on Dancing Cat. The album was rescued from a French production and given the standard Windy Hole custom cut and press. I sounds great, and is a fantastic record. It ain't for everybody, but then neither is.... A laugh for the sun red falling/through the thermal inversion haze/A laugh for the nuclear good-time boys/numbering all our days......... Gregory Alan Taylor / gtaylor@astroatc / Astronautics, Madison, WI [][][][][][][][][][] Date: Fri, 23 May 86 14:10:28 EST From: hsut@ec.purdue.edu (Bill Hsu) Random observations: Seems like we have big problems in recent anarchic discussions here. We can't agree whether or not rock is a fad. We can't justify putting down "commercial" music and hence cannot give good reasons why people should listen to progressive music instead of top 40 (at least without using quasi-moral arguments "Madonna promotes pathological materialistic values" or vague quasi-elitist statements "Residents are more challenging music because they deconstruct pop :-)"). We can't argue against trendiness because if rock is a fad, then we're all guilty of trendiness. Anyone wants to try to sort this out? Where's Greg Taylor when we need him? :-) Back to music. A short review: SCIENCE FICTION WORMS Behold, I stand at the door, and knock... The Worms are a local duo who play in other more conventional local bands. This is their first tape, and there's a wide range of sounds on it. There are snatches of early Bauhaus, but without that band's self-indulgence, and a stiff dose of industrial music. (I would list Chrome as an influence, but the band assured me they were not familiar with Chrome when they cut these tracks.) Some of the lyrics are humorous, overdone just to the point of parody (try "All I need is a gun" :-) with a driving hardcore beat). There are lots of distorted vocals over wailing, distorted guitar/bass and thumping drums, a superb Chrome-like epic ("Real Horror Show Like") and tape loop-based tracks ("Sick in Bed"). There's even a 6 min. danceable fake "club hit". A nice first effort, certainly more interesting than most of the other bands I've heard around here. If you're interested contact me, and I'll try to get extra copies. Bill Hsu [][][][][][][][][][] From: allynh@calder.berkeley.edu (Allyn Hardyck) Subject: My evening with Helios Date: Fri, 23 May 86 18:41:44 PDT Hello all... lot of things have happened since my last posting to anybody... First off, one of the people in the building has become Helios Creed's manager, so I got a chance to meet him. He used to be in Chrome, a band which, paraphrasing the TP Guide, explored dark psychotic realms only hinted at by 60s psychedelia. He and Damon Edge, the other chief member of the band, had a falling out resulting in Edge recruiting new members, taking the band to Europe and becoming a big cult band. Not big in a commercial sense, but a comfortable living. Meanwhile, Helios just had the bus he lives in rammed, and a favorite guitar stolen, so when I met him he was pretty depressed - was considering crashing in Barrington for a while. He's 33, has two ex-wives and two kids, tall blond guy with a porkpie hat, fatigue jacket, stubble and board (That's board, not beard). He reminisced about when Chrome went into the studio to do cuts for the Subterranean compilation also featuring the Residents, MX-80 Sound, Tuxedomoon etc - "that was fun...". He also talked about how the manager of Judas Priest (I think) once told him that he could make Chrome a big metal band, and of course he turned him down. A lot of the evening was spent playing old folk songs after I found him a guitar (my suitemate's) - he used to do the early 70's SF coffeehouse thing if you can believe it. One of his favorites is Shawn Phillips, so we heard lots of that, also Jethro Tull..! He talked about how he used to play X song and X couple would move just a little closer to each other, hands held across the table, and would leave him a nice big gratuity... I got him about $2 in pot from a reliable house dealer... He'd like to do all acoustic on his next album, but for now he has _X-Rated Fairy Tales_ out on Subterranean, with some acoustic touches but mostly really raw. He played a great show at the V.I.S. Club in SF last May 16, a record release party, and apparently attracted the largest crowd they've had there in a while... Piglatin opened, they're sort of Einsturzende Neubautenish (percussion guy had a shopping cart full of large springs, water bottles etc.), I kinda liked them but then I was on my 2nd Southern Comfort. John (Helios's new manager) got through to Damon at his headquarters in France and so there's a communication line if not a reconciliation. allyn [][][][][][][][][][] Date: Sat, 24 May 86 03:28:33 EDT From: nessus (Doug Alan) Subject: Drugged out idea for today While reading net.rec.drugs today, the following philosphical quandary occurred to me. If someone invented a machine that could stimulate my brain in precisely the same way that the sixth listen of one of Kate's best songs does, would I ever have any reason to listen to Kate or any other music ever again? And would I die of starvation while refusing to let anyone unplug me? "They put a hot-wire to my head For the things I did and said" Doug [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (05/30/86)
Love-Hounds Digest Friday, May 30, 1986, 05:59 EDT
Topics:
More KTrivia
Few thingz
The sweetness of Phenyl-kate-onurics
Empty-V Does it Again
Ministry's "TWITCH" /// Themes For `Grind'
The night Chicago died
Re: Love-Hounds Digest (2 msgs)
Fairlights
[][][][][][][][][][]
Date: Sat, 24 May 86 16:01 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: More KTrivia
The June issue of Blitz Magazine
(glossy trend-oriented monthly
alot like The Face) has printed an
interview with Peter Gabriel, in which the
interviewer was understandably (though
not necessarily correctly) disillusioned by
what he/she saw as the disposability of So.
He/she also said that the vocal contribution by
Kate (whom he/she calls "our only
genius") was the best thing on the
album, and was frustrated to find
that, when told this to his face,
Gabriel just smiled and "appreciated"
that point of view.
[][][][][][][][][][]
Date: Sun, 25 May 86 02:09:04 edt
From: Joe Turner <cutter%umass-boston.csnet@CSNET-RELAY.ARPA>
Subject: Few thingz
Anyone ever heard of "The Naughty Sweeties"? Can anyone tell me anything about
them?
Also - flipping through my old albums, I noticed a particularly worn
disc. I realised it was one of my old standards from my young days as
a tot - an obscure band from (of all places) Israel, with the very
unlikely name of "Poogy". It's early 70s rock, with a tip-o'-the-hat
to The Allman Bros. and "Abbey Road"-style Beatles. If you find any of
their records (on the Hed-Arzi label) for $2 and can handle Hebrew
lyrics, check 'em out. They're pretty catchy, quite competant, and
rather overlooked. (I know this might be better for net.music, but
we're just getting netnews here at UMB and are very limited in who we
can send/receive to/from)
ALSO - If you can find the Peter Gabriel bootleg "Games Without Words", do
so. There is a song called "Instrumental #2" on there that sounds SURPRISINGLY
like "We Do What We're Told" from _So_. And it's much better, too. (So much
for "new" PG music these days... that song is 6 YEARS OLD!)
Mega-review of SO to come, once I stop bouncing off the walls about it.
"I hear that voice again"
Joe
----------------------------------------------------------
PAPER: Joe Turner, 329 Ward Street, Newton Centre MA 02159
SOUND WAVES: (617)/965-8058 <* NOTE NEW NUMBER *>
CSNET: cutter@umass-boston.csnet
ARPA : umb!cutter@csnet-relay.arpa
UUCP : {decvax,ima,linus,sri-unix}!cca!ringwld!cutter
----------------------------------------------------------
[][][][][][][][][][]
Return-Path: EMAILDEV%UKACRL.BITNET@WISCVM.ARPA
Via: UK.AC.SUSX.VAX2; 25 MAY 86 16:28:29 BST
Date: 25-MAY-1986 16:21:21
From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK
I hope I'm not entering into the CD/LP wars too late,
but the arpanet gateway in London has been down for a while,
and I only just got the postings today.
The only point I wanted to make was that, apart from all the
technical pros and cons that were pointed out, one function that
the CD provides is RELATIVELY much better audio for the AVERAGE
LISTENER. What good are transient frequencies or whatever to a
person who normally listens on a Tandy tape deck? (Hope there are
no Radio Shack employees out there!) Ultra-audiophile systems
are great for those who can afford them, but for the rest of us,
CD's provide "a lifetime of listening pleasure" or whatever that
crappy slogan is on the back of the WEA packaging....
On the other hand, is there any truth to the rumors that the plastic
used in the discs themselves will self-destruct after 10 years due
to smog/atmospheric conditions, or what have you? Or is this
just another viscious rumor spread by the LP proponents?
Paranoid in Brighton,
Hugh
[][][][][][][][][][]
Date: Sun, 25 May 86 17:18 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: The sweetness of Phenyl-kate-onurics
The L.A. Times gave So a rave
review, singling out Kate Bush's
singing on "Don't Give Up" as
one of the highpoints. Only "Big
Time" was criticized as too simple
a funk/r'n'b arrangement, with a
protest theme too obviously presented.
Everything else was seen as great.
Hmmmm...
I finally picked out Peter Morris in
Kate's "Big Sky" film, thanks to Doug's
hint that he plays a pilot. In fact there
are at least three pilots, all wearing
fighter pilot caps and goggles, and Peter
is recognizable for an instant on the far
left, as the camera pans by the group.
Now, the only crucial question is whether
one of the pairs of goggles is the same as
that worn by Kate during her performance of
"Lionheart" in the Hammersmith video. (You
will remember that one of that pair's lenses
was cracked...) Doug has already noted a
reference to the Lionheart LP in the film,
and I see an allusion to the "Dreaming" film
in the falcon sequence from "The Big Sky".The
astronauts, of course, can be seen as an echo of "Hello
Earth." Perhaps there are more references to be found.
Does anyone know of any previous reference in
Kate's work to either Superman or Napoleon?
I assume they are merely references to flight --
Napoleon's symbol being the eagle -- and thus
to the sky.
[][][][][][][][][][]
Date: Mon, 26 May 86 16:43:09 edt
From: Joe Turner <cutter%umass-boston.csnet@CSNET-RELAY.ARPA>
Subject: Empty-V Does it Again
I received the following on my answering machine today, the 26th:
"Hi Joe. This James [my brother]. It's about 1:20 [am] and I just wanted
to let you know that MTV is showing "Big Sky" right now. God, it's weird!
Just thought you should know."
Hmm. Seems they have a two-hour "new [hah!] music" show these days, from
12 to 2am on Sundays. Right after "Big Sky", they showed a Jane Siberry
video. Hmm!
And I *still* haven't seen the damn thing yet. Oh sigh.
"I hear that voice again"
Save your parity bits for big cash prizes!
Joe
----------------------------------------------------------
PAPER: Joe Turner, 329 Ward Street, Newton Centre MA 02159
SOUND WAVES: (617)/965-8058 <<* NOTE NEW NUMBER *>>
CSNET: cutter@umass-boston.csnet
ARPA : umb!cutter@csnet-relay.arpa
UUCP : {decvax,ima,linus,sri-unix}!cca!ringwld!cutter
----------------------------------------------------------
[][][][][][][][][][]
Subject: Ministry's "TWITCH" /// Themes For `Grind'
Date: Mon, 26 May 86 13:49:56 -0700
From: J. Peter Alfke <alfke@csvax.caltech.edu>
I saw "TWITCH" (new Ministry album) today and, remembering Doug's reccom-
mendation, picked it up -- it's spinning around right now. Hmmmmmmm.
Definite must-listen for any Cabaret Voltaire types. It will take a few
more rotations to sink in, but I like it already.
Doug, have you been keeping up with Ministry? I bought their first album,
but nothing since then -- when did they (he) stop doing stuff like "Work For
Love" (mediocre synth-disco) and start doing this?
(Actually, I do recognize "All Day" -- KROQ was playing it quite a bit some
months ago. Still a good song.)
//////////////
Industrial-music types, as well as those who are complaining that synths
are too sterile, have too limited a sound, should try to dig up Will
Sergeant's "Themes For `Grind'" album. Sergeant, you may recall, is the
guitarist of the Bunnymen, but this is nothing like their music. The
pieces here are bleak industrial soundscapes with incredibly *unusual*,
*dirty*, *rough* synth sounds throughout. Music to wander through
deserted factories at night by. A truly chilling experience. On the
not-even-miniscule "92 Happy Customers" label. Good luck.
--Peter Alfke
alfke@csvax.caltech.edu
"Grind starts the generator
the wheel turns
the small screen flickers"
[][][][][][][][][][]
Date: Tue, 27 May 86 19:12:45 EDT
From: nessus (Doug Alan)
Subject: The night Chicago died
Your humble pseudo-moderator is going away to Chicago for a week to
visit his purty little cousin and aunt and uncle. While he is away,
Love-Hounds will be running totally on autopilot. Hopefully the
winds will not be too turbulent and everything will run smoothly
by itself, and the noble Love-Hounds readers will not flame to
any excess which would cause your humble pseudo-moderator to put
his third foot down (no, no you have dirty minds... Puppeteers have
three feet) and say "Cut out the crap, you bozos" if he were here.
"And we pause for the jets"
Doug
[][][][][][][][][][]
Date: Thu, 29 May 86 00:19 EDT
From: Tavares@MIT-MULTICS.ARPA
Subject: Re: Love-Hounds Digest
Whoa, hof! Ya slandered Tomita, and woke me up! (You did it a week
ago, but who's counting?)
Tomita may be a "pretentious asshole" to you, but I feel the man was an
early force in bringing the synth into its own as a serious musical
choice. (Much more consistent than the lighter stuff W. Carlos was
doing at about that time.) In my opinion, if you have not heard
Tomita's renditions of Stravinsky, you have not heard Stravinsky. I
like to think that Stravinsky wrote his stuff expressly for the synth,
but since it hadn't been invented yet, he had to do the best he could
with more primitive things like horsehair, catgut, rosin, felt, steel,
goldbeater skin, brass, etc.
[][][][][][][][][][]
Date: Thu, 29 May 86 00:43 EDT
From: Tavares@MIT-MULTICS.ARPA
Subject: Re: Love-Hounds Digest
All this discussion about Hi-NRG music. So far, the only hints I have
gleaned from this list is that it is linked to the gay culture and uses
a lot of synths. Could somebody please give me some example of Hi-NRG
bands or cuts so that I can place what it is you are categorizing?
(Maybe you could pick some that are VERY commercial, so that I will have
had a good chance to hear them. I'm too far into Rural America to DQ
yer collitch stations n'all. Not QUITE out into Paul Harvey land, but
you get the idea.)
[][][][][][][][][][]
Date: Tue, 27 May 86 11:16:03 EDT
From: John Lorch <harvard!seismo!umcp-cs!jhunix!ecf_hydb>
Subject: Fairlights
There seems to be some mis-information on the subject of the Fairlight
C.M.I. (computer musical instrument, methinks. The Fairlight is a synthesizer.
It was originally designed to be the state of the art synthi, and the quite
overused sampling section was tacked on the last minute. It is not just a
sampling keyboard like the Emulator or Mirage - it does synthesis quite well.
I've never been lucky enough to play one (only seen one once), but I
have a friend who uses one in a class. I'll approach him for more info.
Oh, yeah, I nearly forgot. Someone mentioned in a previous L.H. that
KB used a Harmonizer on Waking the Witch. My guess is that it was the Fairlight
sampling section - record her lines, then slow them down to lower the pitch.
Does anyone have any input on this theory?
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (05/31/86)
Love-Hounds Digest Friday, May 30, 1986, 20:00 edt
Today's Topics:
Re: HI_NRG cuts
Front 242 et al.
puppeteers and third feet
Fairlight CMI
[][][][][][][][][][]
Date: Thu, 29 May 86 09:10:26 PDT
From: jordan@ucbarpa.berkeley.edu (Jordan Hayes)
Subject: Re: HI_NRG cuts
Really-From: Tavares@MIT-MULTICS.ARPA
So far, the only hints I have gleaned from this list is that it
is linked to the gay culture and uses a lot of synths. Could
somebody please give me some example of Hi-NRG bands or cuts so
that I can place what it is you are categorizing?
How about anything that Bronski Beat has done in the last 9 months?
The 12" of _Johnny, Remember Me/I Feel Love_ with Marc Almond and the
newer _Hit That Perfect Beat_ are both two good examples of the kind of
thing that makes me imagine being in a smokey crowded glitzy dance
floor with tons of mirrors and a million gay men swooning around and
doing nitrous until you're so wasted that you pass out.
The beat just keeps getting faster and faster and more hypnotic.
The kind of thing that *feels* drug-induced if you want to hear it
and can give a migrain if you don't.
/jordan
[][][][][][][][][][]
Date: 29-May-1986 1508
From: juitt%ultra.DEC@decwrl.DEC.COM (Dave Juitt)
Subject: Front 242 et al.
I need some help on this one. Does anyone know the relationship
between the bands: Front 242, Revolting Cocks, Manufacture, and Ministry?
I know Alain Jourgenson of Ministry has produced Revolting Cocks,
and I've heard that they are just a subset of Front 242.
Someone else told me that the guys in Manufacture came from
Front 242. C'mon guys, what's the real scoop.
*** Beastie Boys @ Spit in Boston 23 May 1986 ***
This was one hot show. Even though the Boys only played
5 songs and were only on stage for 30 minutes, they really
rocked the place. When a band comes into Spit, (one of the
smallest places major bands play in Boston) they usually
are confronted by so many pretentious wanker assholes that
want to dictate the set, that the atmosphere gets dull real quick.
This was far from the case on Friday night, The Boys stepped
out on stage and promptly proceeded to commence with some
serious beer-drinking. They were having more fun than the
crowd and that's going pretty far. If you get a chance
to see this band, even if you don't like the music, go
just for the party! There was some of the best stage-diving
I've seen in years, and most of it was done by the band.
----- -----
Dave Juitt These times they are a'changin'
And I'm feeling left behind.
UUCP: !decvax!decwrl!dec-ultra!juitt Everybody's running,
ARPA: juitt%ultra.dec@decwrl.arpa Trying to catch up with their lives...
[][][][][][][][][][]
Date: Wed, 28 May 86 18:08:20 EDT
From: EL450006%BROWNVM.BITNET@WISCVM.WISC.EDU
Subject: puppeteers and third feet
What is a puppeteer's third foot?
Anyone know?
-Jeremy
[][][][][][][][][][]
From: Jeff Dalton <jeff%aiva.edinburgh.ac.uk@Cs.Ucl.AC.UK>
Date: Thu, 29 May 86 16:19:07 -0100
Subject: Fairlight CMI
The Fairlight is not just a synthesizer, it is a digital synthesizer (hence
the "Computer Musical Instrument") A fine competitor in this respect is the
Synclavier from New England Digital, as used by L. Anderson, et al.
Everyone should have one.
-- Jeff
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (06/01/86)
Love-Hounds Digest Sunday, June 1, 1986, 03:08 EDT
Topics:
EVOL-hounds digest :-)
Sonic Youth
CMI/So am I
Puppeteers
[][][][][][][][][][]
Date: Fri, 30 May 86 10:55:06 EST
From: hsut@ec.purdue.edu (Bill Hsu)
Subject: EVOL-hounds digest :-)
After desperate hunting for weeks since reading Hof's review of EVOL,
(the new Sonic Youth album, for all you non-Sonic Youth worshippers),
I finally have it stuck permanently (well, for a month anyway :-) to
the turntable. So here's some fanzine drivel to pollute love-hounds
with...
The title: after sleeping on it (and dreaming about it, honest!) I
finally realise that EVOL is LOVE spelled backwards. I'm slow this
week... Well, SOME of the songs on the album are about love... anyone
has a better interpretation?
Secret messages on the vinyl: recalling that Doug used to look for text
scratched on parts of the vinyl that have no grooves, I checked EVOL
out and sure enough, one side has a line from Starpower (on the album),
"Everything turns black to blue", and the other side has "destroy all
record labels". Is this a reference to their abortive attempt to get
on a major label?
The monstrous "thanks to..." list on the lyric sheet: this has numerous
names that I expected to see (Swans, Branca, Lydia L.(unch), Bob Bert
(their old drummer)), names I wasn't surprised to see (Tesco V.,
Buttholes, Greg Ginn, Bukowski, Live Skull, Einsturzende Neubaten),
and tons of names like
Bruce S. (Springsteen???)
Jesus and the (sic) Mary Chain
PKD (Philip K. Dick?)
Bangles (what????)
The Challenger Crew (huh?)
P. Benatar (no comment...)
Bob Xgau :-)
LL Cool J
Arto L. (Lindsay?)
Cagney and Lacey
Most of the relevant ones are in bold face, while all of the so-out-of-
place-it's-funny ones are in regular script. Well, I thought it was
amusing...
Oh, the MUSIC... sounds like these guys have mellowed a little. There
are actually almost-tuneful little pseudo-ballads, and some really
pretty delicate guitar passages. Certainly not worship-inducing like
the strange and powerful Bad Moon Rising, but I really enjoyed it anyway.
I hope they don't keep mellowing out tho...
"inside her head my dog's a bear
she's insignificant I'm insane"
Bill Hsu
[][][][][][][][][][]
Date: Fri, 30 May 86 12:36:22 EDT
From: Hofmann@AMSAA.ARPA
Subject: Sonic Youth
Yeah, D E S T R O Y all major labels. That's right - but the band has
never and probably will never made any active attempt to get on
a major label and they have stated their goal is to destoy them, Bill.
Numorous times.
No wonder they've signed to SST.
[][][][][][][][][][]
Date: Fri, 30 May 86 12:21 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: CMI/So am I
I think John Lorch is probably right about
the harmonizer/Fairlight issue. There's no
audible sign of the harmonizer in the vocals
of "Waking The Witch", as far as I can tell.
The inquisitor's voice is distorted, obviously,
but not in the way a harmonizer distorts.
Even with spoken rather than sung vocal sounds
the harmonizer produces a very distinct doubling
or tripling of the sound at regular intervals of
pitch. In fact, I'm not sure a harmonizer of that
kind was used anywhere on Hounds of Love. A good
example of the sound a harmonizer makes can be
heard in Gabriel's "Sledgehammer" during the bridge
where the word "sledge" is repeated by itself.
Speaking of Gabriel, I just wanted to admit to the
L-Hs that I, too, have to agree that So is a very
disappointing record. It is too earnest, too sentimental,
too preachy and completely retrogressive stylistically.
These criticisms are made only as points of comparison
with his own earlier work, not with anyone else's stuff.
[][][][][][][][][][]
Date: Fri, 30 May 86 15:51:05 edt
From: Joe Turner <cutter%umass-boston.csnet@CSNET-RELAY.ARPA>
Subject: Puppeteers
For background on what exactly a puppeteer is, please note the following
works:
TALES OF KNOWN SPACE, Larry Niven
RINGWORLD, Larry Niven
RINGWORLD ENGINEERS, Larry Niven
and, for that matter, ANYTHING by Larry Niven
As a summary: Puppeteers are a two-headed, three-legged alien race whose
noteable features are brilliant spacecraft design and unbridled cowardice.
Save your parity bits for big cash prizes!
Joe
----------------------------------------------------------
PAPER: Joe Turner, 329 Ward Street, Newton Centre MA 02159
SOUND: (617)/965-8058
CSNET: cutter@umass-boston.csnet
ARPA : umb!cutter@csnet-relay.arpa
UUCP : {decvax,ima,linus,sri-unix}!cca!ringwld!cutter
----------------------------------------------------------
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (06/01/86)
Love-Hounds Digest Sunday, June 1, 1986, 14:46 EDT
Topics:
Danielle Dax
[][][][][][][][][][]
Date: Sat, 31 May 86 10:52:30 EDT
From: Hofmann@AMSAA.ARPA
Subject: Daneille Dax
I found a couple of her records in
a friends collection... What's the
big deal here? Sounds like a low-rent
Nina Hagen just like Thurston said
back in 1984...
----
"like "hairball" means real crazy.
Steve from Red Kross - he'll say,
"she's real hairball" to describe a girl" - Kim
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.UUCP (06/04/86)
Love-Hounds Digest Tuesday, June 3, 1986, 19:09 EDT
Topics:
yaaawwwnnnn...yea i'm back...
son of EVOL fanzine drivel
[][][][][][][][][][]
Date: Mon, 2 Jun 86 12:10:58 edt
From: Selling Scraped Feotus on the Sidewalk <wicinski@nrl-css.arpa>
Subject: yaaawwwnnnn...yea i'm back...
well, all you "post-moderninsts" out i gots a story for you. I was told
by no other than a post modernists who shall remain nameless due to his
straight edge ness that the only post modernist band is No Trend. Which
is why you should go see them. They must be cool, cause lydia supper
thinks they are...
here a story from the paper written by susie's friend and partner in
opressing the independent records JD Constantslime:
(from the washington compost weekend section)
"Arty english dance bands follow a familar formula these days. In any
given song, the basic beat is laid down by the drums, and then
reinforced alternately by the bass, which otherwise takes a semi-melodic
role, and the guitar which is treated heavily enough to add ambient
noise to the general pulse.
Flesh out the sound with some tinkling piano or arcane percussion, add
some nasal, nearly tuneless vocals and you've got the makings of a full
feature in Melody Maker or some other British paper."
DID YOU READ THIS ???
I mean this guy is even on your wimpy, non-amerricanistic side when it
comes to music, mainlu because most american bands and labels are smart
enough to realize that all these slimey writers want are freebies. I
know a few american labels which do not cater to this kind of
back-scratching ideology (Dischord stands number 1 on this list).
see what JD is saying ?? go to england, get a drum machine, a synth,
some bad vocals, and a haircut and you got yerself a NME spread...which
is what most bands do anyway.
Peter, my boy - your logic is so full of stupid holes I'm not even gonna
bother to respond, I have more important things conversations to carry
on. god is sending me all this mail and i cant respond to it fast enough
(what you dont talk back to your god ?? why not I ask). rossi and
taylor should have there mailboxes full sooner or later.
more slime for ya...
Mornign Glories/ Pussy Galore dc space two weeks ago
didn't see you hear sue, what happened, dc space not akin to giving out
free tickets ??
Morning Glories were once again, on the train to making a record.
They've gotten there act together more than last time I saw them. Mitch
Parker is still Mitch Parker, there female guitarist is singing more,
which is a plus cause I love her voice and am not crazy about the other
guitarists voice. The drummer's mom was there, so he hadda play 'real
good' for mom.
Pussy Galore, billed as 'Better than Jesus and Mary Wankoff, cause they
have two good drummers instead of one bad one !!' They also only charge
3 dollars for the event, 11 less than the english wavos did. There
second percusisonist actually used a car spring on top of an oil drum
and knocked out the rhythm with a hammer and hollow pipes. You know
these dudes are hot when they first cover Throbbing Gristle's "Hot on
the Heels of Love" and ABSOLUTELTY shredded the song into little pieces.
later they also covered some stones tunes (get off of my cloud being
one) and had a "Pussy Jam" where they invited people to step up and pound
away on the oil can for the duration. Me ?? naw, it was 1:30 and I hadda
split so i could sleep so i could sit in a car for 7 hours with a sweaty
slimey scumball.
Meat Puppies / trend-o-rama
yawn. boring. friendof mine fell asleep downstairs. sold out show. WHY
i asked myself. still can't figure out that one. i mean albums 2 and 3
were great, but 4 ?? yawn a matic. taking themselves too seriously I
believe. "Gee lets be cool and see the meat puppets". stay home and
wait for scratch acid.
wank wank
[][][][][][][][][][]
Date: Mon, 2 Jun 86 15:51:13 EST
From: hsut@ec.purdue.edu (Bill Hsu)
Subject: son of EVOL fanzine drivel
Re: Sonic Youth and major labels
Oops, I meant to say "Homestead's attempt to move SY to a major label"
instead of whatever I said. Sorry...
Is there any truth to the rumor that Sonic Youth is planning to cover
the White Album?
Can anyone confirm the influence of the late great Philip K. Dick on
bands like Throbbing Gristle, or is this just another rock crit
fabrication?
Bill Hsu
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (06/07/86)
Love-Hounds digest Friday, June 6, 1986, 19:11 EDT Topics: Our immoderator is putting attitudes in my mouth ( & Other Stories ) comments on Wicinski (who blows donkey chunks anyway) I think ... Concert review Re: Brit vs US inanities The Big (Budget) Sky Video (2 msgs) Revolting Cocks Jazz Butcher Ministry Mojo Nixon [][][][][][][][][][] Date: Mon, 2 Jun 86 23:21:23 pdt From: elroy!smeagol!earle@csvax.caltech.edu (Greg Earle) Subject: Our immoderator is putting attitudes in my mouth ( & Other Stories ) From: Self-Righteous as HELL! <earle@smeagol.UUCP> Destroy All Major Labels!!! Yes that's Sonic Youth talkin, boy, and you oughta Heed The Creed. >[Our Man Alan:] >Well good for you Greggie! But I'd hardly consider any record company >which owns their own airline and a record store the size of a Sears to >be "independent". OK, OK, so I'll revise, add Dukes Of Stratosfear, The Cure, and the 2 Banshees 12" and come up with 6 or 7. > ... But in any case, this attitude of "I'm only going >to buy stuff on independent labels" really pisses me off! Support >*good* music, no matter what label it is on. WOAH, there, Chuck. *Don't* put Attitudes in my mouth ... I never said "I'm only going to buy stuff on Indie labels". It just *happened* that way. There's probably *double* the amount of $$$$ I spent on records last year left in great music out on Indie labels. We've only got so much cash to spend, and I don't feel morally obligated to pad some fat-cat's wallet at a Major Label with it. My comment was designed to show that, in fact, most (if not all) Great Music happens to emerge from an Indie Label, and this is not Coincidence; therefore, in appreciation of this fact, one should support and nuture these efforts, rather than feeding the coffers of the Majors in appreciation for the one good act they have on their roster ... >If everyone with good >taste boycotts major labels then major labels will never carry good >music. It will be a self-fulfilling prophecy, and by not buying good >music on major labels, you will be actually helping to proliferate >junk, rather than helping to get rid of it. Well, Don Quixote, if you want to tilt at Major Label Windmills, go right ahead. I'll be RIGHT BEHIND you ... :-) You *actually* think you can "get rid of junk"?? Pardon me while I recover from laughing. The 1st generation punks thought so too (my, but we *were* a wee bit naive in those days). Notice how quickly they all got sucked up by the UK Majors, and wonder why they all say "Erm, well, for me, punk pretty much had died by late '78".... I couldn't give two shits if the Majors ever carry "Good Music". Their aim to to Maximize Profit, not Disseminate Worthwhile Music from Good Bands like the Indies do. I'd rather take my $7 and buy a Rubella Ballet LP so I can help support good musicians (when I know they're fucking starving in some squat somewhere in England) than feed WarnerBrothersElektraAsylumCBSPolygramGeffen MegaRecords Ltd. Profit Sheets. I (and You, and everybody else) have a limited amount of $$$$ to spend on records and concerts and such. Well, I'm Self-Righteous as all hell and I don't give a sh*t about what you buy or what he/she buys or about any little Support Good Music On Majors Movement there is going, because that sucks money out of my funds for buying what I want to buy and so be it. >(And what's this? You didn't get HoL!) Oh Sh*t! Horrors! Can I go home now? ------------------------------------------------------------------------ Factionalism Rules OK!!!!! Oh sh*t, looks like it's time for the Tao Of Musical Opinions again ... Danielle Dax' last was "Yummer Yummer Man // Bad Miss M / Fizzing Human Bomb", FYI Sue ... And the Elpees (yes they are LP's) are of course Pop-Eyes and Jesus Egg That Wept. You should obtain all of them and find out that she has as much to do with Nina Hagen as the s*it on my stick. Wrigley's Fun Fact - she also does the cover painting on the latest Shock Headed Peters "Life Extinguisher" 12". What does it mean to "XXXX" out? The Chris and Cosey *I* saw take no prisoners ... Tuxedomoon (vers. 1986) slipped into L.A. quietly last Sat. No concessions to previous triumphs ("Back Catalogue? What back catalogue?") except for a funki-fried workout on "59 to 1" as an encore (I call it the A Certain Ratio-ized version). Only Steven Brown and Peter Principle still there to provide the continuity for us Old Fogues. They've added two kids on synth, trumpet, bass, etc., and some Bowie wannabe has taken the Winston Tong position (projections on the walls, backing vocals, Silly Walks, and general poserama). They were pretty good and drew an Artsy Fartsy crowd. The hit to miss ratio for their new material was about 50%. Heard most of SO in a reccid store. I guess it means Snores Only. Don't Give Up sounds like <insert generic insipid mid-80's trend - The Big Stars Male/Female Duet>. Next day I heard most of Belinda BlowGo. Easily rivals SO as Aural Sominex material. You should be buying Skinny Puppy "bites" instead of Ministry "Twitch". Trust me. "Posterity" is "Posterior" spelled sideways. Sort-of. --------------------------------------------------------------------------- Why Is There Factionalism, Mommy, And What Can I Do About It? Let's consider monetary constraints. When you only have so much cash to waste on this Rock Fad, your taste necessarily (as reflected in your Record Collection, which subsequently can affect your purchasing selections) has to be constrained more than your true desires. Every time I go into a record store and make a purchase, I can guarantee that when I walk outta there, there are a few records left in that store that I just looked through that I would like to hear/wish I could have bought, but couldn't due to money. An example culled from real life - My last two record excursions: #1 The Art Barbeque "Feet Hacked Rails" LP Abecedarians "Eureka" mini-LP (PETER LEE - WAKE UP) SPK "In Flagrant Delicto" 12" Play Dead "Caught From Behind" Live LP The Mission "Serpent's Kiss//Wake/Naked & Savage" 12" (This is Craig Adams & Wayne Hussey from Sisters Of Mercy BTW) #2 Sonic Youth "EVOL" LP Swans "Greed" LP The Cure "Boys Don't Cry '86 remix" 12" Scratch Acid New Radicool Reflecto-Cover LP Total price, sports fans, was around *$70*. I walked out the first time wishing I had the cash for the new The (nee' Youth) Brigade LP. The 2nd store didn't have it. I walked out the 2nd time wishing I had the money to buy <insert several domestic Indie releases here>. The point is, I spent 70 DOLLARS on records in one week and STILL didn't cover all the stuff I wanted. How many of YOU blow that much cash on music in one or two weeks time?? I thought so. SO, naturally you apply your own version of a Categorization Heuristic to the I WANT MORE / SORRY YOU DON'T HAVE ENOUGH problem. Mine includes Records That I Expect Might Be A Collossal Pain In The Ass To Find After Next Month, Records By Bands I Have Other Records Of And Like, Records That Have Such Strange Covers and/or Strange Instrumentation That I Know I'll Love It (cf. Art Barbeque - cover depicts person in Full Bondage Rubber clothing, bent over in submissive position; instrumentation is "electronics, tapes, tapes, tapes, guitar, rhythm tracks" - naturally, it's Awesome) etc. etc. Everybody has their own Rulesets to apply. Something has to give somewhere. The land outside that somewhere is the land reserved for your vitriol and spiteful hate; whether it be Hofmann's land of Art Rock Suffering ArTestes and Synth Trendioids and most things English; or Peter Alfke's land of HardBore No Thank You; or Bob Krajewski's land of English You Ripped Us Off Bands; etc. etc. AD NAUSEUM. F*ck This Crap. Bands play music. You like it or you don't. Bands have nothing to do with other bands, it's all in your head - the pigeons need a place to SH*T, so you build your little PIGEONHOLES for them to SH*T IN. Country Of Origin doesn't mean F*CK ALL. You want great bands?? I'll give you: Yugoslavia - Laibach. Italy - CCCP. Raw Power. France - Deux Filles. Belgium - Skinny Puppy. Australia - Birthday Party. Scattered Order. Severed Heads. The Moodists. The Scientists. Dead Can Dance. And Plenty Of Others. Netherlands - XYMOX. Japan - Yas-Kaz. Sakamoto. U.S. - Plenty Of Them. England - "" "" "" . So screw you Anglophobes. None of these brief examples have anything to do (musically) with one another. I'm forgetting lots more. You get the hint. ---------------------------------------------------------------------------- All profanity in this article was included specifically to drive Greg Skinner insane. [I hope you are pleased with yourself. --gregbo] That oughta give you WANKERS something to chew on. Bye. See you next month. [][][][][][][][][][] Date: Tue, 3 Jun 86 8:04:59 EDT From: Swingset Disaster <hofmann@AMSAA.ARPA> Subject: comments on Wicinski (who blows donkey chunks anyway) Is it me? Am I the post-modernist who recognizes No-Trend as God of Postmodernism (and they don't even use Synths... and they don't have haaaarcuts) Wow. That J.D. is one sharp dude, took him this long to figger all that out too. He sharp. He cool. He a dude (and all). Maaan, that Big Black lp - Atomizer COOKS. Get this before you die and all that. It may be post-modernist... One song is recorded by using a handheld organ piped through a roomsized loudspeaker. And you can dance to it (and no "play that Bronski beat" type lyrics). Hsut is right about EVOL by Sonic Effin Youth. Great but not as great as Big Black. Kinda drowzy at pointsssszzzzzz. Hey, what's up with Kate Bush these days? Anyone know how to get Gov't art grants? I don't subscribe to this digest anymore so earmark a copy of any stupid reply you wanks can muster towards my mbox at somewheres (seismo?)!amsaa!hofmann or something. I be cool ----- End of forwarded messages [][][][][][][][][][] Date: Tue, 3 Jun 86 9:06:37 EDT From: My Swingset is bigger than Your Swingset <hofmann@AMSAA.ARPA> Subject: I think ... Therefore I Thrash (eh, Alfke?). Jim here (the guy who doesn't read your insipid comments but feels free to randomly slag or praise anyone I feel like) for more Hardcore torture (scream, wankers, scream)... Earle - I have a Gargoyle Sox address - but I can't construct a decent workable comspewter path to your holiness's mbox ... perhaps you can get in touch so I can give you the address? But first an apology to our English readers ... Apology??? NO!!!! But really - there's this group out of England that plays some original tunes that I like - their name is Part 1. Also, I like the Fall now (after putting This Nations Saving Grace side 1 on repeat and falling asleep) due to subliminal seduction a la Brix (slobber, obsess, drool) who is second in my rock wimmen lust pantheon to Tex and her nylons and Kim Sonic effing Youth and Henry Rollins (who has great thighs! ... heh heh - is hofmann or isn't he?). Hey, like if i use "fag" in conversations and that makes me homophobic like what if I use "hamster" in a conversations ... does that make me hamsterphobic? Yawn? Greg Earle spent $70 on records - tell the whole fugging world ... Danny Dax still sounds like Low-Rent Nina Hagen, though. Nina RULES! Hey, Greg you are indeed a demi-God in my book. OK - here's Jim (the raving, condescending, flaming asshole of the music.net) 's major label buy of the week - Run - DMC... first diagnosis or prognosis is that it sucks - I'll try again later. Rick Rubin (star of Krush Groove and all around sexy dude) does the producing/mixing and as some way implied - he doesn't produce as much as he reduce ... minimalism has hit the street, art-wimps - time to come up with different doctrines! I read an interview in Maximum Rock and Roll (bible for hardcore punks which rules) with the Raunch Record people and they called Enigma and Homstead major labels because they have list prices on their LPs. I think the inner groove from the Sonic Effing Youth said "destroy ALL labels" ... so maybe they were talking about pigeon- holing that they receive from the hardcore populace and from the art-testes populace, I don't know. Thurston Moore wrote an alternate "scene" report in Maximum Rock and Roll and let me tell you - it rules and comes in your mouth. (sound of Greg Skinner, amateur censor, teething). Well, as usual, I've enjoyed this - especially since I don't have to read your whimpering replies (except if you have enough gaul to send me a poisonal copy to amsaa!hofmann or hofmann@amsaa or whatever - - - "keep on thinking free" - Moody Blues (whoa!) P.S. Hardcore rules and synth sh*t, like, submits, dudes. [][][][][][][][][][] Date: Tue, 3 Jun 86 01:10:27 edt From: Joe Turner <cutter%umass-boston.csnet@CSNET-RELAY.ARPA> Subject: Concert review DEPECHE MODE / Book of Love / June 1 1986 / Wang Center, Boston MA Book of Love, a 4-man New York band, opened the show. They played a whopping six whole songs, most of which were marred by a PITIFUL mix. They played a semi-interesting synth-dance type of music. Most of the songs were actually quite melodic, and some of the sounds coming out of their synths were ear-catching - the band themselves were DEAD for the first three numbers. The lead singer had her shoes off and was dancing around, but the other three (three females, or two females and a real effeminate guy - I couldn't tell) just sort of stood there, until they finally loosened. The two highlights were their single release (I assume, from the amount of screaming) called "Boy", which was good, and "I Touch Roses", where amounts of roses were thrown into the audience, though the song was a little derivative. To end the set, they played the most boring song of the evening - introduced as "We're Book of Love, this song is called Book of Love, from our album Book of Love". The song was not interesting enough to carry through its interminable length and choruses of "pages of the book of love" ad nauseum. Not totally worthless, but not a shining light. Depeche Mode, on the other hand... The set was eye-catching, I must admit. Three raised conical platforms with glowing stripes up the sides, with glowing tent-like structures in the back. Lighting - intense. Sound mix - quite good. Performance - fabulous! Gore, Fletcher, and Wilder weren't too physical, but who cares when Dave Gahan is out there bopping and screaming "I think that God's got a sick sense of humor"? Starting out with "Black Celebration", they went right into "A Question of Time", "Fly on a Windscreen - Final", "Shake the Disease", "It's Called a Heart", "Everything Counts", "It Doesn't Matter Two", "A Question of Lust", "Blasphemous Rumours", "New Dress", "Stripped", "Something To Do", "Master and Servant", "Photographic", and "People are People". Coming back for an encore, they did "Boys Say Go". Coming back for a second encore, they performed "Just Can't Get Enough" and "More Than a Party". Gahan's singing was impeccable, as was the band's playing. Being the first stop of the tour, it was a HOT night for all! The band will be stopping in Philadelphia, New York, Cleveland, Rochester, Long Island, Washington DC, Montreal, Toronto, Detroit, Chicago, St. Paul, Fort Worth, Austin, Houston, Denver, Salt Lake City, San Fransisco, Seattle, Vancouver, San Diego, Los Angeles, and Irvine. The tour also extends to the Far East. The show is DEFINATELY worth it. Energy everywhere! I must have sweated off MANY pounds from dancing around. WARNING: TEENYBOPPERS!!! They screamed every time Dave Gahan even *moved* his hips, much less shook them (which he was doing to excess). Ick! Someone with me wondered how many of them knew he didn't like women... I wonder how many of them know his NAME! Be careful if you go. "Life in the so-called space age" Save your parity bits for big cash prizes! Joe ---------------------------------------------------------- PAPER: Joe Turner, 329 Ward Street, Newton Centre MA 02159 SOUND: (617)/965-8058 CSNET: cutter@umass-boston.csnet ARPA : umb!cutter@csnet-relay.arpa UUCP : {decvax,ima,linus,sri-unix}!cca!ringwld!cutter ---------------------------------------------------------- [][][][][][][][][][] Subject: Re: Brit vs US inanities Date: Tue, 03 Jun 86 13:22:42 -0700 From: J. Peter Alfke <alfke@csvax.caltech.edu> Well. wicinski@nrl-css.arpa rants: >well, all you "post-moderninsts" out i gots a story for you. I was told >by no other than a post modernists who shall remain nameless due to his >straight edge ness that the only post modernist band is No Trend. What gives him the sole authority on what's postmodern? It ain't a movement in the way Dada or Futurism were ... there's no elite federation of post- modernists who say "this is p.m. and this ain't". Think for yourself be the whole of the law. My suggestion: Read some Donald Barthelme (generally recognized as postmodern; try "60 Stories") and then go look at early Talking Heads lyrics. >see what JD is saying ?? go to england, get a drum machine, a synth, >some bad vocals, and a haircut and you got yerself a NME spread...which >is what most bands do anyway. >Peter, my boy - your logic is so full of stupid holes I'm not even gonna >bother to respond, I have more important things conversations [sic] to carry >on. Thanks for the kindness. I'm actually not overly impressed by most of the commercial Brit bands popping up these days. I'll admit that some of their stuff is catchy, and good to dance to, and I can enjoy dancing to it, but it's a predictable formula in the same sense that heavy metal is; I just find the synth-pop formula more tolerable than the HM formula. I may think the current Blow Monkeys song is a good piece of fluff, but I'm not going to BUY it, I'm not going to call it ART and put posters of them up on my wall -- why does everything that passes through your ears have to be so IMPORTANT? Mellow out. "F*ck art, let's dance" is a nice attitude to have sometimes when you don't at the moment feel like combing hole-in- the-wall record stores for that Catholic Upchuck E.P you're missing from your collection ... Just for people's info, here are the Brit bands I've been listening to the most lately: Echo & the Bunnymen (only the early stuff, pleez) Bauhaus Cabaret Voltaire Cocteau Twins Brian Eno (Before & After Science) XTC Pink Floyd (Ummagumma) Note lack of Pet Shop Boys or Sigue Sigue Sputnik. Bug off. --Pete the Art-Slave alfke@csvax.caltech.edu [][][][][][][][][][] Date: Tue, 3 Jun 86 19:30:04 edt From: Bob Krajewski <lmi-angel!rpk> Subject: The Big (Budget) Sky Video Well, I saw the thing on MTV's ``120 Minutes'' which has been moved up an hour (starting 00AM Monday). Very uncharacteristic in a lot of ways; here are a few observations: * Makes no sense at all * KT looks mahvelous in that jumpsuit * What's Superman doing there ? * Lots of random action * People with Real Rock Instruments doing Real Rock Moves So, perhaps it's a self/MTV-parodying attempt to get onto MTV. If it isn't, somebody's got a lot to answer for... [][][][][][][][][][] Date: Tue, 3 Jun 86 20:44:30 EDT From: nessus (Doug Alan) Subject: Re: The Big (Budget) Sky Video I think that someone pointed out to Kate that Empty-V seems to have a strong dislike for her style of video, and so she sat down and watched nothing but Empty-V for a week. And then thought to herself, "Pphah! I can do that *much* better!" She then proceeded to make the silliest Empty-V-like video possible, throwing in every single Empty-V cliche that ever existed or ever will exist and lots of other stuff just for good measure, all the while having a fun time. It worked too! This is the first video of Kate's ever to be in rotation on Empty-V (it's only in light rotation, however). "That cloud looks like one of those brown shiny things" Doug P.S. By the way, I think it's brilliant! Way Postmodern.... P.P.S. Peter Gabriel's video for "Sledgehammer" is pretty amusing too. P.P.P.S. So remember we were thinking about having another Dial-for-Kate-athon? I'm in a bit of a quandry though. It seems that calling up Empty-V for a video not in rotation is useless -- the dorky operators just say "But that's not on my form". And if the video already is in rotation, then what's the point? I mean, I'm morally opposed to "heavy rotation" anyway. (Then again, morals can be bent for the love of Kate....) What do you guys think about the issue? [][][][][][][][][][] Date: Tue, 3 Jun 86 21:32:46 EDT From: nessus (Doug Alan) Subject: Revolting Cocks In answer to Mr. Alfke's question regarding Ministry, I don't know when Ministry changed style; the only Ministry album I have is the most recent *Twitch*. I have since then bought the new Revolting Cock's album *Big Sexy Sky*... oops, I mean *Big Sexy Land*. It is on Wax Trax records (I bought it at Wax Trax record store), so it is safe for Mr. Earle to purchase. Revolting Cocks contains Alain Jourgensen, who is Ministry. This albums sounds just like *Twitch* era Ministry, only more industrial, harsher, and less commercial. It's the same order of quality as *Twitch* (i.e. totally fab). I saw a review which said of Revolting Cocks that they make Cabaret Voltaire and Einsturzende Neubauten superfluous. Perhaps I'll buy the statement for CabV, but not Einsturzende; they too are totally fab. Revolting Cocks also contains Richard 23 (of Front 242, whoever they are) and Luc Van Acker. "No devotion anymore" Doug [][][][][][][][][][] Date: Tue, 3 Jun 86 23:26:53 EDT From: nessus (Doug Alan) Subject: Jazz Butcher Hey, Mr. Peter E. Lee, the Jazz Butcher is coming to Boston at The Rat sometime in July, I believe. Just thought you might like to know. -Doug [][][][][][][][][][] Date: Tue, 3 Jun 86 23:38:08 EDT From: FULIGIN%UMass.BITNET@WISCVM.WISC.EDU (Peter E. Lee) Subject: Ministry The following is the Ministry chronology as I know it (probably not absolutely complete) : Cold Life (12") - Bitter, hard-edged funk. Less industrial than the current stuff, but much harder than most of "With Sympathy". With Sympathy (LP) - their debut album, on Arista records. I'd call it better than average synth-funk - I like it - but it's much slicker and less challenging than "Twitch". I Wanted To Tell Her (12") - remix of a song from "With Sympathy", not a bad remix, but in keeping with the style of that album. All Day (12") - (a remix appears on "Twitch") Starting to move towards the heavier sound, with some found voices, but without the patented Adrian Sherwood noise (which is fine by me, I find it monotonous after awhile). The B-Side "Halloween" is also great. The Nature Of Love (12") - Classic. Starting to move distinctly into Cab. Volt. territory, but perhaps a bit more narrative. Centers around found voices saying things like "If a man wants to beat his own animal, that's his business". Over The Shoulder (12") - Adrian Sherwood steps in as producer, (he also produced the album), and a great, searing, industrialized dance tune is born - another version appears in "Twitch". Twitch (LP) - The band's most recent offering. I have yet to listen to it all the way through at the radio station, but it hasn't particularly struck me yet. Given the reccomendations around here though, I may yet... Final notes : all of the above recordings are on Wax Trax! records, except for the first LP, and the single from it, which are on Arista. The first single has now been re-issued. Grooving in the bus lane, -Peter Lee Fuligin%UMass.BITNET@WISCVM.ARPA --- "This is partytime! And it's better than a cold bath with someone you dislike..." -The Jazz Butcher, "Partytime" [][][][][][][][][][] Date: Tue 3 Jun 86 20:54:29-PDT From: Bob Knight <KNIGHT@SRI-NIC.ARPA> Subject: Mojo Nixon Well, had a chance to hear his fake interview with the Playboyized MTVJ. Wonderful! Anybody heard his stuff? Is it as winning? Wanted to turn around and go snarf everything he's ever made... "I wanna be IN Martha Quinn..." Bob Standard disclaimer... ------- [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (06/08/86)
Love-Hounds Digest Saturday, June 7, 1986, 19:43 EDT
Today's Topics:
Frankenchrist sales boost
Cadbury bars?
Oh, forchrissake!
Re: Concert review (of Depeche Mode)
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Return-Path: EMAILDEV%UKACRL.BITNET@WISCVM.ARPA
Via: UK.AC.SUSX.VAX2; 4 JUN 86 13:49:44 BST
Date: 4-JUN-1986 13:48:44
From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK
"SOUNDS" Does a total Hatchet Job on Kate - newsflash from Britain....
I just picked up the latest copy of "Sounds" (June 7 issue) which
just came out today (Wednesday, June 4). At first, I was really
excited when I saw that Kate was on the cover, although I was
puzzled by the use of one of the most commonly available record
company promo-photo of her (the one with her head resting with her
palms on her temples). Then my heart sank when I saw who wrote the
"article" - the Infamous Richard Cook, who interviewed her after
the release of "The Dreaming" in '82, and filled the article with
sarcastic and petty sniping at her (then why bother to interview her?).
Anyway, despite the "front cover status", this "article" is nothing
more than an enxtended forum for his criticisms of Kate, with no
input whatsoever from her. Although it is too long to completely
transcribe (and I have a paper due tomorrow) here are the low-lights...
"Kate Bush, a teenager from a wealthy middle-class family, had art-rock
waiting for her like a gift from the tooth fairy. The dinosaurs of her
listening youth weren't monsters for her. Pink Floyd, the most miserable group
that ever existed (Doug's gonna LOVE this!) and the skeleton in many a
pioneer's closet, provided her first archangel in the form of David Gilmour,
who produced that first studio work. She would later admit her fascination
with `The Wall.' It's not hard to perceive the echoes of Floyd's weary
symphonies in the Bush catalogue."
On "The Kick Inside":
"The tunes sounded like the fussy little melodies one associates with musical
sewing boxes. The record is a folly..."
"One can toil through Bush's work making flip comparisons all the time, but
it's a search that turns over no personal vision on all these bits and
pieces."
"This grain-by-grain pursuit, a quintessence of art-rock, reached overload
with `The Dreaming.' IT'S A THUNDEROUSLY AWFUL LP. AFTER THE OPENING `SAT IN
YOUR LAP', AN ENERGETIC HOWL ABOUT THE GETTING OF WISDOM, THE RECORD COLLAPSES
INTO A SLUGGISH, ELEPHANTINE BLOW-OUT OF WORDS AND MUSIC IN SEARCH OF MEANING
AND STRUCTURE. EVEN BUSH'S FAITHFUL WERE FOXED BY IT." !!!!!!
"The second side (of Hounds of Love) is a dream sequence that's about as
substantial as cotton wool"
"Bush can't create anything more than a mood, a nostalgia for the resonance of
art. She's like someone who flicks through the pages of a book, impatient for
the pictures to come up. It has always been the way of art-rock" "Bush, like
Peter Gabriel and Jim Kerr, is a mere translator. A simple soul. A show woman.
She is really NO MORE PROFOUND THAN SHEENA EASTON, and you can't imagine Bush
making a record that's as much fun (or vapid -ed) as "SUGAR WALLS" (this is
getting funny...) or "Like a Virgin". When asked if she might be a bit
strange, she says yes, she might be. I think not."
"After all, we all know `Kate', don't we? She's not strange, or barmy, or
anything that's very far out of line. She just passes on her dreams; she sets
art to rock.
"And somehow, we find it all fascinating. Then we knock; but she does not let
us in-a-her window."
Well, that's "it" - anyone who wants to send letters, the address is
Sounds - Letters dept.
Greater London House
Hampstead Road
London, NW1 7QZ
ENGLAND tel: 01-387 6611
(Once again, the article was by Richard Cook, in the June 7 issue of Sounds.
(And the article was called "The Girl [sic] With the Stars in Her Eyes")
Happy Writing!
Hugh Maher
Brighton, England
[][][][][][][][][][]
Date: Wed, 4 Jun 86 08:53 MST
From: "James J. Lippard" <Lippard@HIS-PHOENIX-MULTICS.ARPA>
Subject: Frankenchrist sales boost
Reply-To: Lippard@MULTICS.MIT.EDU
Album poster prompts pornography charges
(UPI) LOS ANGELES--Pornography charges have been filed against five
people in the distribution of an allegedly obscene poster packaged with
an album by the San Francisco punk rock group Dead Kennedys, prosecutors
said Tuesday.
Among those charged in the misdemeanor complaint stemming from the
Frankenchrist album is the group's lead singer, Eric Boucher, 27, of San
Francisco, who uses the stage name Jello Biafra and who once ran for
mayor of that city.
"The poster depicts a close-up montage of 10 explicit sex acts," said
City Attorney James Hahn. "It's hard to imagine a more sexually
explicit poster, and it was the height of irresponsibility for it to be
packaged with an album distributed to minors."
Hahn said the investigation began last December when a woman wrote
the state attorney general's office complaining about the poster after
her teen-age daughter bought the album from the Wherehouse, a record
store that is part of a chain, as a gift for her 11-year-old brother.
Wherehouse officials later voluntarily pulled the albums off their
shelves, authorities said.
The letter was forwarded in January to Hahn, who ordered an investigation.
Charged with one count each of violating a penal code section that
prohibits distribution of harmful matter to minors were Boucher and
record distribution executives Michael Bonanno, 25, of Alternative
Tentacles Records; Debra Schwartz, 26, of Mordam Records; and Steve
Boudreau, 38, of Greenworld Distributors. Also charged was Salvatore
Alberti, 66, of Huntington Beach, Calif., whose company was accused of
inserting the posters into the album covers and applying stickers on the
outside stating the poster is a "work of art".
The defendants are scheduled to be arraigned in Municipal Court July
3. They face maximum penalties of a year in jail and a $2,000 fine if
convicted.
Jim (Lippard at MULTICS.MIT.EDU)
[][][][][][][][][][]
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Via: UK.AC.SUSX.VAX2; 4 JUN 86 17:37:00 BST
Date: 4-JUN-1986 17:09:23
From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK
RE: "the Big (Budgie) Sky Video" (Sorry, the system over here
can't afford an extra prompt for inserting a subject...)
Well, I really doubt that she purposely planned it to be random
and somewhat incomprehensible, since she said in the last KBC newsletter
that the thing she hates most about rock videos is how unstructured
they are. I totally agree with this - unless the song is really
unstructured and stream-of-consciousness to begin with. For me,
at least, if the visual images are totally unrelated from the music,
they tend to distract my attention from the music (maybe that's the point...)
since I'm trying so hard to figure out what the f*ck is going on
on the screen.
One thing about Kate's videos (especially her earlier ones) is that
they tend(ed) to be fairly simple, with just her dancing around
a stage, but moving her body and facial expressions in ways that
complemented and illuminated parts of the song. This technique was
employed effectively throughout ALL her videos (with the possible
exception of "Army Dreamers", which to me totally kills the song -
why is the mother of the dead soldier dressed up in army fatigues
running around a forest with a plastic gun? - it was a bit too
literal, i.e. "It's about the army, so lets dress her up as a soldier"
I like the German TV version better, where she's dressed up as the
mother in cleaning rags, doing a little waltz with her broom) Boy,
I sort of got off the subject there. Anyway, as I was saying, this
simple movement/music technique worked in all her videos, reaching
its pinnicle in the original (non-mtv) video for "Running up that Hill".
In this one, it looks like she had a lot of time to think of the
choreography and exactly match it to what was being said in the music
(example: the "christ on the cross" imagry during the lines about
"You don't want to hurt me, but see how deep the bullet lies")
"Cloudbusting" presented a problem in that it couldn't be easily set
to a dance routine, and a "storyline" format probably worked better,
although the idea of using the music as a "soundtrack" in the back
of independent action on the screen is again very distracting.
Still one of her best, though.
OK, "Hounds of Love" totally bit the dust in my eyes, although I
really have to watch it a few more times to look out for all the
little things Doug Alan told me about. Basically, the propulsive
rhythm of the song totally clashed with the visual images. I'm not
sure how much I can really pick out what I didn't like about it...
I guess I just didn't like it as much.
Finally, with "the Big Sky," I saw somewhat of an improvement, but
was put off by the ultra MTV fast-cutting manic action of it all.
Once again, I probably have to see it a few more times to absorb
all the visual layers. I think this would have been a really good
video for mixing live action with animation, but I guess there
wasn't time for it. On the other hand, she looks really endearingly
cute and playful, and as someone else pointed out, that reynolds
wrap jumpsuit she's wearing on the chimmney is to die for....it'll
probably show up on Alexis in the next segment of Dynasty.
Her dancing is somewhat dorky (maybe intentionally? - How easy
is it to dance around on the top of a chimmney?), and those pants
don't seem as baggy as they should....is she trying to cover up
eating too many cadbury's bars?
OK, I'll keep to artistic criticism here....Basically, I think that
it's a pretty good video, but missed it's chance at being a GREAT one
due to lack of time (if not neccessarily budget). It's interesting
seen some really good videos being done these days that are a return
to the "minimalist" (ha!) school, in which the band just performs the
song. However, it takes a lot of creativity and personality to make
this type of video work, and a good example of this would probably
be the video of "Would I lie to You?" by Eurythmics.
Oh well, let's see what comments this stirs up.....
Hugh
[][][][][][][][][][]
Date: Wed, 4 Jun 86 13:40:56 EDT
From: nessus (Doug Alan)
Subject: Cadbury bars?
No, no....
Too many Kit Kats....
[][][][][][][][][][]
Date: Wed, 04 Jun 86 16:14 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: Oh, forchrissake!
KATE BUSH...remember?
[][][][][][][][][][]
Date: Thu, 5 Jun 86 04:05:46 EDT
From: nessus (Doug Alan)
Subject: Re: Concert review (of Depeche Mode)
I wouldn't be so sure David Gahan of Depeche mode doesn't like women!
In one of those *Star Hits* star polls, he voted for Kate Bush as
"Most desirable human being" (he also voted for her for best song and
best female singer....).
-Doug
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (06/08/86)
Love-Hounds Digest Saturday, June 7, 1986, 19:47 EDT
Topics:
KB videos
[][][][][][][][][][]
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Via: UK.AC.SUSX.VAX2; 5 JUN 86 12:38:13 BST
Date: 5-JUN-1986 12:14:46
From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK
Here are some miscellaneous bits from the latest issue of "Record Mirror":
1) "Hounds of Love" is holding steady at #36 on the charts for the
second week in a row.
2) "The Single File" video collection moved up from #12 to #8 on the
music video charts, where it has been near the top of the charts
ever since the release of "Hounds of Love"
3) The compact disc of HoL just re-entered at #8 on the CD charts, due
to a new shipment/pressing of the CD, so that all the stores are now
supplied with huge stacks of it once again. There are now mass quantities
of "Lionheart" and "The Kick Inside" CD's once again, which appear to be
yet another german pressing by Polygram. (I was hoping for a pressing from
EMI's new Swindon CD plant in the UK, which is way overdue in opening)
4) The following is from the "Chartfile" section by Alan Jones:
"Now more than eight years into her chart career, Kate Bush has
singlehandedly written all 15 of her hit singles, a figure unrivalled by any
other female singer/songwriter in the world.
Kate Also shares the distingction of being one of only three women to pluck
more than three top 40 hits off an album (Tina Turner and Madonna are the
other two).
Kate's "Hounds of Love" has been raided for "running up that hill" (#3)
"Cloudbusting" (#20), "Hounds of Love" (#18) and "The Big Sky" (#37).
In addition to spawning these hits, the "Hounds of Love" album has sold over
400,000 copies in its own right, and is the fourth best selling compact
disc ever released in Britain, lining up behind Dire Straits' "Brothers
in Arms", and "Love Over Gold", and Phil Collins' "No Jacket Required".
Regarding the release of "the Dreaming" and "Never for Ever" on Compact disc,
in view of the above information, it is almost certainly legal hassles between
Kate and EMI (probably regarding royalty payments, like the Beatles) that
are causing the delay in release, rather than pressing plant limitations.
(After all, they managed to get repressings done of the first two albums...)
After all, HoL, according to the above, is EMI's largest selling compact
disc EVER, so they are probably dying to release the others on CD.
Speaking of releases, if there are any Elvis Costello fans out there,
"Trust" and "This Years Model" were just released on Monday via the independent
company Demon records, and pressed at the Nimbus plant in England.
However, "This Years Model" sticks to the original british album format,
which had "Night Rally" at the end, in place of "Radio Radio", and also
has the additional song, "I don't want to go to Chelsea" (which only
appears on the U.S. release, "Taking Liberties". (Oops - I just noticed
that I forgot to specify that I am talking about new CD releases here...)
Anyway, the interesting thing is that the British release of "Armed Forces"
on CD exactly matched the american CD and LP versions (i.e. it has "What'
s so funny 'Bout Peace, Love, and Understanding" and leaves off "Sunday's
Best".) This is getting confusing! Anyway, the point is that I'm going
to wait for the US release of "this year's model" on CD 'cos I'm more
used to that format - but be aware of the differences before you shell
out $18 bucks or so for the import CD.
Hugh
[][][][][][][][][][]
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Via: UK.AC.SUSX.VAX2; 5 JUN 86 16:45:06 BST
Date: 5-JUN-1986 16:35:47
From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK
3 quick responses:
1) Sorry - Doug is right. Kate eats too many KIT-KATS, not cadbury's bars.
It is the homeground crew that eats too many of the latter.
2) OK, so what was that cryptic message from IED0DXM (a.k.a. Andrew Marvick)
supposed to mean: "KATE BUSH - remember?..."? Huh? Am I missing
part of the posting? Did I say something wrong?
3) Well, if not whats-his-name in Depeche mode, I wouldn't be surprised
if some of the other members are gay (i.e. Martin Gore, whose favorite
city is Berlin, and who is a leather fanatic, according to the last
interview I read) - Also there's a big undercurrent of gay imagry in
their videos and song titles ("Master and Servant", etc) (Although
anyone seeing "9.5 weeks" knows that S&M isn't restricted to gays...)
Not that it matters....it's fun to debate, though...
Hugh
[][][][][][][][][][]
From: bu-cs!sam
Date: Thu, 5 Jun 86 12:48:21 EDT
Subject: KB videos
Hugh writes:
>Well, I really doubt that she purposely planned it to be random
>and somewhat incomprehensible, since she said in the last KBC newsletter
>that the thing she hates most about rock videos is how unstructured
>they are. I totally agree with this - unless the song is really
>unstructured and stream-of-consciousness to begin with.
>OK, "Hounds of Love" totally bit the dust in my eyes,
I am one of the less fortunate souls who has not yet seen the video
for "Big Sky", but I have seen "Hounds of Love"...
I don't think that Hounds of Love is random or unstructured, though.
I like the word "intricate". So what if it's distracting? Videos
are a VISUAL medium, and by the time you see one, you already know
the song by heart anyway. I could sing Hounds of Love backwards in
my sleep; in the video, I find all the overlapped and not-so-noticable
details refreshing.
Isn't intricacy and organized randomness what we *liked* about the
music in The Dreaming? So why isn't it okay to use the same strategy
in a video?
- Shelli
[][][][][][][][][][]
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Via: UK.AC.SUSX.VAX2; 6 JUN 86 11:37:25 BST
Date: 6-JUN-1986 11:36:32
From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK
Here's the letter that I just sent off in response to the SOUNDS
cover story on Kate:
"How ironic that Dicky Cook should pick out "The Big Sky" as his
least-hated Kate Bush song. For someone [sic] who has so
OBVIOUSLY followed our "coddled Kate's" progress through the
years with Vermorellian* fascination (Despite getting the lyrics to
"Feel It" wrong), I find it (as the saying goes) "Amazing" that the
oh-so-literal meaning of the song (i.e. lashing out at snotty-nosed
frustrated rock-star failures-turned sniping critics such as himself)
failed to pierce his Sugar-Walled brain. Perhaps we should convince
Sheena Instant to cover it, and bring it down to his level.
-Hugh Maher
Brighton
(*refers to Fred Vermorel)
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (06/09/86)
Love-Hounds Digest Monday, June 9, 1986, 04:48 EDT Topics: T. Dream / VHS Hi-Fi NME News Re: Letter to "Sounds" // "Voix Belgique" Re: Letter To *Sounds* Non-random observations Dr. John [][][][][][][][][][] Date: 6 Jun 86 13:18:00 PST From: "ROSSI J.A." <rossi@nusc.ARPA> Subject: T. Dream / VHS Hi-Fi Reply-To: "ROSSI J.A." <rossi@nusc.ARPA> I just got back from a trip to DC and Philly (Apparently, the NUSC VAX cluster blew up, or something while I was away, so I have not seen any issues of this digest between May 23 and today so pardon me if this is a rehash of anything which transpired previously). While traveling through Philly, I heard some Rock station giving away tickets ti an upcomming Tangerine Dream show. I was stunned, since TD isn't something usually mentioned by DJs between cuts by Led Zep and Bryan Addams. So, I stopped the car, put up with about 30 min of more of the bland Rock fare, and sure enough, there is some promotion for the movie Legend going on, and there was a contest for TD tickets. Now, I'm sure that if Tangerine Dream are comming tpo Philly, they must be on tour. Does anybody have any details, is it just starting, Is it over??? If there is a tour are Boston, Hartford or NY on the list? If anybody has an opportunity to see this band perform live, it is worth it (interesting music via electronics, an unusual paradox). As for the movie Legend, if you liked Sword and thge Sorcerrer, you will love it. Same plot (in general), much better visuals, much more fantasylike than any movie I've seen. Even Tom Cruise (SP?) was not objectionable in the movie. Of course, however, the main drawing ticket is the Tangerine Dream soundtrack. This is by far there finest soundtrack to date. The traditional sequencer ostinatos were absent, the music is much more reminiscent of their early stuff. An interesting combination results when Jon Anderson does the vocal track with TD in the background (I don't thgink I could tollerate a whole album of that particular combination, but it probably has a lot more musical possibilities than the Vangellis combo). Unlike Vangellis, TD usde Anderson's voice as an instrument (even with age, I still have to admit Jon Anderson has one of the most musical vocal expressions in the business, Falme away !!) as it should be used. Roxy/Ferry fans will also appreciate the final track (credit background) by Brian Ferry (no TD). So if you like TD, enjoy fantasy movies about elves, gobblins, and very large demons (Tim Curry), or feel a strong sexual attraction to Tom Cruise (and could put up with him even with sholder length hair) than you should see Legend. Finally, I have ordered the Kate Bush Laser Disk of the video compilation. Hopefully, it is up to the sound quality standards that LaserVision is capable of. I also ordered the concert at the Hammersmith LV disk. Unfortunately, it appears that in the short run, the only way to get decent coppies of the HoL videos is to do VHS Hi-Fi recordings from MTV getting the audio from the FM stereo simulcast mode. Has anyone done this? Has anyone ever recorded MTV in Hi-Fi? If so, is the quality sufficiently worth it to keep a deck ready to record the videos if and when they are played? John ------ [][][][][][][][][][] From: Jeff Dalton <seismo!mcvax!aiva.ed.ac.uk!jeff> Date: Fri, 6 Jun 86 18:47:27 -0100 Subject: NME News Morrissey sez: "Obviously Madonna reinforces everything absurd and offensive. Desperate womanhood. Madonna is closer to organized prostitution than anything else. I mean the music industry is obviously prositiution anyway but there are degrees." Means nothing, of course. Record News: Robyn Hitchcock: 'Invisible Hitchcock' (Glass Fish via Rough Trade) a retrospective LP of unreleased material from 1980-85 -- out this week. Well, that means either it arrived last week and all copies have been sold, or else that I'll be luckly to see it this month. Sometimes. -- Jeff [][][][][][][][][][] Subject: Re: Letter to "Sounds" // "Voix Belgique" Date: Fri, 06 Jun 86 21:58:59 -0700 From: J. Peter Alfke <alfke@csvax.caltech.edu> >From Hugh Maher's letter to "Sounds", re one critic's attack on Kate: >I find it (as the saying goes) "Amazing" that the >oh-so-literal meaning of the song (i.e. lashing out at snotty-nosed >frustrated rock-star failures-turned sniping critics such as himself) >failed to pierce his Sugar-Walled brain. Perhaps we should convince >Sheena Instant to cover it, and bring it down to his level. Um, while I do agree, from the excerpts you posted, that the snotty- nosed critic in question could benefit from a nice cup of coffee homeground [:-)], I must admit that I don't see where you get your interpretation of "The Big Sky" from. I always thought it was about daydreaming watching clouds. (Sound like Kate herself, don't I?) Perhaps you're just trying to mindf*ck the folks at "Sounds"? @@@@@@@@@@@@@@ Incidentally, I was flipping through that very same magazine (well, not the same issue) today and saw that one of their critics went all soft and mushy over the new 4AD "Mystere du Voix Belgique" album. Belgian folk songs, as one would expect, but the writer seemed caught up in the same kind of wordless transcendental ecstasy that one usually gets only from the Cocteau Twins. I'm intrigued, but can't find it. Anyone got it? Heard it? Seen it? --Peter Alfke "I would have made this instrumental but the words got in the way ..." PS: So Hof has resorted to putting his hands over his ears and yelling. Christ. How old is the guy anyway? (S'okay, he can't see this.) [][][][][][][][][][] Date: Sat, 7 Jun 86 03:39:10 EDT From: nessus (Doug Alan) Subject: Re: Letter To *Sounds* > From: J. Peter Alfke <alfke@csvax.caltech.edu> > From Hugh Maher's letter to "Sounds", re one critic's attack on Kate: >> I find it (as the saying goes) "Amazing" that the oh-so-literal >> meaning of the song (i.e. lashing out at snotty-nosed frustrated >> rock-star failures-turned sniping critics such as himself) failed >> to pierce his Sugar-Walled brain. Perhaps we should convince >> Sheena Instant to cover it, and bring it down to his level. > Um, while I do agree, from the excerpts you posted, that the snotty- > nosed critic in question could benefit from a nice cup of coffee > homeground [:-)], I must admit that I don't see where you get your > interpretation of "The Big Sky" from. I always thought it was about > daydreaming watching clouds. (Sound like Kate herself, don't I?) Well, let's take a closer look at some of the lyrics: They look down at the ground, missing. But I never go in now -- I'm looking at the Big Sky, ... You never understood me, You never really tried. ... This cloud, this cloud says "Noah, c'mon and build me an Ark" And if you're coming -- jump 'coz we're leaving with the Big Sky ... You want my reply? What was the question? I was looking at the Big Sky And let's recall something Kate once said about this song: "It's also suggesting the coming of the next flood how perhaps the 'fools on the hills' will be the wise ones." So who are these people who look down at the ground missing the true meaning of life? Who never understood Kate and never really tried? Who demand replies from her to boring questions? Who are doomed to drown the next time the riff-raff are purged from the Earth? Seems to me like the "frustrated rock-star failures turned sniping critics" are awfully good candidates. "No it doesn't" Doug [][][][][][][][][][] Date: Wed, 28 May 86 16:46:06 cdt From: ll-xn!uwvax!astroatc!gtaylor (G.N. Excelsis-Deo) Subject: Non-random observations Organization: (Get back to your) Work Area, Madison, WI >Random observations: These aren't random. You're merely coming up with a pattern which emerges from what initially seem to be unrelated concerns. I've tried in my usual circumlocutionary way to suggest that I share what seems to be your collection of observations. I also don't really have anything to gain from claiming that I've got anything that looks like answers and erudition, either. It might make me feel cool, but I can get that from someplace else a little better (having my wife praise my coffee or getting that next soundtrack job or getting a raise). Once you've got the pattern pinned down, this might seem a bit more like a dilemma, but one you've seen before in other places. >We can't agree whether or not rock is a fad. That'll be a problem all right. Why not talk about the fact that the concept of a fad presupposes a whole culturally elitist apparatus that nearly all of us love to manipulate at the drop of the hat. >We can't justify putting down >"commercial" music and hence cannot give good reasons why people >should listen to progressive music instead of top 40 I suspect that it's because you've not asked Wicinski and Hofmann about it, and they've had their hands full thinking about other stuff. Ditto Krajewski and Ingogly. I'm merely the sort of aging and ineffectual boffin who's read enough Frogspeak to go about answering that question by asking another one: What are we attempting to justify when we "put the stuff down". Or perhaps "who" is better than "what." It gives away the answer somewhat, though. If there's one thing that Hofmann has a real handle on, it's the notion that the labels and the stances are being co-opted and we're just sitting there like chumps the whole time. Perhaps the Hof does go in for the critical equivalent of "cut and burn" agriculture, but he's got the right idea at heart: we're looking for something besides the single crop starvation plans that put sugar in the tea of the Big Boys. How about a little subsistence ag of our own (as Candide put it...cultivate our own gardens)? >(at least without using >quasi-moral arguments "Madonna promotes pathological materialistic values" >or vague quasi-elitist statements "Residents are more challenging music >because they deconstruct pop :-)"). Here's where I think I'll draw the flames. I don't think you'll have any choice BUT to make value-based arguments. If you're deft and lucky, you'll be charged with elitism perhaps or dismissed as someone who thinks too much. If you're lousy, you'll pretend to make value-neutral pronouncements that will succeed only in making you look like a buffoon or a bigot-whether you're a Baptist, a Skin, a Trotskyite, or just another fan. At the bottom of all this, the question for me is not "What is Art?" but "What is GOOD Art?" How is Art good? A nice place to begin is to stifle the urge to capitalize the word, perhaps. >We can't argue against trendiness >because if rock is a fad, then we're all guilty of trendiness. This dilemma is a part of what my mother called "Good Trouble." It is the kind of semi-insoluble dilemma from which one emerges as either an escapist or as a better person. I prefer personally to locate myself solidly in my own time, be suspicious of my urge to make all other times look like mine (thanks to old Heidegger, but may I never have to read him again!), and puzzle out whether there is, after all, something of an "essential core of being" (We call it "soul", Aretha and I) in either the net of Greg-In-The Present, or any of those other objects out there. Those nasty and shifty PostModernists have bandied about the notion that art functions as a "system of self-knowledge". Perhaps that's what I am suggesting. >Anyone wants to try to sort this out? Where's Greg Taylor when we >need him? :-) Everyone, I hope, *should* want to sort this out. That's why most of us are here. As for me, I'm obviously still cranking out the elliptical verbal fogbanks-waiting to head home and kill off a righteous heap of Red Beans and Rice and a bottle of New Beaujolais and listen to the cassette that Hofmann sent me. Any of you ugly weasels going to Uselessnix? "As one who sees within a dream, and, later/the passion that had been imprinted stays,/but nothing of the rest returns to mind,/such am I- for my my vision almost fades/completely, yet it distills within/my heart the sweetness that was born of it."(Dante/Paradiso,XXXIII 58-63) [][][][][][][][][][] Date: Thu, 29 May 86 19:07:03 pdt From: seismo!scgvaxd!tcville!wwiii!meyer (Mike Meyer) Subject: Dr. John Organization: Hughes ISPL (The Animal Lab) Speaking of toe-tapping New Orleans piano, Dr. John/Mac Rebbanack himself has got a couple of wonderful albums out on the label Clean Cuts. These feature solo piano from the good ol' Nite Tripper, vocals on a couple of songs. They are awesome, the pressings are wonderful, and I understand that a book featuring transcriptions of many or all of the pieces is available somewhere, with or without the record, for those who want to do it themselves. One of the albums is called "Dr. John Plays Mac Rebbanack", the other title escapes me... Anyone know more about the book/course/or whatever it is? This seems like a wonderful thing to sequence in on my Mirage.... -- Mike Meyer Image and Signal Processing Lab Hughes Aircraft EDSG El Segundo, CA {seismo,ihnp4,allegra,cit-vax,cbosgd}!scgvaxd!tcville!meyer [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (06/09/86)
Love-Hounds Digest Monday, June 9, 1986, 04:58 EDT Topics: New Love & Rockets UTI3 The British music press is at it again.... Commercial Music Kate Bush trivia for today.... David Gahan To harmonize or not to harmonize... Tuxedomoon should move to the moon Re: Danielle Dax The Major Label Desert? Another piece of KTrivia [][][][][][][][][][] Subject: New Love & Rockets Date: Sat, 07 Jun 86 03:59:20 -0700 From: J. Peter Alfke <alfke@csvax.caltech.edu> New acquisition: brand new Love & Rockets 12" in a cute embossed silver sleeve. A-side: "Kundalini Express" A My-T tasty slab of guitar riff, sort of Bauhaus-meets-glam, with genuinely silly lyrics bouncing back between David J and Daniel Ash on opposite speakers. Goes through a few changes in the middle, including b-vox straight out of "Sympathy For the Devil", all adding up to a rather archly psychedelic feeling. Great fun. B-side: "Lucifer Sam" Yes, the classic Syd Barrett-era Floyd song. The original still can't be topped (has no one else ever picked up Barrett's distinctive lunatic guitar style, or was it uncopyable?), but this interpre- tation is quite worth listening to on its own merits. Incorporates the rad guitar line, but on piano. (How many covers of this song does that make now? And has ANY other Floyd song every been covered? Seems somebody did "Astronomy Domine" recently, but maybe not. Any post-Barrett stuff, or is it too politically incorrect nowadays? (Hell, the Palace, a muy-trendy LA dance club, played Led Zep's "Rock and Roll" last I was there, in between New Order and the Pet Shop Boys -- given time everything comes back. "In ten years, there will be a Cocteau Twins revival" (Robin Guthrie) ) ) Oh, yes. Back to the review. "Holiday on the Moon" A piece of fluff, but enjoyable. See most of the lyrics below. The whole thing reminds me a bit of XTC's "Dukes of Stratosphear" thingy (wigged-out 60's homage/send-up) albeit a lot less extreme. I'm really getting to like Love & Rockets, especially with the CD version of their album with the added tracks; if I weren't so damn busy with finals I'd go see them open for Siouxsie tomorrow night. Sigh. Why can't the good concerts happen during the summer? Instead we get Bob F*cking Hope and Neil Anushead-except-that-he-did-write-some-of-the-Monkees'-best-songs Diamond. Grrr. Also got a used promo 12" of "The Big Sky", which it turns out just has the "Special Single Mix" on both sides. Sounds the same except she turned the bass up. Hoo boy. Guess I'll go back and fork over 5 bux for the real 12-incher. --Peter Alfke alfke@csvax.caltech.edu "You can't get a suntan on the moon But I wouldn't mind a holiday there" [][][][][][][][][][] Date: Sat, 07 Jun 86 17:55 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU Subject: UTI3 Received "Under the Ivy" #3 today -- in an opened envelope. I think issues 1 and 2 fell out in transit. Great, huh? Anyway, there are three or four ok black-and-white snapshots from the "Big Sky" shooting and the Comic Relief shows. The editors make a little bit too much of a deal about their being "the first GLOSSY International Kate Bush fanzine", especially since to qualify even for that dubious distinction it's necessary to discount the KBC Newsletter, and since Homeground has now gone "glossy" only a couple of months since UTI began publication. Besides, the new entry into the KT fanzine market is all black-and-white, and not all that well edited (not to mention proof-reading!). Still, it is very well-intentioned. There's a lively account of the "Big Sky" shooting, and a shorter one of the BPI Awards and the Comic Relief show. [][][][][][][][][][] Date: Sat, 7 Jun 86 23:20:01 EDT From: nessus (Doug Alan) Subject: The British music press is at it again.... Sometimes I think that someone should just off the entire British music press. I just read two disgusting articles on Peter Gabriel and one on Kate Bush. The two articles on Peter Gabriel, one in Blitz and one in Melody Maker, were both written by this jerk named Jim Shelley. I realized they were by the same person by the inane writing style. In both the articles, he is extremely petty. He spends most of the time talking about how pathetic Peter is because when Peter talks he pauses and says "er..." a lot. The fact that he thinks Kate Bush is "our only genius" does not redeem him. In fact, his articles seem like parodies of all those awful articles several years back on Kate Bush, where they spent all their time attacking her because she'd say "wow" and "amazing" all the time. The article on Kate Bush is just as bad. Richard Cook insults Peter Gabriel; defames all of art-rock, the Grimm stories and the excellent movie *The Company of Wolves*; and calls Pink Floyd "the most miserable group that ever existed" in the process of attacking Kate. But I think that these quotes from the article ... Like her underwear, her guard doesn't drop for a moment.... ... The cosiness of Bush denies her any erotic standing in pop. She's a family girl, surrounded by the domestic glow of brothers and parents. If people fantasise about her, it must be as an elfin sprite, an immortal of love, not a flesh and blood thing with the smell of female. She's just too *nice* for that.... ... And, somehow, we find it all fascinating. Then we knock; but she does not let us in-a-her window. make it clear that Mr. Cook is just a pathetic lovelorn man who probably has an uncaring family and who is probably scared of any woman who is more than just a cunt. Is this supposed to be journalism? I almost feel sorry for the guy... I hope he can swim -- he's going to have to do a lot of that when the flood comes... -Doug [][][][][][][][][][] Date: Sat, 7 Jun 86 23:52:12 EDT From: nessus (Doug Alan) Subject: Commercial Music According to Melody Maker, Sigue Sigue Sputnik is going to put commercials inbetween the tracks of their next album. They hope that the commercials will completely cover the cost of the album. Those guys.... [][][][][][][][][][] Date: Sun, 8 Jun 86 00:29:42 EDT From: nessus (Doug Alan) Subject: Kate Bush trivia for today.... Did you know that Donovan sings background vocals on Kate's cover version of Donovan's "Lord of the Reedy River"? Did you know that Nick Rhodes and Simon Le Bon both say that "Hounds of Love" is the best album of 1985? (Oh boy, oh boy! I'm still not going to buy any Duran Duran records.) Did you know that there is a famous Kate Bush fan who keeps the KT logo shaved into his head? Did you care? [][][][][][][][][][] Date: Sun, 8 Jun 86 03:33:32 edt From: Joe Turner <cutter%umass-boston.csnet@CSNET-RELAY.ARPA> Subject: David Gahan But Doug, all that proves is that he has good taste... [][][][][][][][][][] Date: Sun, 8 Jun 86 04:00:48 EDT From: nessus (Doug Alan) Subject: To harmonize or not to harmonize... > From: Andrew Marvick > I think John Lorch is probably right about the harmonizer/Fairlight > issue. There's no audible sign of the harmonizer in the vocals of > "Waking The Witch", as far as I can tell. The inquisitor's voice is > distorted, obviously, but not in the way a harmonizer distorts. A digital harmonizer can be used as a pitch shifter. This is what was done. This is from the mouth of Del Palmer, so it's likely to be correct. I asked him if the judge was done by Kate singing through a pitch-shifter, and he said yeah. He said that they had tried doing the voice two different ways (1) using a harmonizer to shift the pitch down an octave (2) playing a tape at slower speed. He said that if he recalled correctly, what was put on the album was the vocals digitally pitch-shifted with a harmonizer. "Confess to me, girl!" Doug [][][][][][][][][][] Date: Sun, 8 Jun 86 04:10:18 EDT From: nessus (Doug Alan) Subject: Tuxedomoon should move to the moon I saw Tuxedomoon when they came to Boston two weeks ago and they were AWFUL, with a capital AWW! They were pretentious, in the worst of ways, pseudo artsy-fartsy, overly dramatic, and overly cute. There was no evidence at all of any of the stuff which makes their first album and the three 12-inch singles I have by them so great. Nothing at all. It would have been a total waste of five bucks and several hours, if I hadn't gotten to talk to Roger Miller, who was there, for a little while before the show. Regarding Roger Miller, he told me that "Beat of the Mesozoic" has been delayed because of problems with printing the album cover. He also told me that he came up with his wonderful cover version of "Interstellar Overdrive" when he was to open for Robyn Hitchcock and he wanted to blow Hitchcock's mind. Unfortunately, that show was cancelled. -Doug [][][][][][][][][][] Date: Sun, 8 Jun 86 04:22:37 EDT From: nessus (Doug Alan) Subject: Re: Danielle Dax > [Jim Hofpersonn:] I found a couple of her records in a friends > collection... What's the big deal here? Sounds like a low-rent Nina > Hagen just like Thurston said back in 1984... Danielle Dax sounds nothing like a low-rent Nina Hagen. Nina Hagen is great, but Danielle Dax doesn't sound anything like her. She sounds much more like a low-rent Dreaming era Kate Bush, though not really that either. If only someone would give her a fancy studio rather than the four track one she has to use... "In a Holocaust haze Your lunacy seems calm" Doug [][][][][][][][][][] Date: Sun, 8 Jun 86 05:43:03 EDT From: nessus (Doug Alan) Subject: The Major Label Desert? > [Greg Earle:] The point is, I spent 70 DOLLARS on records in > one week and STILL didn't cover all the stuff I wanted. Oh you're just so fscking Godlike, Greggie because you spend as much on records as I do. Wow! Of course, you forget to point out that a poorer person could so just as well by listening to a few decent college radio stations. > How many of YOU blow that much cash on music in one or two weeks > time?? I thought so. Guess you were wrong, and in any case, who gives a shlitz? > The land outside that somewhere is the land reserved for your vitriol and > spiteful hate; whether it be Hofmann's land of Art Rock Suffering ArTestes > and Synth Trendioids and most things English; or Peter Alfke's land of > HardBore No Thank You; or Bob Krajewski's land of English You Ripped Us Off > Bands; etc. etc. AD NAUSEUM. Or Greg Earle's land of the Major Label Desert. > F*ck This Crap. Exactly! "But we slept all night in the virgin's bed And dreamed of death" Doug P.S. And do you really expect us to believe, Greg, that in that Major Label Desert, Siouxsie's and The Cure's latest are oasises, and KB's latest is not? Gimme a break. Siouxsie's, for example, is okay. But she and the banshees have been doing the same thing for nty-n years. Not only that, but Siouxsie is a bitch. When she played in Boston, she smashed a photographer with her microphone stand. His camera was broken and he had to be taken to the hospital. [][][][][][][][][][] Date: Sun, 8 Jun 86 06:03:18 EDT From: nessus (Doug Alan) Subject: Another piece of KTrivia I forgot to mention that there is one interesting tidbit in that awful article on Kate Bush in Sounds: according to the article, John Cale says that Kate Bush's videos are the only creative work in the field. No doubt, Mr. Cale's opinion is a bit exagerated, but he's always been a cool dude, if you ask me... -Doug [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (06/12/86)
Love-Hounds Digest Wednesday, June 11, 1986, Topics: Uzi Please Don't Let Me Be Misunderstood... that isn't what *I* meant (and wimps) ONLY THE FOOLS BLEW IT! [][][][][][][][][][] Date: Sun, 8 Jun 86 21:57:30 EDT From: nessus (Doug Alan) Subject: Uzi Those recently-defunct demi-gods of the Boston music scene, Uzi have an EP coming out next week on Homestead Records. Buy or get shot! -Doug [][][][][][][][][][] Date: Mon, 9 Jun 86 14:28:51 edt From: Bob Krajewski <lmi-angel!rpk> Subject: Please Don't Let Me Be Misunderstood... A few EVOL-Hounds ago, earle@smeagol sez... The land outside that somewhere is the land reserved for your vitriol and spiteful hate; whether it be Hofmann's land of Art Rock Suffering ArTestes and Synth Trendioids and most things English; or Peter Alfke's land of HardBore No Thank You; or Bob Krajewski's land of English You Ripped Us Off Bands; etc. etc. AD NAUSEUM. When I was expounding on the vitality of 'murrican music, I wasn't trying to be parochial. Perhaps I should have made stronger my implication that the stuff can be good (in other ways) when it's recontextualized by our friends overseas. Hoffboy was the one who implied that the Limeys ``stole'' ``our'' music. The example he gave was Malcolm McClaren and the hip-hop thing. But given the dominant patterns of radio and music propagation (even in our enlightened times), I don't think you were going to hear any scratching on the radio unless a white person brought it to England, which, let's face it, has a bigger influence on the hip white audience here does than anybody from Tommy Boy records. So McLaren's shameless. Big deal. I think that music benefits from blending and clashing; the purists can call it stealing but then they won't have anybody new to dance or gab with... I don't like pigeonholing either. If you're on this list, that should be true for all of you. OK, here's what's in my recently purchased pile: Celibate Rifles: ``Sometimes'' 7"; Big Stick: 7" EP; Kate Bush: ``Dreamtime'' 7"; The Special AKA: ``The Boiler'' 7"; A Certain Ratio: To Each... LP; Camper Van Beethoven: II & III LP; George Clinton: R&B Skeletons in the Closet LP; Elvis Costello: King of America LP; Dissidenten/Lem Chaleb: Sahara Elektrik LP; The Fall: Wonderful and Frightening World... LP; Peter Gabriel: Sledgehammer 12"; Janet Jackson: Control LP; Pogues: Poguetry in Motion EP; Woodentops: Well, Well, Well LP, Cramps: A Date with Elvis LP; Prince & et. al: Parade LP. I hope the only pattern you see there is good taste (chuckle). [][][][][][][][][][] Date: Mon, 9 Jun 86 15:13:03 EDT From: Lester Bang's Orphan <hofmann@AMSAA.ARPA> Subject: that isn't what *I* meant (and wimps) >Hoffboy was the one who implied that the Limeys ``stole'' ``our'' music. Hell if I did! Well, there *was* the Ramones and, oh, wait, yeah, The New York Dolls and going back further Muddy Waters and Phil and Don, oh sh*t... THEY didn't steal it - we GAVE it to them. Oh well, I'm not complaining as to what they did. No one will probably believe this but I was really trying to stir up a hornets nest and did somewhat half-assedly. Apologies never BUT it is true that I don't listen to much "English" music (i.e. Music originating with people who are English...) except of course for Part 1 (Pictures of Pain) and Conflict UK and oh, yeah, that Heresy thingie flexi and oh sh*t, the Fall... Damn! Down the Rabbit Hole again I go. (and that's Hofboyy damnit - change my name and STILL everyone screws it up!) But I guess I meant to say is that I don't like the droners too much and that's personal taste and I don't mean to insult anyone's personal taste anymore ... if there's anything I've learned in the last coupla days/weeks is that this is a worthless exercise benefitting no one (Don't TAKE THAT as an APOLOGY! though! NEVER!!!) I read an opinion that the best English group is the Scientists and they're from Australia ... hmmmmm.... >I don't like pigeonholing either. If you're on this list, that should be >true for all of you. OK, here's what's in my recently purchased pile: But WE ALL DO IT... so you have to ACCEPT it, right? >Big Stick: 7" EP Bitte - ein Addresse! and cost! (please mail to me personally at, well, you know the address...) And oh yeah - what do YOU think of this, poisanally? >Janet Jackson: > Control LP; And how do you find this "gem"? I'm curious that's all (and I won't fricasse you for your poisonal tastes)... { Oh yeah, while I'm here - congrats to Alfke for his Bonzo posting in net.musak - hey, dude, youse ain't a wimp afterall - 'cept for that funny shirt you're wearing... but I'll get you to admit sooner or later that EVERYTHING is post-modern ... } [][][][][][][][][][] Date: Mon, 09 Jun 86 20:41 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU Subject: ONLY THE FOOLS BLEW IT! STOP PRESS: "Agent Orange Song" came today. This is the recording of a song about the Viet Nam war written by Muriel Hogan, which is included in a tape of Viet Nam veterans' music compiled by Country Joe McDonald, entitled "Tape Talk #4". Tower Records' "Pulse!" Magazine mentioned as an outstanding cut the a cappella rendition of "Agent Orange Song" by Kate Bush. The song is sung by Kate Wolf (American post-hippie folk-singer). There went $8.50 down the drain, along with all of IED0DXM's expectations. Doug thought L-Hs might appreciate the following bit about The Ninth Wave, taken from a letter from IED to Break-Through. It's an interpretation of one of the teensy-weensy details in the recording. What similar contributions can the L-Hs make in response? >Frank brings up another extremely interesting point about >the barely audible details in "Watching You Without Me", on >which I think I can shed some light. At the very beginning, >two male voices can be heard speaking. After many fruitless >listenings, it suddenly hit me what was going on. If you >count along with the beat from the very first down-beat of >the recording, voicing only the first beat of each bar (that is, >voicing ONE {two-three-four} TWO {two-three-four}, etc.) up to >eight -- the length of the rhythmic introduction of the song -- >you will then have the solution. Almost immediately you'll hear >one musician ask "What's that?" He means, "What bar is that?" >Then, at bar four, that same musician calls out "four" -- but >he calls it out on the third, rather than the first beat of that >bar. Another musician then confirms the beat, on the FIRST beat >of bar five. Following this, you can hear them counting out the >first beats of bars six, seven and eight in unison. This was >probably recorded quite early on in the rehearsals, and probably >at the original "demo" stage of recording. However, knowing Kate's >perfectionism, and the classic character of this exchange, >it's just possible that it was actually a staged re-recording >of an incident similar to many that must have occurred during the >original demo stages of the recording. [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (06/13/86)
Love-Hounds Digest Friday, June 13, 1986, 02:39 EDT Topics: Words Re: Puppeteers EMI, RLYL Set on KALX Siouxsie Without the sleaze Bill? [][][][][][][][][][] Return-Path: EMAILDEV%UKACRL.BITNET@WISCVM.ARPA Via: UK.AC.SUSX.VAX2; 10 JUN 86 12:31:48 BST Date: 10-JUN-1986 12:16:16 From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK Just a few quick responses here: Doug mentioned that "So" wasn't recorded at Peter Gabriel's home studio. Although various studios are mentioned, one of them, "Real World Studios" is (I think) the name of his home studio, and that's where the bulk of the recording took place. I think this is correct, 'cos on the "Birdy" soundtrack, it says "A Real World Production", and also that it was recorded at "Real World Studios". However, since most of the stuff is instrumentals from "Security" (which was recorded at home), use your rules of formal logic to deduct where "So" was recorded.... (I could be wrong, though. I've never been good at logic) Speaking of somewhat trivial technicalities, does anyone else know more about the legal aspect of liscencing technicalities in regards to EMI's use of Kate's master tapes (made by her company, Norvercia)? I'm interested in music and the law, and was wondering if anyone knows of other similar arrangements (I think Paul McCartney, Duran Duran, Queen, and Michael Jackson all own their master tapes, and liscence them to the record company. Oh, and David Bowie. It seems like this is a particular trend with EMI. Any ideas?) As far as the "Under the Ivy" fanzine goes, I'm personally staying away from it, since it sounds pretty shady. Apparently, it is run by Andrew Whiteside, who has been a Kate fan for a long time, but who is also practicing to be a rock critic along side with Richard Cook! Several years ago, he sent an article in to Homeground, completely slagging off "Never for Ever" and most of Kate's other albums in the same sort of Richard Cook style. When Peter Morris questioned why he was sending such an overly negative review in to Homeground (and asked him to tone it down somewhat), Andrew ran off like a bratty kid and started up his own fanzine. I have never read an entire article, but someone read me his "review" of "Hounds of Love" in which he ran down all the songs, saying, for instance, that "Running up that Hill" is such a boring song, that everyone he knows wants to skip the needle over it and go on to the second song! Actually, I find it to be one of her most enduring songs, that gets better with each listen. (Unlike the second song!). One really weird thing, though, is that it literally sounds to be running at a different pace every single time I listen to it! At first I thought that the 12" and the cassette, and the CD were mastered at different speeds, but someone at the convention assured me that he counted the beats, and they are all the same. However, when I put it on this morning, it seemed to be running DOWN that hill, it was going so fast! (And it can't be the turntable 'cos I have a portable CD player). Is this an aural illusion? Has anyone else experienced the same thing? Hugh [][][][][][][][][][] Date: 860610 14:19 MESZ From: <FP98%DMARUM8.BITNET@WISCVM.WISC.EDU> Subject: Words Hi, perhaps somebody of you has the words (lyrics) of the songs of HoL in his reader, so would he (she?) be so kind to send them to me (PUNCHED CLASS M)? Thanks Ulrich <FP98@DMARUM8.BITNET> [][][][][][][][][][] Date: Tue, 3 Jun 86 10:35:38 edt From: Henry Chai <ihnp4!utflis!chai> Subject: Re: Puppeteers >Really-From: Joe Turner <cutter%umass-boston.csnet@CSNET-RELAY.ARPA> >As a summary: Puppeteers are a two-headed, three-legged alien race whose >noteable features are brilliant spacecraft design and unbridled cowardice. At the risk of being flamed for posting a spoiler without warning, :-) a Puppeteer can use its powerful third foot to deliver a lethal kick. --henry [][][][][][][][][][] From: allynh@calder.berkeley.edu (Allyn Hardyck) Subject: EMI, RLYL Date: Wed, 11 Jun 86 01:01:41 PDT The friend who works at EMI lent me a promo video featuring about 10 EMI artists. Let's see, there was: Brian Setzer - "The Knife Feels Like Justice" - basically like what the guys in SPIN said it was like. I forget who, but the guys who do "Let's Go All The Way" - eh, [Sly Fox, NYC band, r&b influence --gregbo] ok I guess. Talk Talk - "Life's What You Make It" - real cool. Boy, these guys sure have got away from their original "cool white suits, slicked back hair, thin tie high tech" image. They had another video too from the album, forget what. Greg Kihn - feh. Red Hot Chili Peppers - forget what, but manic as usual. From the new album; apparently the unedited version, socks and all. Pet Shop Boys - "West End Girls" - what's not to like I guess... John Lennon - 1972, doing "Come Together" live. and ... "Cloudbusting". Yes, very nice, touching, heartwarming etc. He also lent me a shorter videotape, of Sigue Sigue Sputnik's "Love Missile F1-11". Ugh. I feel sorry for EMI, having shelled out something like $2 mil for these guys, I've heard. They're fixing to be the new Frankie. Machine guns, _Clockwork Orange_, "designer violence," and _Scarface_. My poor friend had to show a 28-minute SSS documentary at this show at the Omni in Oakland recently: no music, understand, just interviews and The Making of SSS (from the ground up, pick the most photogenic people THEN teach them to play). Well I guess the bar did better business. Descendents / Catheads / Buck Naked / Rain Parade / Square Roots / Steve Wynn / Mr. T Experience @ Omni, Oakland, May 17 Got in free thanx to Bill the EMI guy, first place I had to go to where there was a line of even semi-luminaries trying to get in: "Hi, I'm with KFJC, I'm on there I thiinnnk.... Yah, right there." "KALX..." "Maximum R & R..." Mr T. Experience were unadulterated teen garage punk and as such not very interesting, time for a beer... The Omni touts itself as the newest music "complex" in the Bay Area, which means 2 large bars, stage, balcony, a weird little carpeted area to wander around in drunk, and what must be a vintage 1976 disco floor, well scuffed plexiglas covering multicolored Xmas bulbs (more on the walls) and a video screen. Well, Steve Wynn was on stage (and screen) at that time with an acoustic guitar doing Dream Syndicate and some Dylan while occasionally berating the audience, and needless to say the 10 or so of us in there just sat on the edge of the floor drinking. S Then the S S video. This British guy Carl I know was there, quite rightly termed them "wankers". (I hate it when Americans use the term.) Square Roots are a duo, acoustic guitar and standup bass, well known around the UC as they play on Sproul Plaza a lot. Comparisons to the Femmes of course, but they are a little more upbeat and squeaky clean, smile a lot more. Rain Parade played a set w/out drum kit (just tambourine), do better at the Summer of Love sound than most, can't really be more explicit... I had to drive someone back to Barr. in a truck and come back. Buck Naked - new Cramps? They're apparently from Nebraska, lead guy shed his coat early on, had black bikini bottom (well and 10-gallon hat and lots of things hanging round neck), mouth-droppingly risque lyrics, high-speed. In other words, good fun. Great for your next party or get-together. Catheads - basically the same as when I previously reviewed, but I think I liked them a bit more than before. Did high-speed "Hurdy-Gurdy Man" again... Descendents - wow it actually took a couple of songs for the pit to open and it didn't last for long - Bay Area audiences are confused. Did all the hits - "I'm Not A Loser" etc. Milo in tennis shorts, looks like one of those "ordinary f*ckin' people." Red Lorry Yellow Lorry @ I-Beam, SF, April 21 Missed opening act... Danny who came with sed "This must have been what a Joy Division show was like." Big pudge guy on lead guitar which from where I was standing was inaudible, drummer helped by machine, bassist kinda looks like the guy in F/X, lead singer spits the lyrics out so caustically looked like his lip was bleeding. "Talk About the Weather", "Elevation". I wouldn't say just like JD, and there's a case to be made for the elements of bone-picking in their music, but the intensity in their pissed-off attitude was undeniable. Little worrisome - the stuff they were playing before they came on included, between some psychedelicy tunes, BOCs "Fear The Reaper." And it worked, is the troubling thing. This and DMCs covering "Walk This Way." And of course Redd Kross. Good thing there was a thing in the paper Sunday on the milestones of the 70s - good reference if you start to wonder if you've stumbled into that forbidden zone... "Play that funky music white boy" - allyn [][][][][][][][][][] Date: Wed, 11 Jun 86 02:39:27 PDT From: allynh@calder.berkeley.edu (Allyn Hardyck) Subject: Set on KALX You guys woulda loved the set they just played here... Hawkwind, Jane Siberry, Spirit, Big Black, Moby Grape... [][][][][][][][][][] From: allynh@calder.berkeley.edu (Allyn Hardyck) Subject: Siouxsie Date: Wed, 11 Jun 86 03:09:37 PDT Siouxsie and the Banshees / Love and Rockets @ Henry J. Kaiser Convention Center, Oakland, June 1 We were the only people in the audience without mousse, dye or black clothes. Jeezus. First Stooges album on PA, again the "were these people even alive then?" phenom. Love and Rockets very disappointing, I'm sorry to say to those of you who I know like them. No Bauhaus or Tones on Tail songs, and their new stuff just doesn't cut it. Oh yeah, Daniel Ash looks real cool in purple velvet robe with fur collar, and he got off some pretty neat distortion effects, but in all not what their history shows they could be. Siouxsie's the total center of attention, Severin and Carruthers off the spotlight in their paisley tunics. Started off with "Cities in Dust", she wearing a red top with hearts on it, lot of stringy things adorning imperiously. Black leather hip boots. Most of the stuff was from "Kiss in the Dreamhouse", "Hyaena" and I guess "Tinderbox" (I haven't got it yet). "Christine", "Happy House", "Melt!", "Bring Me The Head of the Preacher Man," "Night Shift". "Israel" and "Spellbound" as encores. No "Hello San Francisco" or the like, the occasional fluttering "AWK AWK AWK!" from Siouxsie was all. Great dance moves. Neat ultraviolet lighting fx and back lighting over by Budgie. One of our number luded out and had to be taken off the floor for a rest. "The head doctor is a Very Distinguished Arabian Jack-Off Specialist Who Has Been in the Sun Too Long. No Humor." [][][][][][][][][][] From: allynh@calder.berkeley.edu (Allyn Hardyck) Subject: Without the sleaze Bill? Date: Wed, 11 Jun 86 03:31:28 PDT Did you really mean Chris and Cosey were less sleazy than TG, or were you doing a double entendre on Peter Christopherson's nickname Sleazy? If the former, well... Chris and Cosey / Club Foot Orchestra @ Wolfgang's, SF, May 8 (another old review, sorry) Another show went to with Danny. I was recently shown an old copy of the NME Singles review section mentioning Danny's band, Stukas Over Bedrock... Well golly? Well we both got pretty smashed, me buying the drinks cuz he forgot his fake ID, cuz Club Foot was pretty dull. I don't care if Snakefinger's in them or that they backed up the Femmes, by themselves they're just too loungy. C & C passed through the crowd before the show, Chris first. And on stage, it was Chris on the left with the keyboard bank, Cosey on a chair to his right, with her guitar case full of effects boxes, and her cornet. Very "Crackdown" era CV it seemed to me. And the videos - reminded me of Film 2 last fall, bits from "Un Chien Andalou" and Rene Clair's "Entr'acte". North Indian dancing, and let me tell you it's one thing to have Prince undulating on stage on a brass bed, it's quite another to watch footage of Cosey performing fellatio on these massively endowed males. Also tantra cult ritual aerobics. Smiled at the close of the show, said "Bye now" like you were leaving their Bed and Breakfast inn. CTI CTI CTI CTI CTI CTI CTI CTI CTI CTI CTI CTI CTI CTI [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (06/14/86)
Love-Hounds Digest Friday, June 13, 1986, 22:20 EDT Topics: responses to responses etc. [][][][][][][][][][] Organization: The MITRE Corp., Bedford, MA Date: Wed, 11 Jun 86 09:12:43 EDT From: Chris J. Valas <cv%linus@mitre-bedford.ARPA> Posted-Date: Wed, 11 Jun 86 09:12:43 EDT > S >Then the S S video. This British guy Carl I know was there, quite rightly >termed them "wankers". (I hate it when Americans use the term.) Well, Allyn, THIS American lived there and I'm going to continue to throw the term around indiscriminately. Besides, "onanist" just doesn't roll off the keyboard in quite the same way as a randomly placed "wanker" does. "Ooo, ooo, I'm cumming." "Yeah, well, I'm going...." Chris [][][][][][][][][][] Return-Path: EMAILDEV%UKACRL.BITNET@WISCVM.ARPA Via: UK.AC.SUSX.VAX2; 11 JUN 86 10:55:47 BST Date: 11-JUN-1986 10:54:35 From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK NEW KATE BUSH COMPILATION VIDEO !!!!! Just picked up the latest issue of Melody Maker, with a headline on the front saying "WIN KATE BUSH VIDEOS!!" Inside, there is a contest and a form that you send in - anyway, here's what it says; (NOTE: before you all rush to apply for the raffle, keep in mind that the US (NTSC) television system is completely incompatable with the UK (PAL) video system, so the follwing is only for possible hard-core fanatics who would be willing to buy a PAL tv system and vcr, or have it converted over ($$$) or do a camera transfer. Anyway, it should probably be released in the US at some point in the future...) "You lucky things, you. This week your caring, sharing MM is offering half a dozen of you fortunate punters your very own copy of "THE HAIR OF THE HOUND" Kate Bush's new video. A visual update of her stunning talent, "Hound" features her last four hit singles, "Running Up That Hill," "Hounds of Love", "The Big Sky", and "Cloudbursting" [sic] [I think that visual and mental tests should be performed to determine WHY everyone insists on sticking an "r" in there!] - all etheral gems to help you over the World Cup blues. "All you have to do to qualify for the ed's final selection is answer the following dead easy questions correctly: 1) Which famous actor appeared in the "CloudbuRsting" video? 2) On whose number one album does Kate appear? 3) What was Kate's first hit single? (If you can't answer those questions, then why are you subscribing to LH?!) ----------------------------------------------------------------------- Name: ________________________________________________________________ Address: ______________________________________________________________ 1) ____________________________________________________________________ 2) ____________________________________________________________________ 3) ____________________________________________________________________ Send your entries to Kate Bush Competition, Melody Maker, Berkshire House, 168-173 High Holborn, London, WC1V 7AU. Closing date: FIRST POST, MONDAY, JUNE 28, 1986. The competition is not open to IPC employees or their relations. Incidentally, there is an article on Youth in the same issue that mentions his contribution to "the Big Sky" several times. Hugh [][][][][][][][][][] Date: Thu, 12 Jun 86 00:24:43 EST From: hsut@ec.purdue.edu (Bill Hsu) Subject: responses to responses etc. < allyn mentions my remark about CTI being TG w/o the sleaze > Hmmm... I didn't catch the double entendre... my original intention was to say Chris and Cosey were less sleazy than Throbbing Gristle. When I become a famous (female?) singer/songwriter, I'm sure some interviewer will catch me on that :-) :-). I haven't seen any CTI videos, so I didn't know the sleaze was still there, but kept on the visual level... < Greg Taylor posts usual interesting article on my "random" (heh) observations > Having been on this list for all but this first few weeks, I am aware of Hof and Tim's arguments against Top 40 mush. I was (still am) trying mumble something on the topic without making quasi-moral judgements. I'll have to chew on this for awhile... Thanks to Peter Alfke for the info about Poo-bah Records in Pasadena. Neat place, reasonable prices (they even price their indie releases from the US like domestics and not imports, unlike many other places), but I was (again) in an incredible hurry and only picked up Homotopy to Marie by Nurse with Wound. A little disappointing, much less intense than Brained by Falling Masonry (which I must get my hands on... any pointers?) Bill Hsu [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu
gds@mit-eddie.MIT.EDU (Greg Skinner) (06/16/86)
Love-Hounds Digest Monday, June 16, 1986, 03:47 EDT
Topics:
son of EVOL fanzine drivel
confused (contains edited obscenity :-)
Dance This Mess Around
Free Catalog
[][][][][][][][][][]
From: allynh@calder.berkeley.edu (Allyn Hardyck)
Subject: son of EVOL fanzine drivel
Date: Fri, 13 Jun 86 01:21:33 PDT
from the _Industrial Culture Handbook_ issue of RE/Search magazine:
LIBRARY OF GENESIS P-ORRIDGE
...
A Scanner Darkly / Philip K. Dick
Now Wait for Last Year / P.K. Dick
...
Also: some Kerouac, lots of Gogol, Sartre, Lovecraft, Poe...
120 Days of Sodom / de Sade
Mein Kampf
Aleister Crowley and The Hidden God / Kenneth Grant
Ritual Magic: An Occult Primer / David Conway
Satan Wants You / Arthur Lyons
The Killing of Sharon Tate
Key of the Mysteries / Eliphas Levi
Wanted! The Search for Nazis in America
Nuclear Survival Handbook / B Popkess
None Dare Call It Treason
The Underground Film
Autobiography of a Yogi / Yogananda
Dictionary of Gynecological History / Berkeley & Sonney
Swingin' Dors / Diana Dors
A Century of Murderers
Heavily Tattooed Men & Women / Spider Webb
Uniforms, Organization and History of the Waffen SS (4 vol / Bender & Taylor)
Funeral RItes / Jean Genet
Seven Dadaist Manifestos / Tristan Tzara
Post-Mortem Procedures / Gresham & Turner
Ascent of Man / Bronowski
Great Crimes of San Francisco
I'm Jack
Number of the Beast / Heinlein
Cosmic Trigger / Robert A. Wilson
by Aleister Crowley: Book of Lies
Book of Thoth
Book of Wisdom or Folly
Commentaries of AL
Complete Astrological Writings
Confessions
Crowley on Christ
Diary of a Drug Fiend
Equinox / 10 volume set
The Eye in the Triangle
Gems from the Equinox
I Ching
The Law Is For All
Liber Aleph
Magick in Theory & Practice
Magickal Diaries of A. Crowley
Magickal Record of the Beast 666
Moonchild
777
White Stains
Yoga & Magic
The Vision and The Voice (so that's where the Kommunity
FK album got its title. Anyone
else into the Independent
Project Records artists? Great
covers....)
---------
Recent record purchases:
Swans "Time Is Money (Bastard)"
Sisters of Mercy "Temple of Love"
Art of Noise _In Visible Silence_
Siouxsie and the Banshees _Tinderbox_
Ministry _Cold Life_
_Twitch_
Abecedarians _Eureka_
allyn
[][][][][][][][][][]
Date: 13 Jun 86 (Fri) 12:20:56 EDT
From: Robert Goldman <rpg%brown.csnet@CSNET-RELAY.ARPA>
Subject: confused(contains obscenity)
Was reading Allyn Hardyck's posting about the contents of RE/Search
magazine, and was very interested. Can you please let me know how to get in
touch with them, which number this issue is, and how much it costs?
Also, for what it's worth, I'd like to second Doug's review (pan, actually)
of the Tuxedomoon show at the Paradise. They were wretched; they were
everything Hofface hates about modern synth-pop. Euro-wankers, nothing but
haircuts and pretentions `perfummance AHT'. But wait! They're American!
So it isn't the continent, after all. It must be the haircuts.
And where the f*ck do they get off kicking us out at midnight on FRIDAY
NIGHT?
"Look, they're leaving. You f*cks. I hope you GET TO WORK ON TIME."
-- Butthole Surfers (from Live PCPPEP, filtered by a weak memory).
Bad album I bought:
Troublefunk, _Saturday_Night_live_ (or something like that, Live! Saturday
night, something. . .)
Not really bad, but I thought that they would be worlds better, because the
stuff of theirs that I'd heard on the Go-Go anthology album was so good.
Just sort of flags in the long run. You let the disk go, and you don't have
to pay much attention to it. Worth the $3- I spent on it (used), and you
can play it at a party where people dance, but a disappointment nevertheless.
Anyone care to report on _A_Date_With_Elvis_? Has the lineup of the Cramps
changed? The picture on the back of ADWE was different from the one on the
back cover of _Can_Your_Pussy_Do_the_Dog_. Also, why can I only find import
copies of ADWE? $7.99 is an awful lot for my nth Cramps disk. . .
Not a disappointment review: The Sun Ra Arkestra at Lupo's Heartburn Hotel
in Providence, RI
A magnificent show. Fantastically talented, undernourished elderly
musicians with an influx of new talent under the direction of L. Ron
Hubbard, no, Jim Jones, no,. . .Dr. Gene Scott? Some wierd genius who
thinks he's from Saturn. Great show, with examples of jazz styles from many
periods of the art. More electro-funky than I had expected; I missed the
squeeks, squonks and farts, but I'm a snob. Danceable, accessible, but
performed with skill. A pleasant change from the usual d and a music, which
is `take a nice groove, some undertalented hacks, add water, and voila!
(don't let it sit too long, it'll go sour)' Highly reccommended.
Flipped through the new RS and learned all about Madonna. Did you know that
she can be photographed in clothes from many periods of history? did you
know that Sean really loves her and tries to protect her privacy, but
doesn't use the most efficient methods?
One piece of truth in the rag: They say that the new Art of Noise record
sucks. They're right. It's no fun.
ZIPPY GOES TO THE DOCTOR:
I am the psychotherapist. Please, describe your problems. Each time
you are finished talking, type RET twice.
Yes, but will I see the EASTER BUNNY in skintight leather
at an IRON MAIDEN concert?
Is it because will you see the easter bunny in skintight leather at an
iron maiden concert that you came to me?
Everybody is going somewhere!! It's probably a garage sale
or a disaster Movie!!
Why do you say that?
Inside, I'm already SOBBING!
Earlier you said will you see the easter bunny in skintight leather at
an iron maiden concert?
I'm not an Iranian!! I voted for Dianne Feinstein!!
Maybe your plans have something to do with this.
TAPPING? You POLITICIANS! Don't you realize that the END of the "Wash Cycle"
is a TREASURED MOMENT for most people?!
Does it bother you that the end of the wash cycle is a treasured
moment for most people?
Boys, you have ALL been selected to LEAVE th' PLANET in 15 minutes!!
I don't understand.
..are the STEWED PRUNES still in the HAIR DRYER?
Is it because of your life that you are going thru all this?
I'm a nuclear submarine under the polar ice cap and I need a Kleenex!
What makes you believe you might want to have this kleenex?
BITNET rpg@BROWNCS.BITNET (to IBMS:BROWNVM)
CSNET rpg@Brown.CSNET
ARPANET rpg%Brown@csnet-relay.ARPA
UUCP {decvax,ihnp4,allegra}!brunix!rpg
P.S. My contribution to the debate about the review of kate bush:
"But isn't it TRUE that Pink Floyd is the worst band of all time?"
[][][][][][][][][][]
From: Jeff Dalton <jeff%aiva.edinburgh.ac.uk@Cs.Ucl.AC.UK>
Date: Fri, 13 Jun 86 01:57:44 -0100
Subject: Dance This Mess Around
Suddenly there are all these B-52s albums out there, so many in the local
HMV that there's a separate sign for each title in the bin, and they're only
3.99 (pounds), almost a reasonable price. Later, I went into Ripping Records
where this song about cake was playing...
... and I thought: this is a great song, I wonder who does it...
[][][][][][][][][][]
Date: Sat, 14 Jun 86 0:58:51 EDT
From: James B Hofmann <hofmann@AMSAA.ARPA>
Subject: Free Catalog
K Cassettes
POB 7154
Olympia, WASHINGTON 98507, USA
It's free... what can you lose?
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.UUCP (06/19/86)
Love-Hounds Digest Thursday, June 19, 1986, 03:52 edt
Topics:
Recurdz
some recent magazines
[][][][][][][][][][]
Date: Sun, 15 Jun 86 10:31:58 EDT
From: salamir%UMass.BITNET@WISCVM.WISC.EDU (Ron Lussier -- SalNet
Hacker)
Subject: Recurdz
Haven't been on the net for a while..(account died, and currently in
New Jersey for the summer)...
SOme records I got since school ended...
DAVID J's LP, "On Glass" (On Glass Records, of course!)...
David J = Bass player from Bauhaus, in Love and Rockets, etc...
Good album, but don't expect it to sound *like* Bauhaus (only
one song sorta does - "I Can't SHake the Shadow of Fear")
The music has more acoustic guitar, piano, and the like...one
track even has the Jazz Butcher...
The Mission's EP, "Serpents Kiss" - sounds exactly like the
Sisters of Mercy (I wonder why?!?! *snicker*) need I say more?
But good stuff nonetheless...
Love and ROckets' EP "Kundalini Express" is...GREAT! THe usual
distortion guitar....and a cover of "Lucifer Sam" on the B-side.
and for some unknown reason, I purchased a copy of Sigue Sigue Sputnik's
"21st Century Boy"... and...it isn't much better than "Love Missile
F1-11"... in fact, IT SOUNDS pretty much THE SAME...just different words.
Even the B-side, "Buy EMI (4 Million Pound Mix)" sounds like the B-side
of Love Missile!!! (ARGH!)
Until I get on some compuiter system again...
Fidelis Orozco
USED TO BE: LOveCat@UMass.Bitnet
[][][][][][][][][][]
Return-Path: EMAILDEV%UKACRL.BITNET@WISCVM.ARPA
Via: UK.AC.SUSX.VAX2; 16 JUN 86 13:53:55 BST
Date: 16-JUN-1986 13:51:24
From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK
The following concerns the Kate Bush picture disc. I posted an
article to LH about it several weeks ago, and deleted it, but it
never went through. However, I kept a printed copy of the file,
so here it is:
(Date: June 8, 1986)
I finally got a hold of the KB picture disk of "the Big Sky".
In fact, I got the very last on e in the HMV shop in Brighton!
(However, when I went down the street to Virgin records, they said that they
were still waiting for the order to come in!)
I have to admit, it's somewhat of a disappointment in that the so-called
"stunnin" picture of Kate is the very same one that has been used over and
over in many articles, not to mention the "album issue" cover of the KBC
newsletter - namely, the "hands on temples" face-shot. Yawn.
Well, ok, it's not that it's a bad picture...it's just reflects the ongoing
tendency of the KBC not to go out of their way to dig up extra special
pictures for use in special "collectable" items. In fact, I would have
thought that they would put out more picture discs, etc, in light of
the large number of collectors.
Since this specific picture has often been used before, it was strange that
they would re-use it for the picture disk. The back of the pd is white, and
just has a small "Laura Ashley" style face-shot, with Kate in the frill dress.
Still, the pd is obviously worth searching out in light of the rarity of
such items. (It doesn't sound like EMI printed up all that many of them).
Hugh
[][][][][][][][][][]
Return-Path: EMAILDEV%UKACRL.BITNET@WISCVM.ARPA
Via: UK.AC.SUSX.VAX2; 16 JUN 86 13:56:02 BST
Date: 16-JUN-1986 13:52:07
From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK
Cocteau Twins CD's:
I was just in the HMV shop, and saw CD's of the following Cocteau Twins
albums:
Tiny Dynamite/Echos in a Shallow Bay
Treasure
The Pink Opaque
Hugh
[][][][][][][][][][]
Date: Mon, 16 Jun 86 10:33:04 EST
From: hsut@ec.purdue.edu (Bill Hsu)
Subject: some recent magazines
Last month's Spin: they had a full page Butthole Surfers review and a
full page Surfers interview, and they wouldn't put the Surfers' name
on the cover. Are these guys afraid they'll scare the trendies away
or what???
This month's Spin: so Spin decides to carry Jimbo. Does this mean I'll
have to buy every issue now? (please, no, no... :-) The first instalment
looks much slicker and comprehensible (heh) than older Jimbo strips
I've seen...
The latest OPtion: Interesting (but too short) interview with Fred Frith.
Also Chris Cutler and Tom Hodgkinson (sp.?), and differing views from
Jon Hassell and Wim Mertens (sp.?) on Third World influences on new music.
Bill Hsu
[][][][][][][][][][]
Return-Path: EMAILDEV%UKACRL.BITNET@WISCVM.ARPA
Via: UK.AC.SUSX.VAX2; 16 JUN 86 16:49:49 BST
Date: 16-JUN-1986 16:38:09
From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK
I just sent a message to Doug Alan concerning this, but I think
I'll make it a wider posting, to increase my chances of success.
Basically, I'm looking for a Japanese Import CD of Joni Mitchell's
1982 album (on Geffen Records) of "Wild Things Run Fast."
Now I KNOW that it exists, because I saw it in Tower Records
on Sunset Blvd. in 1983, but at the time I didn't have my CD player
yet, and it was also priced around $18.00, which, at the time,
seemed pretty high, so I didn't buy it.
Of course, I have cursed the day ever since, because I have
been searching for it constantly, but havn't seen it ONCE since then.
Does anyone know of any good Japanese import CD firms?
If anyone happens to stumble across a copy of it, could you buy
it for me, and I will gladly reimburse you for whatever it costs,
or if you are into collecting Kate Bush stuff, I'm sure I'd have
some rare stuff that you would like in exchange.
Reply to: ssud3%uk.ac.sussex.vax2@ucl-cs.arpa
or to ed191-bq%ucblilac.arpa
(ed191-bq%lilac.berkeley.edu)
(By the way, that's a "Q" as in "Quail" at the end of the username)
I'll be at the latter address as of July 20.
Thanks,
Hugh
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.UUCP (06/22/86)
Love-Hounds Digest Sunday, June 22, 1986, 02:00 EDT
Topics:
Cathy, etc.
[][][][][][][][][][]
Date: Wed, 18 Jun 86 22:09 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: Cathy, etc.
I reluctantly agree with Hugh that the new
picture disc seems a pretty routine affair.
Not much inspiration behind it; but who cares?
It's still another brick in the great edifice of art
and persona that is Kate Bush, and as such is welcome.
Musician magazine includes a capsule review of So
in the new issue, the one with Peter Gabriel on the
cover. In it Kate is singled out not as a high-point
but as a low-point on the album. "Absurdly mannered"
are the words used. Some other U.S. magazine (forget which
now) called her singing "creamy" -- almost as dumb
a term, though not meant as a criticism.
Just depleted life's savings on the top-of-the-line Sony
8mm table-top VCR. Now recording record collection (1700
plus and a real pain in the neck at this point) onto
cute little 8mm video-cassettes -- used as an audio-recorder,
this model can fit 24 hours of music onto ONE cassette; amazing
quality, too, and virtually no machine or tape noise; nearly like a CD.
The thought of putting every audio shred of Kate Bush on one
cassette (including every bit of interview and every cover version)
was too hard to resist. Hoping to make up the capital loss by
selling record collection (save for KT) when it's all
transferred.
Received the notice for John's new book on Kate, entitled
"Cathy". Sounds very much as expected: great care taken
over the printing, binding, paper, color processing ("duo-tone"
prints of black and white photos); highly personal, hermetic
shots of the little girl -- all very Victorian/Aestheticist/
Arts and Crafts movement/quasi-Pre-Raphaelite/Lewis Carrollish.
In short, it sounds very promising. About 30 Pounds including air mail.
In the process of re-recording her complete works I was able to hear the
EARLINESS of her first LPs much more clearly (having been so caught
up in Hounds of Love and The Dreaming for so many months now).
Even Never For Ever is absurdly YOUNG-sounding Kate Bush.
There is absolutely no question that,to date, The Dreaming and
Hounds of Love constitute, collectively, the greatest achievement in 20th
century Western music.
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edugds@mit-eddie.MIT.EDU (Greg Skinner) (06/23/86)
Love-Hounds Digest Sunday, June 22, 1986, 17:55 EDT
Topics:
New Kate Bush duet
S'more reviews of Our Kate
Archiving LPs on Video Tape
Cathy
Re: confused (contains obscenity)
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Via: UK.AC.SUSX.VAX2; 19 JUN 86 12:18:09 BST
Date: 19-JUN-1986 12:16:30
From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK
NEW KATE BUSH DUET, GREATEST HITS PACKAGE, NEW SONGS, VIDEO COMPILATION, ETC.
Here's the latest news from today's new issue of RECORD MIRROR (June 21):
1) The new Big Country album, entitled "The Seer," which is to be released
on Monday (June 23rd), contains a Kate Bush duet on the title track.
(I'm pretty pissed that the KBC didn't send out a notice about this...)
2) Well, I think I'l just copy down the section from "Chartfile" which
has the rest of the Kate news:
"A fortnight ago I stated that Kate Bush, Madonna and Tina Turner were the
only women to take more than three hit singles off an album. As I'm now
reminded by David Ashton of East Molesey and Charles Chan of no stated abode,
Donna Summer had four hits off her album, "I Remember Yesterday."
We should note, too, that Kate Bush's "Hounds of Love" album which I
conservatively estimated as selling 400,000 copies, has in fact sold over
600,000 copies. Kates all-time best-seller remains the introductory "The Kick
Inside," which sold over 930,000 copies. EMI will undoubtedly be hoping for
Kate's first million seller from her forthcoming (November) greatest hits
package, which will include a couple of new songs. Meanwhile, Bush's
exquisite duet with Peter Gabriel, "Don't Give Up," has been confirmed as the
next single from his platinum album, "So".
- Alan Jones, Chartfile (Record Mirror).
3) "The Hair of the Hound" video compilation has just been released here.
It turns out that Kate directed both "Hounds of Love" and "The Big Sky"
on her own. The inside of the cover has a great photo from the CB video.
The cover artwork is basically exactly the same design and set-up as the
album, except that the album title has been replaced with the video title.
The back has a photo from the video for "Running up that Hill."
What with the Peter Gabriel and Big Country duets about to be released,
and the upcoming greatest hits package and extra singles, I can't exactly
see her profile fading very quickly in the near future...
Hugh
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Date: Thu, 19 Jun 86 12:00:10 EDT
From: nessus (Doug Alan)
Subject: S'more reviews of Our Kate
I subscribe to Matter and the latest issue (June 86) just came in the
mail....
Tusco Vee of the Meatmen likes Danielle Dax. Everybody loves The
Butthole Surfers.
Matter is the last place in the world I would expect to find a review
of *Hounds of Love*, but here one is 9 months after the album was
released:
If Kate Bush fronted an anonymous band on 4AD (the label whose
over-the-top production techniques she seems to be emulating
of late) [...]
I think this guy is putting the chicken before the egg....
[...] and put out records sporting jackets that look like
baggies full of wet tar instead of big pictures of her own
face, maybe more chronic hipsters'd be willing to acknowledge
the slightly skewed genius she very apparently possesses.
M'self, I've always been glad she's just Kate Bush, an
auteurist who doesn't wear her heart or her quasi-mystical
pretentions on her sleeve -- hell, no, she's fashioned an
entire *wardrobe* from the stuff. She's a singer/songwriter
so idiosyncratic, so desperately unhip herself that you can't
compare her to anyone else you'd even read about in this
mag... couldn't even call her "new wave" -- not even as an
*insult*. Course considerations like pretention and hipness
are as out of place in talking about Kate Bush as Kate Bush is
when your talking about trends in pop music. Anyways, sounds
to me like *Hounds* is her best yet, songwriting on par with
*The Kick Inside* and *Lionheart* (her first couple) while the
singing ain't so theatrical, and the
everything-and-the-kitchen-sink-with-the-diposal-unit-intact
production of the proceeding rec, *The Dreaming*, is handled
here a lot more effectively [...]
Foo!
[...] though, it's still a tad overbaked (use of taped voices
esp. being a periodic nuisance). Small huff, really -- the
only thing better than this record'd be a twelve-page photo
spread of its mommy in *New Look*. Kidding, kidding. -- Chet
Howland.
And now for another little look at Kate Bush in the British press....
Curiously enough, that bozo Richard Cook, who wrote the wretched cover
article on Kate Bush in Sounds, also wrote this review of "The Big
Sky" for Sounds a short while back, which was the Single of the Week:
A curious choice, and perhaps the winner by default. In this
big pile of records, the few good shots are content to pick
over small pleasures and little details. This is the only
giant record here, the only one to overreach and maintain
honour. The rehabilitation of Bush is a bit much: she is
still the sort of girl who pours all her books and beads into
the pot and stirs it up until you come out with an opera.
Most of her records smell of tarot cards, kitchen curtains,
and lavender pillows to me. But bits of *Hounds of Love* make
something mischievous or even demonic come out of he throat,
and 'The Big Sky' is a moment of real mad bravado. It starts
like it's going to be one of the digital warrior dances Bush
puts together when she wants to be uptempo and then a whole
planet seems to be swirling around her voice. The best and
most threatening thing that this bizarre talent has ever done.
This is a review of "The Big Sky" by Stud Brothers for Melody Maker:
Kate Bush, like some lithe Russian gymnast who makes even the
most difficult exercise appear easy, gracefully treads the
uneasy tightrope of progression and integrity without ever
falling into indulgence and elitism. She has in fact, with
her every release, managed to maintain a uniqueness without
ever losing her public, something Siouxsie was almost praised
for. But unlike The Banshees, she always sounds like herself
and never sounds the same, and that's a difficult task. "The
Big Sky" sounds like Kate Bush, but more importantly, like
Hipsway and The Young Gods, it sounds like 1986. Truly
gymnastic.
"Love will get you like a case of anthrax
And that's one thing I don't want to catch"
Doug
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Date: 19 Jun 86 15:14:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: Archiving LPs on Video Tape
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>
Just a word of caution to people who intend to use video tape as a medium
for archival storage of music from LPs, CDs or elsewhere. Although the
comments I am about to make concern Beta- and VHS- HIFI, they are almost
certainly valid for 8 mm as well.
The two 1/2" formats (Beta and VHS HIFI) utilize what is really an analog
method of storing sound on tape. The process AFM involves modulation of a
carrier frequency which is located within the video bandwidth of the
recording process. Although the manufacturers claims that the method is
rouhgly equivalent to recording in a convethional recorder at over 200 ips
(most analog stuff is recorded at 32 ips), the claim is somewhat misleading.
It is true, however, that both formats allow the recording of audio signals
infinately better than any currently available cassette recorder and at least
on a par with most high end consumer and 'quasi-pro' reel equipment (i.e.,
the subtle differences between true pro mastering equipment and the video
formats is not important here). What is important is not the 'sonic-attributes'but the physical attributes of the media.
Consider a reasonably affordable, high quality, 'quasi-pro' (Tascam, Otari,
Revox, etc) mastering deck. It will usually use 1/2 in audio tape (1.5 m
with backcoating), run at 15 ips and record in two tracks (each a little
more than 3/16" wide) in te same direction. With some normalally used noise
reduction system (eg. Pro-DBX) its electronic specs will exhibit frequency
responses of about 30-22000 Hz, about 90-100 dB of dynamic headroom and
no appriciable wow and flutter. VHS-HIFI (for example, Beta specs are slightly
better) claims 20-20000 Hz frequency response, 80 dB headroom, and no measurablewow and flutter. Both have a noise ceiling well above 70 dB (basically
inaudible at normal listening volumes). On paper (and on hearing) the two
formats are close enough to be called equal. What is severely different,
is the most fundamental point, THE TAPE itself.
Whereas, 1.5 mil backcoated mastering audio tape is nearly invunerable to
anything save temperature extremes and fungus, video tape (even the highest
grade super extra high quality, dyna-super-beridoxi-epitaxica-HIFI tape) is
a frail beast, initially subject to dropouts, and with a not too highly
regarded longevity (i.e., when archival considerations for video storage
film vs tape were argued several years ago, the theorists put a 10 year max
shelf life limit on videotape (1/2 ") even when stored at ideal climatic
conditions.). Another severe problem with video tape is its most limiting
characteristic 'splicing-impossibility (i.e., if audio tape recorded at
15 ips breaks, a half inch can easily be removed for a splice and the effect
on the musical program (figure a 1/30 sec loss) will, under most circum-
stances be un-audible. Consider, 1/30 of a sec is a video frame. Now
consider how many consecutive video frames are stored in a 1/2 in of tape
(I actually dont know but figure the heads revolve at about 300 ips and the
strike that, its 300 rpm, and the tape moves at less than 1 ips, giving a
balpark figure of about 5 frames or 5/30 sec loss [best case], or at
least 5 times the loss of the audio tape. Couple this with the synch
problem not shared by audio tape and the results of a broken tape could be
disasterous). Back to the first problem, as video tape ages its paerticle
bonders degrade making it more subject to dropouts. As video, the dropouts
are seen as momentary noise bars across the screen, in hi fi, the sound
like they look (imagine a schscschschsshchch in the middle of one of the
Fairlight glisandos in Mother Stands for Comfort, for example).
In conclusion, the video tape solution to audio needs is important. I have
replaced my trusty old Revox A77 with a JVC VHS HI-FI video recorder. For
final archival purposes, however, I dub back to my Tascam 8 channel deck
using 4 tracks for each stereo channel. Therefore, while video tape HIFI
makes a real nifty substitution for a mastering deck for mixdown purposes
(i.e., for some purposes its even preferable to reel decks), it is no
substitution for the longevity and non-degraded archive results you can
expect from audio tape when properly stored.
Now, talking about something I have no experience with, 8 mm tape. I would
think that the problems I cite above with the 1/2 in formats would be
severly compounded with 8 mm. First the tape is much thinner (i.e., less
bonders) and obviously moves much slower (size is time and shorter lengths
need to move muchh slower to get equivalent playback times), therefore, I
would suspect that dropouts are probably at leat as frequent and ther tape
is much more brittle than 1/2" tape. Second, the method of audio in the
8 mm format is digital PCM (Pulse Code Modulation), similar to that used
by CD players however utilizing only one half the word size (i.e., CDs use
a 16 bit PCM word whereas the converters in 8 mm are only 8 bits wide). This
alone has tremendous implications for dynamic tracking of input signals, and
has resulted in a less than acceptable frequency response (30-15000 Hz).
Therefore, all other things being equal, the 8 mm format starts out at a
sonic inferiority to the analog methiods used in the 1/2 in video formats.
Couple that with the concept of digital dropout (this is a much more severe
problem than analofg dropout because it can effect any parameter of the sound,
and not simply be interpreted as a momentary gush of noise or non existence
of sound (have you ever heard a CD mistrack ot dropout, not a pleasant
auditory experience).
In summary, if you think you want to listen to your recordings ten years
from now, or you think you would like to have your grandchildern appreciate
Kate, Peter and the like, keep your records or better yet buy CDs or analog
laser disks. The two later possibilities give you all the sound you need
and are nearly indestructable. If you must use tape, buy a high quality
1/2 track 1/4 in deck amd use it at 7 1/2 ips (slightly less frequency
resp, but better overall characteristics than 8 mm video tape)
In long winded apology,
John
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Date: Thu, 19 Jun 86 21:21 EDT
From: Tavares@MIT-MULTICS.ARPA
Subject: Re: Love-Hounds Digest
I do hope you will give us ordering information on "Cathy" when it's
availeable...?
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From: allynh@calder.berkeley.edu (Allyn Hardyck)
Subject: Re: confused (contains obscenity)
Date: Thu, 19 Jun 86 19:41:06 PDT
RE/Search
20 Romolo St., Suite B
San Francisco, CA 94133
Issues 1-3 are out of print separately I believe, but can be obtained for $110
in a set. They will send you information about all their issues if you mail
them. The _Industrial Culture Handbook_ is issue #6/7 and I believe costs $10
postpaid. Their latest issue is on _Incredibly Strange Films_ and deals with
such people as Russ "Valley of the Ultravixens" Meyer and (whoever it was) the
director of _Blood Feast_.
The Art of Noise record no fun? What, a little wimpy? Commercial? Well,
on third listening I can agree somewhat, but I like how they're subverting
these bebop cliches in "Eye of the Needle", and I can't really say no fun
when it's at least much less depressing than _(Who's Afraid Of?)..._
[][][][][][][][][][]
--
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.
Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.eduLove-Hounds-Post@eddie.mit.edu (06/25/86)
Love-Hounds Digest Issue L1 Topics: * Corrections to yesterday's long winded caution. * When you wish upon a star in a big country all your dreams come true * A boy and his hound * In-Oblique-Reply-To: J.A. Rossi's dissertation on audio tape * Tape TAPE Tape TAPE Tape * Jane Sibbery; M+M * Doug's 20th Century Picks * Re: Doug's 20th Century Picks * A LITTLE NET.MUSIC * KaTching up with the pack * "What's that?" * Re: KaTching up with the pack [][][][][][][][][][] Organization: The MITRE Corp., Bedford, MA Date: Fri, 20 Jun 86 09:57:44 EDT From: Chris J. Valas <cv%linus@mitre-bedford.ARPA> Posted-Date: Fri, 20 Jun 86 09:57:44 EDT > 1) The new Big Country album, entitled "The Seer," which is to be > released on Monday (June 23rd), contains a Kate Bush duet on the title > track. (I'm pretty pissed that the KBC didn't send out a notice > about this...) Yay! Kate Bush duets with certified desperate-to-be-liked anything-for-a-fucking-hit assholes. Their contribution to rock consists solely of figuring out how to make a guitar sound like bagpipes. A band with real balls would get a guy with REAL bagpipes up there. Of course, all you completist types are going to buy their ALBUM, and the SINGLE, and the DANCE REMIX, just so you don't miss out on the tinsiest bit of "Our Beloved". And then every time your friends come over to pose for a while you'll have to go through fucking gyrations to explain to the partially hip ones why it is that you own a Big Useless record (and single, and dance remix), plus the latest issue of Tiger Beat, you know, the one with Leif Garretsonwanker on the cover, "just for the paragraph on Big Country, they mention Kate!" Sad fucks, wake me up when its over. valas [][][][][][][][][][] Date: 20 Jun 86 10:59:00 PST From: "ROSSI J.A." <rossi@nusc.ARPA> Subject: Corrections to yesterday's long winded caution. Reply-To: "ROSSI J.A." <rossi@nusc.ARPA> 1. Although many studio mastering decks use 1/2" backcoated tape, they usually run at 30 IPS not 32 IPS (I have no idea why i typed that number). 2. Most high quality 'quasi-pro' reel decks for mastering use 1/4" tape in a half-track mode (i.e., two tracks in the same direction which are about 3/32" wide). Such decks are marketed by Revox, Tascam, Otari, Fostex?, and usually operate at a maximum speed of 15 IPS. These decks usually have provision for some automatic switching noise reduction systems such as DBX or Dolby A. 3. The statement concerning the comparison between Beta and VHS HIFI may have been misleading. I believe that the Beta format is probably better (although Audio Review doesen't agree), since it appears to have better transient response and relies less heavily on companding (DBX-like) circuits to achieve its speced performance. I chose VHS-HIFI because I needed to rationalize the purchase on more musical interests, and since VHS is the most popular video format in the East (rentals are abundant) I was willing to make the small sacrifice in musical quality. I also believe that Beta is the better video format, also, however, and have been an avid Beta- videofile for about 6 years. [HQ isn't all its cracked uop to be, and certainly comes nowhere close to Super-Beta in video performance]. Sorry about any confusion, John [][][][][][][][][][] Date: Fri, 20 Jun 86 15:30:23 EDT From: nessus (Doug Alan) Subject: When you wish upon a star in a big country all your dreams come true > From: Chris J. Valas <cv%linus@mitre-bedford.ARPA> >> 1) The new Big Country album, entitled "The Seer," which is to be >> released on Monday (June 23rd), contains a Kate Bush duet on the title >> track. (I'm pretty pissed that the KBC didn't send out a notice >> about this...) > Yay! Kate Bush duets with certified desperate-to-be-liked > anything-for-a-fucking-hit assholes. Well, no one said that Big Country has any merit, did they? > Of course, all you completist types are going to buy their ALBUM, and > the SINGLE, and the DANCE REMIX, just so you don't miss out on the > tinsiest bit of "Our Beloved". Of course. Isn't that what fandom is all about? I mean, it beats collecting stamps or beating up old ladies in our spare time to while away the boredom of an ultimately futile existence. > And then every time your friends come over to pose for a while > you'll have to go through fucking gyrations to explain to the > partially hip ones why it is that you own [...] the latest issue of > Tiger Beat, you know, the one with Leif Garretsonwanker on the > cover, "just for the paragraph on Big Country, they mention Kate!" Nah, I just write the paragraph down on the back of my hand while at the magazine stand (until the bouncer comes over and says "Hey, this ain't no library"), so I'm never faced with *that* particular embarassment. It's difficult enough explaining why I have 10 copies of *Hounds of Love*. > Sad fucks, wake me up when its over. "Look who's here to see you!" Doug [][][][][][][][][][] Date: Fri, 20 Jun 86 16:03:07 EDT From: nessus (Doug Alan) Subject: A boy and his hound > From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU > I reluctantly agree with Hugh that the new picture disc seems a > pretty routine affair. Not much inspiration behind it; but who > cares? It's still another brick in the great edifice of art and > persona that is Kate Bush, and as such is welcome. Well, now, lets not get caried away. I can hardly see it as being a "brick in the great edifice of art". It just one of those things like an autograph or an offical fan club monogrammed toaster that fans want because they are human, and for a little while it makes them feel a little bit closer to the person they admire and to the community of other fans. In any reasonable sense, it's totally worthless. But then, who's reasonable. In any case, for ordering information on something that almost certainly is a brick in the great edifice of art and persona that is Kate Bush, the photograph book of Kate as a kid, *Cathy*, is available only by post from Kindlight PO Box 30 Welling, Kent DA16 3DL England The price is 25.00 Pounds (no, Kate doesn't come cheap!) per copy, plus 5.41 Pounds air mail or 1.73 Pounds surface mail. They will only accept Sterling drafts to be drawn on a bank in London for payment. Make checks payable to "Kindlight". > There is absolutely no question that,to date, The Dreaming and > Hounds of Love constitute, collectively, the greatest achievement in > 20th century Western music. You don't even need HoL in there. But we should probably also give a nod to Stravinski and The Beatles.... "She kept asking me 'Do you know what love is?' Sure I know what love is. A boy loves his dog." Doug [][][][][][][][][][] Date: Sat, 21 Jun 86 00:55:38 EDT From: joelll%UMass.BITNET@WISCVM.WISC.EDU (Tech_Noir) Subject: In-Oblique-Reply-To: J.A. Rossi's dissertation on audio tape hi... it would be wonderful to find a way to use magtape-type tape for audio recording...that is, find something cheaper than a CDC tape transport for use as a tape deck... just dreaming, joelll [][][][][][][][][][] From: Jeff Dalton <jeff%aiva.edinburgh.ac.uk@Cs.Ucl.AC.UK> Date: Fri, 20 Jun 86 18:10:26 -0100 Subject: Tape TAPE Tape TAPE Tape Whatever happened to the UseNet tape? IS it possible to get a copy? [][][][][][][][][][] From: Henry Chai <ihnp4!utflis!chai> Subject: Jane Sibbery; M+M In early June, Jane Siberry played two nights at the Forum, an open-air amphitheatre at the Ontario Place (an exhibition/amusement place). You only have to pay the $5 admission for the park and you can go to the concert "for free". Real Bargain if you ask me. Anyway, they opened the show with "Vladimir, Vladimir", with the two backing singers and JS herself doing the dialogue (part I). She did all of the songs from "The Speckless Sky" and 4 from "No Borders Here", including of course "Mimi on the Beach", which recieved a standing ovation. As encore she did "Taxi Ride", a much more powerful rendition then on the album, with herself on acoustic guitar backed with bass and drums, and also "Symmetry". The monologues for "Extra Executives" (Do *YOU* like grouper fish??) and "Dancing Class" were longer than the album versions. She played a bit on the drums, and for "Dancing Class" she donned a tutu and danced on tiptoes. Didn't say much but she said she's gonna tour the US. So look out if you're a JS-fan. Did any of you USians see her new video for "One more Color", directed for the US market, yet? When asked why she had a cow in it, she said that horses are too pretty, too "girlish", and goats and sheep aren't right. Cows are great 'coz they're gentle creatures, just walking along... M+M will be playing at the Forum in July. Their new album "The World is a Ball" is OK, with several songs having that typical new-wave sound. The song that stands out the most is "By the Waters of Babylon". It has a rhythm track in the background, and steel-drum-like and other synthesized sounds, creating an effect not unlike the jungle sounds in "Pull Out the Pin", but of course at a much lower level. The single "There's a Song in my Head" is already climbing the charts here in "Tronto". (There's a 12" with 4 different mixes of this song.) --henry [][][][][][][][][][] From: "ROSSI J.A." <rossi@nusc.ARPA> Date: 21 Jun 86 12:48:00 PST Subject: Doug's 20th Century Picks I must say that I am amazed that Doug has even heard of Stravinski, let alone put someone out of vogue in a class with our beloved and (ugh!) The Insects John [][][][][][][][][][] Date: Sat, 21 Jun 86 15:22:43 EDT From: nessus (Doug Alan) Subject: Re: Doug's 20th Century Picks > From: "ROSSI J.A." <rossi@nusc.ARPA> > I must say that I am amazed that Doug has even heard of Stravinski, let alone > put someone out of vogue in a class with our beloved and (ugh!) The Insects Jeez, the repsect I get, huh? How could a fan of innovative music not have heard of Stravinki??? *The Rite of Spring* is certrainly one of the very greatest pieces of music ever written. (And Birdsongs of the Mesozoic do a wonderful version of it.) And what is this "Ugh!"ing about The Beatles??? They were incredible -- just ask Kate. "And in her eyes you see nothing, No sign of love behind the tears cried for no one" Doug [][][][][][][][][][] Date: Sun, 22 Jun 86 15:46:26 EDT From: nessus (Doug Alan) Subject: A LITTLE NET.MUSIC Yes, the usenet music tape IS available. It costs $4 including postage from Greg Taylor 907 Jenifer Street #2 Madison, WI 53703 It includes wonderful tracks by nrl-css!wicinski, hofmann@amsaa.arpa, pur-ee!hsut, potomac!jsl, stolaf!robertsl, rossi@nusc.arpa, pyuxd!rlr, ?vax!tjjw, artroatc!gtaylor, and a host of others. Order one today and own a little piece of networked culture. -Doug "Seven days turns to seven years" [][][][][][][][][][] Date: Sun, 22 Jun 86 17:02 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU Subject: KaTching up with the pack Here is my reply to the past week's L-Hs; first chance I've had to log on. >We should note, too, that Kate Bush's "Hounds of Love" album which I >conservatively estimated as selling 400,000 copies, has in fact sold >over 600,000 copies. This is good to know. Record Mirror is the only publication that I know of that publishes the sales status of charted records. Yet ever since October '85, when Kate's HoL received its first platinum star, no further sales records have been added to its listing in RM's charts. Not having seen the June 21 issue yet, I can only assume that this has now been corrected. (300,000 sales constitutes platinum in the UK, if I remember right.) It's interesting that the first platinum was achieved in a matter of about three or four weeks, but that the second took an additional five or six months -- despite the presence of HoL in the British top 50 all that time. Isn't the vagueness of these chartlistings frustrating? >Foo! What does this mean? >Yay! Kate Bush duets with certified desperate-to-be-liked >anything-for-a-fucking-hit assholes. Their contribution to rock >consists solely of figuring out how to make a guitar sound like >bagpipes. A band with real balls would get a guy with REAL bagpipes >up there. >Of course, all you completist types are going to buy their ALBUM, and >the SINGLE, and the DANCE REMIX, just so you don't miss out on the >tinsiest bit of "Our Beloved". And then every time your friends come >over to pose for a while you'll have to go through fucking gyrations >to explain to the partially hip ones why it is that you own a Big >Useless record (and single, and dance remix), plus the latest issue of >Tiger Beat, you know, the one with Leif Garretsonwanker on the cover, >"just for the paragraph on Big Country, they mention Kate!" >Sad fucks, wake me up when its over. >valas Who is this abusive person, and why is he/she so angry? I cannot say that I have ever considered buying a record by Big Country before, although I vaguely remember being mildly impressed by their sound -- at least, I think I thought, they are distinctive, and immediately recognizable. However, if Kate Bush has recorded with them, I am far more sanguine following HER lead than "valas"'s! What on earth has "posing" got to do with Kate Bush fanaticism, anyway? And by what obscure biological process is masculinity connected with the choice of a synthetic over an acoustic bagpipes effect? >Nah, I just write the paragraph down on the back of my hand while at >the magazine stand (until the bouncer comes over and says "Hey, this >ain't no library"), so I'm never faced with *that* particular >embarassment. It's difficult enough explaining why I have 10 copies >of *Hounds of Love*. When I lived in Cambridge (ca. '75-'79) I always read MM, NME, etc. in the old Out of Town in H. Square, only buying when KT news appeared. The proprietor inevitably tried to intimidate with obnoxious "Can I help you?"s and "Are ya gonna buy that, mister?"s I finally moved back to L.A. >Well, now, lets not get caried away. I can hardly see it as being a >"brick in the great edifice of art". The above in reference to my defense of hokey sales exploitation trinket ("Big Sky" picdisc). A dab of hastily mixed mortar, then, maybe? >The price is 25.00 Pounds (no, Kate doesn't come cheap!) per copy... And the Sterling draft cost me another $20.00! And two more volumes in preparation! Ah, but what price Art? >You don't even need HoL in there. But we should probably also give a >nod to Stravinski and The Beatles.... I still cannot accept that HoL is somehow less significant than The Dreaming, simply because it is more "accessible", or less "threatening". To risk sounding pretentious, couldn't The Dreaming be compared to Beethoven's 5th, and HoL to his 6th? Is one really less "great" than the other, simply because one is more benign, and less forbidding? I wasn't in the least surprised at your wise references, Doug. You have my vote of confidence. And those are very good alternatives for the dubious and watery title "greatest" of the century. What about Samuel Barber, though? And I assume you're not allowing nineteenth century composers who happened to live well into our era, such as Rachmaninoff or Scriabin? And what of Shostakovich, Prokoviev, Schoenberg, etc.? And some (not I) might argue for Bartok, or Berg, or Webern, or Ravel, or any of a dozen or so others. I had a friend in high school who swore that Charles Ives, of all people, was the only reputable artist, in ANY medium, of our century. But he (my friend) became a geologist... This is why I try to confine myself to the subject of KT. I'm sure no-one will object, after this. [][][][][][][][][][] Date: Sun, 22 Jun 86 17:52 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU Subject: "What's that?" I appreciate the lengthy specs analysis of video audio-recording characteristics. Dropout is the least of my problems. I re-emphasize that I will never give up my KT record collection, or any other discs of really cherished music, but 90% of my stuff I can live without, at least in bulky vinyl form. I'm aware of the limitations of the sound reproduction in 8mm, but, to my ears, at least, the sound is miles ahead of conventional audio tape already, and since my primary aim is to regain some of the space which my record collection has been usurping from me over the years, open reel is not a feasible alternative. In what other system can you put every recording the Beatles ever made on one palm-sized cassette, and still have another five to ten hours to spare? The fine distinctions between 75 decibels and 80 decibels, etc., are beyond my barbaric ears' capacity to notice. I am a CD convert, but since music is more important to me than sound reproduction, I can hardly be expected to content myself with CDs' miserable little catalog. And as for dropout, well, all of these systems will be made obsolete before another ten years have gone by anyway. Won't we have digital home recording by then, or something? [][][][][][][][][][] Date: Sun, 22 Jun 86 23:58:10 EDT From: nessus (Doug Alan) Subject: Re: KaTching up with the pack > From Andrew Marvick: >> valas > Who is this abusive person, and why is he/she so angry? Don't get too upset, Andrew. I mean according to Kate, Sid Vicious got into Rock 'N Roll Heaven, right? And I'm sure if Sid were alive today and here, and we told him that we were going to buy Big Country's album just to hear Kate sing, he'd be must less tactfull -- he'd just regurgitate on us. Ah, culture. >> [Me:] The price is 25.00 Pounds [for *Cathy*] (no, Kate doesn't >> come cheap!) per copy... > And the Sterling draft cost me another $20.00! And two more volumes > in preparation! Ah, but what price Art? "Sport death", I always say. I sent British cash. >> You don't even need HoL in there. But we should probably also give >> a nod to Stravinski and The Beatles.... > I still cannot accept that HoL is somehow less significant > than The Dreaming, simply because it is more "accessible", or > less "threatening". But *The Dreaming* is clearly more significant than *Hounds of Love*, because it came first. It is a landmark. It did new things, created new sounds, explored new territories, used the studio as a compositional instrument to an unprecedented degree. The rest of pop music is still catching up to it. *Hounds of Love* is mostly a refinement and mixture of everything Kate had previously done into something more immediately muscial. One might argue that it is as good (though it isn't), but it's certainly not as important. -Doug "And a rock feels no pain And an island does not cry" [][][][][][][][][][] Return-Path: EMAILDEV%UKACRL.BITNET@WISCVM.ARPA Via: UK.AC.SUSX.VAX2; 23 JUN 86 11:11:31 BST Date: 23-JUN-1986 10:59:54 From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK Wow! My first "flame" while writing to the net! I was wondering how long it would take before that happened.... Just to clarify something - a lot of things I post to the net are mainly for the benefit of other fans who are much more intent on collecting Kate-related stuff than I am. After having my 5-year collection of rare singles suddenly warp into oblivion for no apparent reason last September, I havn't really been able to invest the same time, money and energy into this particular "hobby. On the other hand, I know that other's still have their enthusiasm, so I like to pass on information that they might be interested in. No, I'm not very impressed by Big Country, although I'll be interested in hearing their new album, since I've always thought that there were a lot of folk influences struggling to dig out from Steve Lillywhite's production....But I'm still not sure if I'll actually BUY the entire album. In any case, even if I did buy it (along with the multicolored vinyl remixes...) I still wouldn't have to make any excuses for it. As Doug said, there's nothing wrong with a hobby... Hugh [][][][][][][][][][] End of Love-Hounds Digest
Love-Hounds-Post@eddie.mit.edu (06/25/86)
Love-Hounds Digest Issue L2
Topics:
* Four Reasons Not To Visit Your Family On A Weekend
* Re: Big Country
* The Pulled Pin or the Sleeping Sheep -- a question of temperament
[][][][][][][][][][]
Date: Mon, 23 Jun 86 13:41:59 EDT
From: James B Hofmann <hofmann@AMSAA.ARPA>
Subject: Four Reasons Not To Visit Your Family On A Weekend
(there being many more I won't get into)
Been like Woodstock or sumpin' round here lately.
On Thursday, 19 Jun:
PUSSY GALORE/TAR BABIES/SONIC YOUTH @ 9:30 Club, D.C.
P.G. (no - not you know who...) opened with their
CRAMPS in the JUNKYARD cacophony. I found them interesting
for about five songs then retired to the back to watch my
Pepsi fumes. Give 'em a 3.2 for originality. TAR BABIES
got ZILCH response from the gloomy trendies. Maybe if
they had dressed in black? Though, they really weren't
that good and their songs were kinda indentical, I found
the backbeat hard to resist and danced through the set.
2.1 for dancability and dedication and ... oh, yawn -
Then the YOUTH hit the stage and played virtually everything
off EVOL - even the stuff with keyboards by Renaldo using
a LL Beat Box. Kim's vocals are between rasp and velvet
and goosebumpy and all to say the least. Some promo crap 9:30
had laying around described SY as a "cinematic" experience
leading me to believe that they were bringing thier horrorshow
flicks along but alas, no ... they ARE "cinematic" in that
they are interesting to watch for TECHNIQUES which included
the ol' drumstick in the geetar, the offtunings, the running
of feedback through the beatbox. I also figgered why they
thanked Bruce S. on EVOL, it's cuz they steal his Bored in
the USA geetar swing (y'know diagonal-like) 'cepting where
The BOSS has his widdle hand tight on the E chord - the SONIC
BOSSES are tuning DOWN the E-Strang. Another interesting thing they
did was during the encore (XPressWAY to YOUR skuLL) and the
train is supposed to be fading away so they were tapping the
backs of the geetars (of which they had MANY) until the
tones finally faded away. An experience for which one doesn't
need intoxiants... They are kicking off a West Coast tour and
will be back in D.C. on the 25th, July.
[unknown]/ GRAY MARCH @ the Eutaw Clubhouse, Fri, 20, '86.
First band, standard formula "hard"core, I guess. As usual
a fight broke out. GRAY MARCH hits the stage and goes through
their material rocking it all the way. They sound MUCH different
than their upcoming EP on the stage and hey, they even have
synth(!) and I like 'em - gasp. JD'ers should take note BUT
unlike the biting synth of JD, Ron plays a CULTish/CUREish type
Roland. Mike on guitar iz geetar god for some BUT the real
attraction is 16 year old Junior on drums - tho' he don't
grandstand or nothing, he's a JOY to listen to. They've improved
mightily since I first saw them and Louis has gotten a bit
more stage personna going. No plans definite yet, but expect
a tour after the self-produced EP is released. Keep an eye
on Forced By Pressure to hit some college airwaves. . .
DISDAIN/ LATE TEENS/ RHYTHM PIGS / BEEFEATER @ The Eutaw, 21, Jun 86
BEEFEATER is on TOUR through the Waste Coast, They said they'd
be in Sanfrandisco a month from now - so peel 'em cuz you don't
want to miss 'em. They're opening up with basically new tunes
(the record on Olive Tree is STILL not released) that are instantly
likable if you dug their old stuff (although much different and
harder). They only did a coupla tunes from the Plays For Lovers
release and Wars in Space (which has been changed to slag bong-heads
as well as SDI). Tomas, though, ought to can the political act or
come up with something new ("your president, he is lying to you!"
and then burns a picture of Ronnie, or the standard Apartheid hue
and cry). Dug, the ugliest man in D.C. proves that all a guy needs
to do is join a rock band to attract Frauleins. New drummer is
pretty special, hope he stays. Loved the Prince moves they
picked up for their funkthrash songs - Encore to the 40 or so faithful
was Manic D. with Fred singing... intentional or not, he's like Jimi
reincarnated. ... oh yeah, the OTHER bands - quick now, RHYTHM
PIGS played their second time in a month in this area and still
fail to impress me though they're all pretty nice guys and all...
LATE TEENS are these 35 year old bald and fat men who missed out
on punk rock cuz their guitarist was in jail for Cocaine. Now
they've shaved their heads and are skins... Funniest part was when
the singer (replete with suspenders and Doc Martins) asked "all the
skinflints to come up front"... serious! And they DID, like little
sheep looking for a master... kinda reminded me of wedding receptions
where all the unwed girls are asked to catch the bouquet, sniffleee
snifflee, doo ... DISDAIN I didn't see so I can't say I have DISDAIN
for DISDAIN, darn... Gordon said it was some more metalcore C.O.C.
imitation. In attendence, Sue T.'s wavo peer, D.J. Ennis, program
director for WCVT -
1/2 JAPANESE / The FORGOTTEN? or THE UNFORGIVEN? / MARGINAL MAN /
NAKED RAYGUN @ the Complex, Jun 22, 1986
Quick now, 1/2 JAPANESE suck and should hang it up. Fun band
to heckle to, kinda like a new-wave Grateful Dead... THE
FORGOTTEN or whatever are from Texas so they wore those pussy
cowboy hats. They belong in a Honkey Tonk but were probabably
so bad they got thrown out of there, too... for some reason
they're here headlining a show with GARGOYLE SOX who suck
too...but in a unique way, I guess. MARGINAL MAN thrashed the
place down as usual, they never let you sit but then again
they really haven't DONE a heckuva lot since they got hailed
as the big THING in D.C. (Dick City). Still by God they rock
and that's all that matters and all... NAKED RAYGUN,
eeeeeeeeeee GAWD! even attracted some wank in a tie from SPIN
to write about 'em - so of course I ripped off Tim's copy of
the rag and threw it in the pit. When the little fukkker
checked his watch oh so fashionably I wanted to throw HIM in
there. I can't see how anyone can write anything of worth
about the band 'less they're up there in front LISTENING -
fuck 'em. RAYGUN still cook live though parts of ALL RISE
leave a bit to be desired. Pezatti actually came up to ME and
introed himself - "hi, I'm Jeff..." "Oh, hi, I'm Jim, I know
who you are, is Steve Albini really a geek?" [ pause ] "Well,
um,
no, not really, uh, okay, sometimes, yeah..."
And now for the gossip:...
Ian MacKaye, former bald man is now sporting some curls.....John
Waters, arbiter of bad taste, was seen in the front row of a Pia
Zadora concert down on the Inner Harbor in Baltimore - what is next
for Waters? Kate Bush??????????... local AD-SHEET MARYLAND MUSICIAN
is now expanding into "NEW" music and admitting that other music DOES
exist in the area besides DIXIE ROADDUCKS and KIX and THE RAYVNS even
if they won't buy ad space and we'll see how long THAT lasts. Tim is
in love with their reporter and was shining a flashlight into her
sheer black nighty dress to see what she was packing... that PERVERT
Wicinski should be LOCKED up before he rapes heavy metal cheerleaders!
PERVERTphobe that I am, I'll leave you now to discuss Peter Gabriel's
new FILM career, sick, sickssick, ... Adress random slags, personal
commetns, etc to me as there is no guarentee I'll pick up on it in the
near future, yours, truly,j.h.
p.m.: (post modem? post modern? post mortem?):
> Who is this abusive person, and why is he/she so angry? I cannot
> say that I have ever considered buying a record by Big Country
> before, although I vaguely remember being mildly [ blah blah
> blah.... ]
Gawd, does THIS sound familar.............. buy buy!
[][][][][][][][][][]
Date: Mon, 23 Jun 86 14:53:31 EDT
From: allegra!whuxb!ambar
Subject: Re: Big Country
>From Hugh Maher:
>No, I'm not very impressed by Big Country, although I'll be interested
>in hearing their new album, since I've always thought that there
>were a lot of folk influences struggling to dig out from Steve Lillywhite's
>production....But I'm still not sure if I'll actually BUY the entire album.
True! My 100% classical-and-folk-rock-rots-the-brain roommate was
enduring BC's THE CROSSING patiently when she suddenly said "Hey...I
know that tune...it's Gae Gordon!"... Which means nothing to me, I
like Big Country anyway. So, I shall be buying the new album, and
putting it on the shelf next to THE CROSSING and STEELTOWN and, yes,
the EP WONDERLAND.
{Sorry guys, I don't go for remixes.}
AMBAR `Calm down; it's only ones and zeros.`
[][][][][][][][][][]
Date: Mon, 23 Jun 86 23:46 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: The Pulled Pin or the Sleeping Sheep -- a question of
temperament?
>>> You don't even need HoL in there. But we should probably also give
>>> a nod to Stravinski and The Beatles....
>> I still cannot accept that HoL is somehow less significant
>> than The Dreaming, simply because it is more "accessible", or
>> less "threatening".
>But *The Dreaming* is clearly more significant than *Hounds of Love*,
>because it came first. It is a landmark. It did new things, created
>new sounds, explored new territories, used the studio as a
>compositional instrument to an unprecedented degree. The rest of pop
>music is still catching up to it. *Hounds of Love* is mostly a
>refinement and mixture of everything Kate had previously done into
>something more immediately muscial. One might argue that it is as
>good (though it isn't), but it's certainly not as important.
There are two issues here. First is the distinction which you
rightly make between a work of art's "importance" and its "quality".
The problem is that a work of art's "importance" is only defined
by what other art shows its influence; and although it is unfair
to impute that a work is good or bad on the basis of its "importance"
-- on the basis of its influence on later art -- that nevertheless is
the usual conclusion drawn. Otherwise, why bother to assess influence?
Second, if, as you say, Hounds of Love is "mostly a refinement and
mixture" of The Dreaming's "innovations", then it is far more likely
that Hounds of Love will prove the more "important", since
its influence is likely to be broader.
Thus arises an old argument, namely whether "originality" is
more important than "quality". Simply SAYING that HoL isn't as
"good" does nothing to prove the point.
You offer no specific reason for ascribing a label of superior
quality to The Dreaming, only reasons for according it the
quite different distinction of greater "importance".
Innovative music --
this is a highly dubious term. I personally agree with you that
The Dreaming is highly original in ways that seem to us, living
in our period, significant. But there is really nothing
specific that can be pointed to in the LP that had never been
done before, at least as far as use of studio techniques goes.
As with all of Kate's music, it is the beauty and power of her
musical and (arguably) poetic imagination which gives The Dreaming
its lasting worth. And I simply cannot accept the contention that
that imagination is in any way dimmed in HoL. Many specific
works of art which have contributed relatively little to the development
of art in general nevertheless are "as good as" or better than
more "innovative" or influential works. Consider The Dreaming and
Hounds of Love in comparison with Gabriel's third solo
LP, for example: although it cannot be denied that Kate's recent work
shows the influence of that record, there is really no question that
The Dreaming towers above the Gabriel LP, not because it is in any
tangible way more innovative -- if looked at from a technical
standpoint Kate's record may even seem less innovative -- but
because the musical ideas, artistic sensibility and intellectual
substance of Kate's record are more complex without being less
powerful. Despite this, the likelihood is that
Gabriel's record has proved and will prove to be the better
remembered and more "influential". Yet whether other (and probably
inferior) artists benefit from exposure to The Dreaming or not
is as unimportant as whether Kate, a better artist than Gabriel,
benefited from exposure to Gabriel 3.
We both agree that the Beatles' music, especially when seen in
its entirety, is among the best of our century. But is its quality
in any way related to its influence on later music? Had no-one
ever heard it, would it be less good? Obviously not. So, if
"significance" is not an acceptable means of judging quality, then
what is? The problem is insoluble. In the end there are really only the
opinions of the influential few and those who seek or at least accept
guidance. I've just listed three admittedly personal criteria for
judging a work of art's "quality". What are your own?
One thing is certain, to my mind, and that is that there is as much
in Hounds of Love that is absent in The Dreaming as there is in The
Dreaming that is missing from Hounds of Love. I'm tempted to conclude
-- although I don't believe this myself -- that if all that's missing
from Hounds of Love is the "innovation" of The Dreaming, then Hounds
of Love comes out ahead. The fact is that, when considered for their
inherent qualities alone, one is no better or worse than the other.
It is possible, I think, to argue that these two LPs are clearly
"better" than her first three albums, because there it is possible
to find evidence of indecision, of less comprehensive planning or
less controlled execution of ideas, and of a sometimes inhibiting
influence from other less talented people involved -- mainly the
producers. None of these problems occurs in either The Dreaming
or Hounds of Love: finally we can hear the music as though pumped
straight out of Kate's brain into our ears. The shock of the new,
however, which we might have felt more strongly with The Dreaming,
is an incidental, temporal and ephemeral effect which has little or
nothing to do with the inherent value of the music itself.
[][][][][][][][][][]
End of Love-Hounds DigestLove-Hounds-Post@eddie.mit.edu (06/26/86)
Love-Hounds Digest Issue L3 Topics: * Frippertronics * New questions for alternative music gurus * Re: Frippertronics * RUN! Don't walk... * Something pertinent * The importance of quality * records [][][][][][][][][][] Date: Tue, 24 Jun 86 11:28:12 EST From: hsut@ec.purdue.edu (Bill Hsu) >Really-From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU >There are two issues here. First is the distinction which you >rightly make between a work of art's "importance" and its "quality". For interesting comments on artistic influence and posterity, and the difficulty of making "unbiased" judgement, see, of course, the Doug Alan/Greg Taylor debates in net.music. A good reference is the annual serious literature vs. popular literature debates in net.sf-lovers. (It's mostly poor Bill Ingogly vs. the masses in the latter. :-)) >Second, if, as you say, Hounds of Love is "mostly a refinement and >mixture" of The Dreaming's "innovations", then it is far more likely >that Hounds of Love will prove the more "important", since >its influence is likely to be broader... >You offer no specific reason for ascribing a label of superior >quality to The Dreaming, only reasons for according it the >quite different distinction of greater "importance". Here's why I think HoL is inferior to the Dreaming (with the standard disclaimer that this is my PERSONAL blah blah blah undoubtedly influenced by my morbid childhood, bourgeois upbringing, unbourgeois college (un)life, half-assed attempt to understand frogspeak, etc.:-) ). HoL takes fewer chances than the Dreaming. I enjoy things that try to explore and burst the bounds of their medium, and I think the Dreaming does this better than HoL. Also, I feel that the Dreaming is a more "consistent" (whatever that means) album than HoL. If I were to tape HoL, I could live without the first 3 songs on side A (oops, I can see Doug driving down to Indiana with a shotgun :-)). But if I were to tape the Dreaming, there is no song that I can bear to cut. Bill Hsu [][][][][][][][][][] Posted-Date: 24 Jun 86 09:04:23 PDT (Tue) Subject: Frippertronics Date: 24 Jun 86 09:04:23 PDT (Tue) From: tsung@aerospace.ARPA What is Frippertronics? Who did the awesomely wretched vocal in "Exposure" from Fripp's "Exposure"? space is what I need is what I feed on Fu-Sheng [][][][][][][][][][] Date: Tue, 24 Jun 86 11:46:28 EST From: hsut@ec.purdue.edu (Bill Hsu) Subject: New questions for alternative music gurus No, no, this is not a list of questions about obscure groups, more like a rephrasing of some stuff that came up before... Question of the day: How do you justify philosophically to a person with mainstream tastes that he should listen to different musics? You can tie your victim to a chair and play him lots of non-mainstream music that he'll even admit to as being "beautiful" and "interesting". You may even seduce him with music that may be compatible with his tastes, e.g., the chamber music lover with Tuxedomoon, the jazz fan with However and Art Bears, the '60s fan with the latest Butthole Surfers. But let's face it: a lot of people are not very demanding of their music, and they're not going to want to take the extra trouble to seek out alternative music when they feel they have all they need from Top 40. Quasi-aesthetic arguments might not work because your victim always has the standard disclaimer that he's not into, umm, "culture". :-) Socio-political arguments (support starving oppressed musicians) might not work because your victim can always use quasi-aesthetic arguments ("Top 40 sounds better than Sonic Youth, who cares if Sonic Youth are starving oppressed musicians?" :-)) What would YOU do? Bill Hsu [][][][][][][][][][] Date: Tue, 24 Jun 86 11:51:17 EST From: hsut@ec.purdue.edu (Bill Hsu) Subject: Re: Frippertronics Frippertronics is mainly Robert Fripp playing guitar over lots of tape loops and electronics. Kind of Fripp's version of Eno's ambient stuff. If you have to have hours of Frippertronics (not my suggestion to build an interesting record collection), buy the Fripp and Eno albums and also Fripp's solo albums after Exposure. Decent wallpaper music, but muzak nevertheless (except for a few isolated guitar solos.) Bill [][][][][][][][][][] From: bu-cs!sam Date: Tue, 24 Jun 86 12:25:01 EDT Subject: RUN! Don't walk... ...to your nearest Strawberries or <insert your favorite record store here>, and BUY THE ALBUM SOUNDTRACK to the movie "Dangerously Close". How, you may ask, did I come upon this stupendous discovery?? Well, as is in my nature, I recently had a mad obsession with the single, "Blood and Roses" by the Smithereens, and went trapesing into my neighborhood record store to find it. But alas, they did not have the single, and the album wasn't out yet. "But," said my friendly neighborhood record salesman, "if you are really desperate, they appear on the soundtrack for `Dangerously Close'." Now of course at this point, I hadn't even HEARD of the damn movie, but I did warp six to the soundtrack section nonetheless. And there, on Side One, Track One, was my song. (Ahhhhh...) So I get home and play the tape and it's GREAT! Here's what's on it: Blood and Roses - The Smithereens Chill Out - Black Uhuru Sea Of Cortez - Green on Red Change Today? - Tsol Kiss of Death - Lords of the New Church Find Your Own Way - Lost Pilots Some Other Guy - The Smithereens Hunt Down - Michael McCarty The Search - Michael McCarty Dangerously Close - Michael McCarty It's even on Enigma Records. - Shelli [][][][][][][][][][] From: allynh@calder.berkeley.edu (Allyn Hardyck) Subject: Something pertinent Date: Tue, 24 Jun 86 16:23:54 PDT Here's a quote from Mantra. This was in Beef Magazine, an SF freebie on art, music, and culture for whom KuKuKu did a benefit. There may be some vinyl out soon - a friend taking a sound engineering class over at SF State saw a tape in the studio with their name on it. Mantra - Lead vocalist and performer, "KuKuKu" The New Revolution is a spiritual revolution. I am a priestess; I want to bring you through the fire, not leave you in it. I would die for you if need be. I've been having some visions which I would hesitate to tell anyone but my closest friends because they are alarming. I'm scarier than Kate Bush and sweeter than Diamanda Galas, but we're all sisters: we believe in God. God told me to do this; I don't know what his intentions are. God's got a pinstripe suit on, a monocle, a little cane, and blonde hair; he's very dapper. [Tom Wolfe is God? Ed.] I wear a suit of armor and a sword so that people can rally behind me. I want people to have the courage to confront what might be out there. One of these days, I'm going to march all these people out of the auditorium, take them for coffee and donuts, and then we're going to the White House! The government doesn't care what the spiritual climate of our youth is, and the kids don't realize the power they have! I want to set people free and make them brave: if I can do it, you can do it. You can get the same effect from a KuKuKu show as you can from being rolfed, only ours is half the cost and is pleasurable instead! Our music is white people music PLUS black people music - not us trying to be black. Classical and folk are a part of it: there IS white culture, there IS white soul. The music itself is drawn from our ethnicity: we use eastern European meters and there are some Celtic influences. Our songs are little narratives: "Wet Dagger" is about little Jane Finley from the typing pool. She is frustrated - she's making the best of things and yet one day it is too much for her. She's angry at male culture, she's trapped in a highrise - this terrible longing comes up in her womb to be wild and crazy: she wants to be violent, horrible, unladylike, bloody, smelly, and rip things up with her fingernails and taste blood. But she doesn't win - all it ever is is a fantasy. I have to act it out for people; most people just hold it in because they think: "I can't! What will people think!?!" What people need to realize is that you don't die if you take that chance. Be brave! Fight for your dignity! You're not a helpless drone! [][][][][][][][][][] From: Jeff Dalton <jeff%aiva.edinburgh.ac.uk@Cs.Ucl.AC.UK> Date: Wed, 25 Jun 86 01:01:46 -0100 Subject: The importance of quality "Important" is just something critics say to imply that they're on top of what's going to Really Matter. The distinction between quality and influence is better; we all know that the worst stuff can be influential if it sells because other people want to sell too (and because they've heard the stuff that sells and not the stuff that doesn't). But then influence may not be a good sign after all. What you want as a word of praise is something meaning influence that moves music in a direction that you think is right; here is where "important" comes back into its pretentious own. But I don't think this can easily be separated from quality. If it's really better, why won't it be more important in the end? Well, perhaps people just get it wrong and prefer the junk. But all of this seems rather pointless. I like to hear what people like and why they like it; I don't particularly care what they think various words mean. Now I know that some people think HoL is better than The Dreaming and that others disagree, but I don't know anything new about quality. And I haven't learned anything new about either record. [][][][][][][][][][] From: think!caip!unirot!fidelis Date: Wed, 25 Jun 86 01:47:02 edt Subject: records Organization: Public Access Un*x, Piscataway NJ (The Soup Kitchen) Peter Murphy's newest single has been out...and it is good. It's...dance music! Take DALIS CAR and make the beat heavier and faster. However, I still think Love and Rockets are much better...I mean, in musical style. Also got a Sigue Sigue Sputnik bootleg cassette - Croydon 10/18/85... (I really wanted to know how they sounded like without spening hours in a studio mixing a song)...and they sound AWFUL! blech...barfo... They are BAD... All songs have the same drum track, pretty much the same synth, Matin Degville would occasionally yell a lyric out and it would echo, also some film clips would be played, and that annoying guitar! It has about 10 or so songs on it, thank god they've only released LOVE MISSILE F1-11 and 21st CENTURY BOY...I don't think I can handle the other junk! oh yeah ... what was the name of the group that does the song PSYCHOFUCKADELIC? it from an album titled BABY YOU BUM ME OUT...blah blah blah (I forget the rest of the title). it sounds like thrash/funk/pschedelia a must buy! -> BEDLAM's version of the Lost in SPace THeme! g'nite! Fidelis [][][][][][][][][][] End of Love-Hounds Digest
Love-Hounds-Post@mit-eddie.UUCP (06/27/86)
Love-Hounds Digest Issue L4
Topics:
* HoL on CD & HoL vs The Dreaming
* Classical comparisons / Cute Quotes
* rambling and review
* A Complexing Listing. . .
* Robert Fripp, Toyah, Crafty Guitarists
[][][][][][][][][][]
Return-Path: EMAILDEV%UKACRL.BITNET@WISCVM.ARPA
Via: UK.AC.SUSX.VAX2; 25 JUN 86 14:48:56 BST
Date: 25-JUN-1986 14:38:10
From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK
A few brief notes:
Although I havn't had a chance to thoroughly compare them, the first
difference I have noticed between the second Japanese pressing of the
CD of "Hounds of Love" and the original British-released pressing is
in the beginning of "Running up that Hill." One things I've always
noticed (and sort of been bugged by) is how the fairlight droning
intro (when I listen on headphones, or turn it up loudly) has a
"break" in it - so instead of steadily fading in from nothing, it sort
of fades in a bit, and then suddenly increases in volume, which was
probably due to some sort of CD mastering error. (Perhaps the
engineer sneezed while holding onto the fader....)
However, on the Japanese second pressing, they must have corrected it,
'cos it fades in evenly and slowly. (OK, flame at me for promoting KT
trivia...
Secondly, the new Big Country album (oh no...) just got a rave review
by Melody Maker, which specifically pointed out "Kate Bush's ATHLETIC
warbling" and it's celtic/folk influences and overall progression from
the earlier albums. Nyah Nyah Nyah....
Adding fuel to the "HoL" vs. "The Dreaming" fire.....
I don't have time to go into detail, but one difference between the
two albums (which helps me determine which one is "better") is that
while listening to "TD", I can never concentrate on anything but the
music, and end up somewhat mesmerized by it. However, on "Hounds"
there are times that my attention can wander.
Of course, there's more to it than this, but my friend is pestering
me to hurry up, so more later.
Hugh
[][][][][][][][][][]
Date: 25 Jun 86 10:35:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: Classical comparisons / Cute Quotes
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>
Just teasing, Doug. Besides, I forgot about the 'Rite of Spring'. I
have strong feelings concerning the comparisons of modern 'POP' music
with anything classical (pre 1850) or what I consider neo-classical.
This status we give to 'old' music, is given because it is 'old' and
has stood the test of time, not because of what it sounds like. There
were undoubtedly hundreds of composers, song-writers, etc who lived in
the 17, 18 and 19 centuries who are unhgeard of today. They are,
then, not classical composers.
Sorry, I got to go and attend some sonar stuf, I'll continue later.
John
[][][][][][][][][][]
Date: Wed, 25 Jun 86 11:59:49 EST
From: hsut@ec.purdue.edu (Bill Hsu)
Subject: rambling and review
< Shelli raves about Smithereens >
Uhhh... I've seen the Blood and Roses video several times and can't
really say it's memorable (musically or visually). A decent bit of
jangly, catchy pop, but nothing terribly exciting (the review of their
earlier stuff in New Trouser Press Record Guide comes to mind here...)
And now, the surprise unasked-for half-assed notes on:
LAURIE ANDERSON AT THE HOLIDAY STAR, MERRILLVILLE INDIANA (where?)
Well after some misadventures (all of which were my fault, sigh) the
Terrible Trio (Kitty, Andy and me) finally made it to Mville. A rather
low trendies to non-trendies ratio, and I overheard some people saying
they thought Laurie Anderson was fusion :-) :-). LA had two male
backup singers and a keyboards player. For detailed notes on her
equipment, setup, etc., refer to expert opinion on net.music,
net.music.synth, net.music.classical (well maybe not) or just Tom
Janzen.
Since there've been tons of Laurie Anderson reviews in the past
three months, I'll just mention some neat details. LA came on stage
thru the audience, and for quite a few songs sat on the edge of the
stage. I had always thought from listening to the albums that she
was kind of a distant, playful performer who doesn't get close to
the audience. Some of the old stuff she did (I don't have the new
album):
Big Science (the simple slide show really enhanced this one; lovely)
Sweaters (hilarious mangled version with tape loop of lascivious
panting)
Walking & Falling
Oh Superman
Let x=x/it tango
Kokoku (with the famous airplane and snowflake slides)
Gravity's Angel (the highlight of the evening; the almost-industrial sounds
and powerful delivery evoked superbly the flavor of
some scenes from the Pynchon book)
She did two encores: Walk the Dog and Language is a Virus.
While I still don't think much of the new material, her performance of
the old stuff is really worth seeing. Don't miss her when she comes
into your area.
Bill Hsu
[][][][][][][][][][]
Date: Wed, 25 Jun 86 16:05:54 EDT
From: James B Hofmann <hofmann@AMSAA.ARPA>
Subject: A Complexing Listing. . .
FYI - Show Dates for the Summer at the Complex, 1239 9th St.
Washington, DC
Jun 27 - ANGRY SAMOANS / CORROSION OF CONFORMITY / DEAD MILKMEN
Jul 9 - PEACH OF IMMORTALITY / FOUNDATION MFD
10 - MDC
13 - STRAW DOGS (formerly F.U.s)
18 - DESCENDANTS / DAG NASTY
25 - SONIC YOUTH
Aug 1 - DEATH OF SAMANTHA
7 - 7 SECONDS / TOXIC REASONS
[][][][][][][][][][]
From: harvard!ima!inmet!ada-uts!wayne
Date: Wed, 25 Jun 86 20:34:21 edt
This is my first love-hounds note, so I'd thought instead of
contributing to various debates (be they useful or not), I'd offer
some news on Robert Fripp.
Here is the scoop: sometime this month Editions EG will be releasing
two albums of his. One is "Robert Fripp and Toyah Wilcox: The
Lady or the Tiger?" This album has on one side Toyah telling
children's stories at least some of which are written by Frank Stockton.
The other side has music from the League of Crafty Guitarists.
The other album is "Robert Fripp and the League of Crafty Guitarists:
Live". This album has on it one piece of Frippertronics (the
background is the same basic loop as "God Save the Queen"), and the
rest is music recorded live from the Crafty Guitarists from concerts
performed at George Washington University last December.
Who is "the League", you may ask (and so you may). The League is a
collection of guitar students that Robert has been teaching in the US.
He has been holding seminars during the past year and a half
at Claymont Court, a Gurdjieff/Bennet community in West Virginia.
The music of "the Crafties" is uncatagorized (so don't ask me what
kind it is -- I hate these questions, almost as much as I hate
labels). There are a lot of twentieth century classical
music influences (the most obvious being Bartok) and some pop
influences (a little...) and some improvisation as well.
Robert wrote most of the music, but there are I think two
student compositions on it as well. It is all performed on
Ovation guitars-- twenty of them in fact. Yes, twenty guitar
students and Robert were performing at these concerts. It is all
very listenable, and I liked what I heard from tapes of the concerts
as well as a tape of a test pressing.
(I would say the music is of the same vein as the album "I Advanced
Masked"... or rather, it is closer to that than to any of King
Crimson's works.)
There are rumors that Robert and the advanced students of the
League will be touring in the winter; I don't know yet. When I
find out I'll post it (if I can). How do I know all this?
Well, I am a Crafty Guitarist; I'll be there next winter.
By the way, he and Toyah were introduced last fall at some prearranged
gathering at Editions EG. Robert was to be her producer. I didn't
get to meet her (she's also a Crafty Guitarist), but what I heard
was that they hit it off very well... so well that he proposed a short
time later, on Christmas Day. And now they've tied the knot...
If anyone is interested in attending these classes, I can be a little
less vague (the opaqueness was intentional) and tell you more
about them. I didn't want to bore anyone with my first note...
Wayne Wylupski ...!{ihnp4,ima}!inmet!ada-uts!wayne
[][][][][][][][][][]Love-Hounds-Post@mit-eddie.UUCP (06/30/86)
Love-Hounds Digest Issue L5 Topics: * Hello, y'all (from Hofboyy) * Big Country, Stray Cats and Anglophobia... * Smithereens * I have returned (from Sue) * Fanzine (Sue's starting a fanzine) * An Interesting Message I Received on my Answering Machine... [][][][][][][][][][] Date: Thu, 26 Jun 86 11:37:47 EDT From: James B Hofmann <hofmann@AMSAA.ARPA> Subject: Hello, y'all Ha! Did you ever really think I'd leave you? Actually, the pain of receiving this everyday was a little too much on my poor psyche - I mean if you think I'm bad when I FLAME you should see me in the morning when I have to read some of this JUNK. My opinion only ... Due to the wonders of FTP, I can abscond with the latest from l-hounds and spend my lunch hour every couple weeks sorting through this mess. Using "page" to do this is cool because if you set your search pattern for Subject you can usually eliminate the fluff (sorry, my opinion again) and also the two posters from England which I can hardly stomach don't even have Subject lines. Sorry, no offense to M. and H. but I'm not as interested in "collecting Kate memorabilia" as yourselves. No offense meant and I hope none taken. I'm sure YOU don't like reading MY non- Kate junk but you don't have FTP so there. Gosh, this is nice being nice, don't you think? BOOKS: I've been reading a bunch of rock bios lately: Actually this disturbing new hof-trend started whilst consuming the latest Mother Jones in my local library wherein I found out that Jimmy Swaggart is first cousin with Jerry Lee Lewis and that GREAT BALLS OF FIRE was recommended as the best rock bio ever. So, I found the bio section in our Dewey damaged library and scarfed up bios on Madonna and Prince as well as the Jerry Lee Lewis bio. The MADONNA bio takes about 35-40 minutes to read but is really an interesting story about a extremely DRIVEN person who actually does afterall have some stake in her claim on stardom - mainly her professional modern dance background and her grounding in MOTOWN from an early age. Why she is now singing slow ballads is beyond me. The most telling parts of this book is direct quotes from a guy named Bill RosenBlatt who finalized the Ciconne's contract to SIRE. It's a sad commentary on music in the 20th century when you have people like this guy involved so intensely. To him, music and business are as synonomous as manure and horseshit. An interesting book for Madonna haters and lovers as well. But definitely library intensive (i.e. don't waste your hard-earned cash on it). The PRINCE bio is laughable. No attempt is made to actually attack/explain/glorify the Purple One's ideas on love and dreams and sex and SEX AND SEX AND SEX. This is VERY tame unlike the Jerry Lee Lewis "uncensored" bio. So far, this reads almost like good fiction but must be taken as such since I can see no way for the writer to make the assumptions on what is going on in people's minds. But he does anyway and his guess is probably more educated than mine will ever be. There are just too many writers in the rock field who can't write but this guy (forget his name) sure can. The stuff on SUN records is a must for anyone interested in independent record companies. Also, the trivia (i.e. the strange people that cross Jerry's path like Wink Martindale and Swaggart and of course, his main competition Elvis) make this the most interesting read I've had in a long time. More at a later date. On The BIG SKY: I thought this song was yet another Kate attempt to "do" America - The video description seems to support this, yes? No? Re: The DK's legal problems. There's a page description of the bust in the latest Maximum Rock and Roll for anyone interested. It's written by Jello's live-in writer friend who had her stuff rifled through and torn apart. Apparently, the police may face illegal search and seizure charges for confiscating the MORDAM files who merely share an office/warehouse with Alternative Tentacles. Vee shall see.... At the very least, it'll give Jello something to write about (jail that is). >From Alfke: > Christ. How old is the guy anyway? (S'okay, he can't see this.) Christ is about 2000 years give or take a score or two. And he can see this - he is omniscient, ominipotent and has an inside line with God (but don't worry about the last part, God is too busy listening to Japanese hardcore and other "way-trendy music"). More on the BIG SKY: "It's also suggesting the coming of the next flood how perhaps the 'fools on the hills' will be the wise ones." Well, Europeans have always considered us Yanks fools... but the only people on the hill in D.C. is the Russian Embassy.... And now for the pasta Ray Zitstance: From Gtaylor (tape entrepeneur): >>We can't agree whether or not rock is a fad. >That'll be a problem all right. Why not talk about the fact that the >concept of a fad presupposes a whole culturally elitist apparatus >that nearly all of us love to manipulate at the drop of the hat. "the concept of a fad presupposes a whole culturally elitist appartus"... hmmm .... let me mull THAT one over - well, yeah, "elitist" but the funny thing is that the Elite are quickly washed away by the neo-Elite (or perhaps the Retro-Elite?) - the half life of fads varies with the intensity of the FEELING or COMMITMENT or IDEALS involved, perhaps... how does that sound? Rock is a fad and will survive only on vinyl isn't exactly what I meant to say - afterall my name isn't Nostradamus so I can't divine these things - let's say it SEEMS like a fad and what's the beeeeg deeeeeeal, Senor? Let loose - enjoy it while it lasts. IT's life afterall - why bum over a terminal about it? >>We can't justify putting down >>"commercial" music and hence cannot give good reasons why people >>should listen to progressive music instead of top 40 >I suspect that it's because you've not asked Wicinski and >Hofmann about it, and they've had their hands full thinking >about other stuff. Ditto Krajewski and Ingogly. I'm merely the >sort of aging and ineffectual boffin who's read enough Frogspeak >to go about answering that question by asking another one: What >are we attempting to justify when we "put the stuff down". Or >perhaps "who" is better than "what." It gives away the answer >somewhat, though. If there's one thing that Hofmann has a real >handle on, it's the notion that the labels and the stances are >being co-opted and we're just sitting there like chumps the whole >time. Perhaps the Hof does go in for the critical equivalent of >"cut and burn" agriculture, but he's got the right idea at heart: >we're looking for something besides the single crop starvation >plans that put sugar in the tea of the Big Boys. How about a little >subsistence ag of our own (as Candide put it...cultivate our own >gardens)? The first part of the paragraph I agree with - I'd like to offer substinence over the next part if you'll permit me: Well, this seems to be where I'm arriving, I guess - why not, like a good friend of mine invest yourself in music if you are concerned about it's continuation outside of business concerns? I'm still not sure what is important about reaching the masses except to distract them while you sneak away with their pocketbook It seems that art has made a roundabout way of commenting on our society and it's sad and I'd like to change that (and what's wrong with that?) If you can get one bastard to sit down and listen to your music and say, gosh, I like that or gosh, I HATE that WANK (quoting directly from God). If you can change or influence one person into some sort of action, the music has succeeded. It's always nice though to enrich many people and obtain various reactions. (also you yourself are part of this loop - f'rinstance: Greg's self-disparagment of his recordings leads him to the (n+1) level as well as Junior the drummer saying, I'll take the hard road over the easy road anyday...). So cultivate our own gardens, if it means buying the seed or spreading the crop in some way or even (as Greg says) "cut and burn" (within legal means) which is a whole opening genre in itself (see the Ciccone Youth and various industrial bands for more on THAT). Sid Vicious was really an idealist for all his nihilist pose and perhaps that's what Kate meant: one of sid's most cogent quotes was when he said "in a couple of years, there will be no need for punks" since we will have arrived at an ideal state DUE to the punks. How wrong he was and maybe he saw that before he took his life? >>(at least without using >>quasi-moral arguments "Madonna promotes pathological materialistic values" >>or vague quasi-elitist statements "Residents are more challenging music >>because they deconstruct pop :-)"). >Here's where I think I'll draw the flames. I don't think you'll have >any choice BUT to make value-based arguments. If you're deft and lucky, >you'll be charged with elitism perhaps or dismissed as someone who >thinks too much. If you're lousy, you'll pretend to make value-neutral >pronouncements that will succeed only in making you look like a buffoon >or a bigot-whether you're a Baptist, a Skin, a Trotskyite, or just another >fan. At the bottom of all this, the question for me is not "What is Art?" >but "What is GOOD Art?" How is Art good? A nice place to begin is to >stifle the urge to capitalize the word, perhaps. Hsut asks later on here "how can we make people listen to ''our'' music" and I think this IS a flaw that people bring to bear. Don't try and get people to do anything. It will probably make them more hostile towards you and yours ANYWAY. Rather, make it available: strewn issues of fanzines, OP on coffeetables, assorted tapes in my bathroom beatbox (and a ripped off radio antenna), or inviting friends over and slipping in a wrecord or two that you think they might be enriched by hearing - don't tell them the name or anything until and if they actually perk up and say .... "Wow" or somthing. >>We can't argue against trendiness >>because if rock is a fad, then we're all guilty of trendiness. >This dilemma is a part of what my mother called "Good Trouble." It >is the kind of semi-insoluble dilemma from which one emerges as >either an escapist or as a better person. I prefer personally to >locate myself solidly in my own time, be suspicious of my urge >to make all other times look like mine (thanks to old Heidegger, >but may I never have to read him again!), and puzzle out whether >there is, after all, something of an "essential core of being" >(We call it "soul", Aretha and I) in either the net of Greg-In-The >Present, or any of those other objects out there. Those nasty and >shifty PostModernists have bandied about the notion that art functions >as a "system of self-knowledge". Perhaps that's what I am suggesting. I can dig it. Self-determination can be rough and rocky and NEVER (it seems) actually attainable. So while we leave the others behind with Freud and Jung we can speed about in our Maslow-tuned auto finding enjoyment and enrichment at every (other) turn.... "eh? - maybe not" - Karen Weiss >(If you can't answer those questions, then why are you subscribing to LH?!) hmmmm....but I'm not subscribing - so there! > Swans "Time Is Money (Bastard)" WANT! WANT! WANT! > allyn ... and I KNOW where you live, fool! >From : M..... > And by what obscure > biological process is masculinity connected with the choice > of a synthetic over an acoustic bagpipes effect? I don't know - afterall those acoustic gag, er, bagpipers wear skirts and all. Mebbe youse been in England too long, hugh (jest, only a jest). >Question of the day: How do you justify philosophically to a person >with mainstream tastes that he should listen to different musics? See above.... for my humble opinion! > a must buy! -> BEDLAM's version of the Lost in SPace THeme! > g'nite! > Fidelis UURRRRRRRCCCCCK.....SCCCRRRRRREEEEEEEEECCCCCHHHH.....bomph. HUH? This is the Fidelis I thought I left behind all those years ago? Yeah, this song/ version should be on their latest album on Buy Our Records - it also appears in live form and ltd edition 45 7" with A.O.D. on the other side. I think I put this on that tape I made Taylor so he could eat beans and drink wine - although the next song on the 45 is about the most offensive song I've ever heard. Well, that's all - see you next month and as always send all death threats/hate mail/ used condoms to: J.H. [][][][][][][][][][] Date: Thu, 26 Jun 86 14:10:33 EDT From: James B Hofmann <hofmann@AMSAA.ARPA> Subject: Big Country, Stray Cats and Anglophobia... This comes from Dave Marsh's Fortunate Son book but actually is remarks by Big Country and exerpts from a follow-up letter by Brian Setzer: Stuart Adamson: "Americans have never produced a thing worth calling art themselves. They've borrowed everything from Europe in- cluding punk rock." Brian Setzer: "Oh, right, Angus McPresley. Sorry! Who invented the blues and jazz, and country and western?...they've never had anyone to compare to Duke Ellington, George Gershwin, Robert Johnson, Elvis Presley or Hank Williams" Marsh goes on to say, "the Brits have developed a pop culture that knows it's place and never insists on equal rights with Serious Art. (notice the capitalization, Greg). No one shouts about heavy metal, because its listeners - not its practitioners - are so uncouth they're beneath the pundits' gave" Thood for Fought, J.H. [][][][][][][][][][] From: allynh@calder.berkeley.edu (Allyn Hardyck) Subject: Smithereens Date: Thu, 26 Jun 86 13:13:23 PDT >I recently had a mad obsession with the single, >"Blood and Roses" by the Smithereens, and went trapesing into my >neighborhood record store to find it. But alas, they did not have the >single, and the album wasn't out yet. Jesus Christ. I can't believe Enigma is taking so long to release this... My friend from EMI (which has apparently set up a distribution agreement w/ Enigma with an option to sign if they're interested in anybody in particular) loaned me an advance cassette of _Especially For You_ (their album) AT LEAST a month and a half ago. And it's good, and it would sell... (haven't returned it yet either. Oops.) [][][][][][][][][][] From: think!caip!unirot!fidelis Date: Thu, 26 Jun 86 16:09:47 edt Subject: Smithereens Organization: Public Access Un*x, Piscataway NJ (The Soup Kitchen) The Smithereen's album was released two or more years ago, and was not that impressive. I cannot believe it is getting so much hype nowadays. I guess it has something to do with me hearing it all so many times before on Rutgers U. and Princeton radio...aren't they all from Jersey? The guitarist owns a video rental place in New Brunswick... Tho' I must admit, I was never impressed by their material. Is the ART OF NOISE worth seeing in concert? Or do they just turn on a tape deck while we watch??? Fidelis Orozco caip!unirot!fidelis [][][][][][][][][][] Return-Path: <umcp-cs!jhunix!jhunix!rsx_zisc> Date: Thu, 26 Jun 86 13:23:57 EDT From: cloudbuster <umcp-cs!jhunix!rsx_zisc@seismo.CSS.GOV> Subject: i have returned Thanx to the last three weeks of this voluminous digest, I am over disk quota now and am waiting for the slow moving JHU accounting office to straighten it out. Therefore, I'm posting from another account. But be assured, it's still the same old ins_aset@jhunix! I guess the following article is old news by now, but I feel compelled to respond anyhoo: Wicinski writes: > here a story from the paper written by susie's friend and partner > in oppressing the independent records JD Constantslime: Tim Wicinski and Jim Hoffman sure do looove insulting JD, and I'm getting sick of defending him, but I shall continue to do so when need be. Maybe they hate him so because he makes a good living writing about music and they can just wank off on the net and in love-hounds. Or he doesn't write enough about skate punk hardcore. In any case, timbo, I just checked a recent article in Musician magazine, specifically JD's Rock Short Takes column. Out of 14 reviews, 7 were of indie label records. And Musician may be a pretty mainstream mag, but face it, you can't pay the rent by writing only for Maximum Rock and Roll and Sound Choice. As for my own tastes, anyone who has been regularly reading my contributions knows that I am hardly what you would call a champion of the major labels. More stats, you ask? Let's rummage through the last 10 LPs I bought and check the labels: Alpha, Rough Trade, MCA, Rough Trade, el/Cherry Red, Mercury, Cartel, Palladium, Tandan and Wax Trax. I only see 2 major labels there. Now, please shut up about things you obviously know nothing about. > (tim quotes a description by JD from the Washington Post about how formularised British dance music is, which I happen to disagree with) > I mean this guy is even on your wimpy, non-amerricanistic side > when it comes to music, mainlu because most american bands and > labels are smart enough to realize that all these slimey writers > want are freebies. I know a few american labels which do not > cater to this kind of back-scratching ideology (Dischord stands > number 1 on the list). Now let me see if I can understand what you're saying. 1. JD likes all things wimpy and "non-amerricanistic." 2. *American* labels know that the only thing slimey writers (including JD, presumably) want are free records. 3. Non-American labels don't recognize this, and send out no freebies. Then, if JD is such a slimeball writer, why wouldn't he spurn those wimpy Brits who don't give him his free records? For the record, JD does happen to prefer American music, from Husker Du to the dreaded Boss, and I don't see how you could reach the conclusion that he *prefers* British music from that defamatory description. I'm glad you weren't on my high school's debating team. As for sending out free records to critics, what the hell's wrong with that? All the critics I know buy tons of records and review them as well, but say that critic A has never heard of band B or seen their record in the shops. Band B's label send critic A their latest LP. Critic A loves it and writes a glowing review. It happens, you know. > Morning Glories/Pussy Galore dc space, two weeks ago > didn't see you hear sue, what happened, dc space not akin to giving > out free tickets? Ooh, how cutting. I've seen the Morning Glories, and found them not to my liking, I'm afraid. And I have no car (amazing, I thought these rockcrits were chauffered down to the shows by the labels) so I could not have gone anyway. S'there. And now, on to more pleasant topics. Doug writes: > Revolting Cocks also contains Richard 23 (of Front 242, whoever > they are) Front 242 are a great Belgian synthidance band. If you want to know more, do buy their Politics of Pressure EP on Wax Trax. A small investment, but great music, including the infamous "Funkhadafi." Or check if your radio station has any of their records, which are released domestically, by the way. The "No Comment" LP is a good one too. While on vacation, I picked up an LP by a guy named Zaine Griff because it had those magic words "Kate Bush courtesy EMI Records" on the back. The LP's about 4 years old. It's pretty good, very much like Ultravox in their Vienna period, but I have no idea who Zaine is. Not even the trusty Trouser Press guy lists him. Kate duets on the song "Flowers," a tribute to Jean Genet... (whoops! Read "guide" for "guy" up there.) I still have lots of love-hounds to wade through, and reply to if need be. In the meantime, remember these words: ZODIAC MINDWARP AND THE LOVE REACTION. -Sue [][][][][][][][][][] Return-Path: <umcp-cs!jhunix!jhunix!ins_aset> Date: Thu, 26 Jun 86 13:48:28 EDT From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV> Subject: Fanzine I am going to start a fanzine. I'm bored, that's why. If you would like to contribute to it, reviews, interviews, or opinion, please send 'em this way, along with a non-computer address so that I can send you a free copy of the 'zine when it comes out. The content will focus on "new wave" music, whatever that is. I am frustrated with the music press, so I decided to start my own. Cool, huh? This is going to be a non-profit enterprise, by the way, unless I can figure out another way to do it. So send everything here! Otherwise the entire thing will be written by me, and that's not what you call variety, is it? *-*-*-*-*-*-*- Sue Trowbridge "I've been to Paris/Nobody seemed to like me there I got infectious/Did not know what clothes to wear" -Anna Domino arpa : ins_aset%jhunix.BITNET@WISCVM.WISC.EDU uucp : ...{ihnp4!whuxcc | seismo!umcp-cs | allegra!hopkins} jhunix!ins_aset (or) : ...decvax!decuac!aplvax!aplcen!jhunix!ins_aset [][][][][][][][][][] Date: Thu, 26 Jun 86 21:06:54 edt From: Joe Turner <cutter%umass-boston.csnet@CSNET-RELAY.ARPA> Subject: An Interesting Message I Received on my Answering Machine... The following is from a friend who bought HoL at my insistence (on CD, of course)... [sounds of KB music - "Hounds of Love"] Joe? This is Peter. Kate Bush is God --- well, is a Goddess. Let me rephrase that: Kate Bush is a Goddess. She's got one hell of a voice, she's incredibly good-looking, she's a great writer, she can --- she's, she's great, she's incredible. I want to meet this woman. I want to get to know her. I want to bear her child. Thank you for pointing me in the right direction. I want to decorate my room with Kate Bush posters. That is all. Call me when you get in. I think we can chalk up another KB fan out there in the wild... VIS A VIS _The Dreaming_ vs. _Hounds of Love_: Get your baseball bat ready, Douglas. When I listen to TD, I hear a lot of odd rhythms, weird sounds, and a hell of a lot of depression and anxiety. This isn't bad - it's a perspective that most artists don't like to deal with (unless you're Ian Curtis or the like). When I listen to HoL, I hear a more optimistic tone. Because of its visceral attack on my senses, I find it hard to listen to TD sometimes - literally, it hurts too much. I find listening to HoL a much more enjoyable experience - not because the music is easier to listen to. The musical ideas in HoL are just as valid as those in TD, but presented in a different style. Neither album is BETTER, they're just DIFFERENT. People talk of TD's "importance". If it was so important, why is it that it never got mentioned? Why is it that I only heard about it through this digest? If it was such a musical phenomena, like (for example) The Beatles' _Sgt. Pep- per's Lonely Hearts Club Band_ was in 1967, why does most music sound the same? [Dontcha just LOVE these sweeping generalisations? I do...!] The point is, however "important" an album you all think it is, the rest of the world thinks otherwise. NOTE THAT I'M PLAYING DEVIL'S ADVOCATE HERE. If you shoot me down in flames, I'll probably agree with you. But the point is valid: If it is a landmark album, why has no-one used it as a basemark? Or have I missed things. Save your parity bits for big cash prizes! Joe ---------------------------------------------------------- PAPER: Joe Turner, 329 Ward Street, Newton Centre MA 02159 SOUND: (617)/965-8058 CSNET: cutter@umass-boston.csnet ARPA : umb!cutter@csnet-relay.arpa UUCP : {decvax,ima,linus,sri-unix}!cca!ringwld!cutter ---------------------------------------------------------- [][][][][][][][][][] End of Love-Hounds Digest
Love-Hounds-Post@eddie.mit.edu (07/02/86)
Love-Hounds Digest Issue L6 Topics: * continuation / HoL vs TD * Fripertronics (2 articles) * Big Country, Ministry, Test Dept., etc. * Zaine Griff * Smiles all around. * convoy * babble babble, babble * Roger Miller (2 articles) [][][][][][][][][][] Date: 27 Jun 86 12:50:00 PST From: "ROSSI J.A." <rossi@nusc.ARPA> Subject: continuation / HoL vs TD Reply-To: "ROSSI J.A." <rossi@nusc.ARPA> ...... I don't believe that quality is necessarily a prerequisite for becomming classical. Many of the non-famous contemporaries of the classics probably were doing music as good or better than there long-lived brothers. In many instances, it seems, being different and setting a trend is a method by which classical success was achieved. In other instances (Listz for example) it was a combination of attitudinal excitement and catchy tunes. Personally, I find much classical music boring, however, there are pieces I like. Unfortunately, we have no way of knowing if there was 17, 18 or 19 th century music which we would prefer to 'the classics'. Now, to extend this into the music world of the last 25 or so years. I believe that The Beatles will be remembered and ther music considered 'Classical' in the 21,22, and 23 centuries (if there are any). Notice, I also must say that I don't particularly like the Beatles (I admit they have had their moments). There influence on the state of contemporary music was astounding, but probably over-publicized and not to correct. Yes, all people when cornered usually stickthem into their lists of great influences (Kate may have liked them but I don't see the great musical influence showing in her work, besides she's just a kid). Twenty years ago, if this was the Beatles Digest, I think I would come across similarly to the viewpoints of Hofmann and Wicinski in pushing alternative musical talent. In many ways, I don't think that digest would be composed of people like those who make up Love-Hounds. Remember, Love Me Do and I Want to Hold Your Hand etc were not great musical triumphs. Christ, Harrison couldn't even do anything but strum back then. Brian Epstein is to that era as Hulk Hogan is to today. The Beatles were probably the most hyped musical act to hit the American music scene in the 60's. True, their progression from Meet the Beatles to the White Album was remarkable, but no more remarkable than the progression of any other competent musical acts which were their contemporaries. I believe that the Beatles will be the classically remembered group from the period, but, only because of the early hype and the generation explosion of the 60s period. For every milestone in the Beatles recording carreer, it is possible to cite equally importan, if not more important recordings by other (almost made its) most notably The Who and The Kinks. and the Animals. Most people found it strange that I prefered You Really Got Me to Help, I can See for Miles to Strawberry Fields, and House of the Rising Sun to any social statement made by the Beatles. So in the year 2176, people will probably revere George, Paul Johhn and Ringo as we do those we consider classical composers. (A subtle difference may exist, however, in that more information will be stored from this period due to the technological advvannces than we have record of for the classical era. Now to the heart of the matter. I do not believe that Kate stands a chance in a quadrillion of being remembered for her contributions to the 70/80 period anything like the Beatles were for their period. That is to say, I doubt Kate Bush will ever achieve classical status. In fact, it is probably true that Madonna will be more revered by the masses who secumb to what is pushed at them as classical. Look at it this way, we don't have a choice as to who we are going to revere from the past centuries, the classics have already been picked for us. Snobbery will probably always be a virtue of the human species and it will be thhe snobbbish aristocrats who will define what is classical from our lifetime period. The fact that Kate Bush is not a household word, I believe, works strongly in her disfavor in achieving enough memorable clout to sway the aristocrats of the 22nd century. Concerning the ensuing battle of HoL and TD, my opinion is that I much prefer TD because I appreciate its daring. HoL is in a musical (as defined by whethwewr my wife can tollerate it) sense, more appealing. Hence, HoL gets a hell of a lot more airplay (including MTV), has real hits, and can be listened to by people subject to borderline schizophrenia. The catch, HoL is more commercial. I believe that TD will soon appear in cut-out bins. Annd willl be the first of Kate's albums to go 'Out of Print' (this is again a sad commentary on our times). --This space would have been occupied with a Paul Simon philosophical expression, however, Doug took the words right out of my VT220-- John [][][][][][][][][][] Date: 27 Jun 86 13:00:00 PST From: "ROSSI J.A." <rossi@nusc.ARPA> Subject: Fripertronics Reply-To: "ROSSI J.A." <rossi@nusc.ARPA> In answer to the response by Bill Hsu, I take exception and still feel that the technique should be called Enotronics since the earliest ambient stuff came first, and, I believe, he introduced the timed delay loop technique to Fripp. But, since Eno hasn't quarreled with the label I guess we are stuck with Frippertronics. Just trying to give credit where credit is due. The pedalboard (which does make up a portion of the whole Frippertronics thing) is an idea, which I believe was conceived solely by Fripp. Six of one, half dozen of the other. Also, No Pussyfooting (Fripp and Eno) is the better of the two LPs. John [][][][][][][][][][] Return-Path: EMAILDEV%UKACRL.BITNET@WISCVM.ARPA Via: UK.AC.SUSX.VAX2; 27 JUN 86 15:34:15 BST Date: 27-JUN-1986 15:24:49 From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK OK, I'm going off 'round Europe for a bit, so you won't have to worry about much more KT trivia postings anymore. However, as a parting shot, here's some stuff from the latest Record Mirror: (The "Big Country" interview they're on the cover): "....and the title track features a duet with Kate Bush. Stuart says he's been a Kate fan for a long time. `The Central character of the song "The Seer" is a woman, so I though (thought) it would be good to get a woman's vocal point of view. I have a lot of Kate Bush albums, and I like her voice. She varies it so much. There's a lot of variety and texture in the way she sings, and she's always coming up with something different. She's a perfectionist; she won't give up until she's absolutely satisfied with what she's done. She has a lot of dedication.' " -Stuart Adamson Also, Alan Jones in "Chartfile" further amends his claim of Kate being only one of four women to take more than 3 hits off an album - the fifth being.... SHEENA INSTANT!!!! (easton). Ugh. Where's Richard Cook and his sugar walls? Finally, "The Hair of the Hound" was the highest entering music video for the week, going in at #6. The Single File is still hovering around #8. Hugh [][][][][][][][][][] Date: Fri, 27 Jun 86 10:15:23 EDT From: John Lorch <harvard!seismo!umcp-cs!jhunix!ecf_hydb> Subject: re:Frippertronics The vocals on Exposure are by Terre Roche, one of the fabulous Roches. Robert Fripp produced their first (and probably best) album, "the Roches". They plan to record a Christmas album soon with Fripp. Personally, I like her vocals on that song. You would probably prefer the original, which appeared on Peter Gabriel's second album. Terre also sings several other songs on Exposure, including a duet with Peter Hammill. More Fripperies - two new Fripp albums are scheduled for release this month by JEM. One is Robert Fripp and the League of Crafty Guitarists, which consists of Bobo and his guitar class from West Virginia (I think it's Claremont - not sure). This should be interesting, as it's app. seventeen acoustic guitars, mostly doing classic Fripp riffs. The second lp is a duet with Fripp's new wife, Toyah Wilcox. I'm not familiar with her music, so no guesses here. John Lorch Johns Hopkins University Homewood Computing Facilities UUCP: ihnp4!whuxcc!jhunix!ecf_hydb ARPA: ecf_hydb%jhunix.bitnet@wiscvm.arpa BITNET: ecf_hydb@jhunix [][][][][][][][][][] Date: Sun, 29 Jun 86 15:59:23 EDT From: nessus (Doug Alan) Subject: Big Country, Ministry, Test Dept., etc. Well, I picked up Big Country's *The Seer*. As you might remember, Kate sings on the title track. I wasn't expecting much, because nothing I've heard by Big County (not that I've listened to much) has ever done the slightest thing for me except for bring a yawn or two. I've only listened to one song on the album once, the title track, of course, and I was pleasantly surprized. It is nice folk rock. Nothing to write home to mum about, but a pleasant break from the Meatmen and Scraping Foetus Off The Wheel every now and then. I'm sure that Kate singing on it makes me like it bit more than I otherwise might, but keep in mind, that I don't like everything Kate sings (eg "Not This Time" -- actually I've listened to this a bit more and agree with rpk: there's a good song in there trying to come out, but the arrangement is naff). I picked up Ministry's first album, *With Sympathy*, and boy was this a shock to hear. It's nothing like their new album. Instead of sounding like a more musical Test Dept., it sounds like ABC or something. In fact, one of the songs, "I Wanted To Tell Her", I have heard all over the radio and never had the slightest inkling that it was done by the same group that does "Over The Shoulder". Speaking of Test Dept., on the radio I heard a stunning track by them called "Fist". It sounded a lot like The Revolting Cocks, only better and more rhythmically interesting. Does anyone have any Test Dept. recommendations? What should one start with if one liked "Fist"? -Doug "We use them a while Then it's over the shoulder" [][][][][][][][][][] Date: Sun, 29 Jun 86 23:00:33 EDT From: nessus (Doug Alan) Subject: Zaine Griff > [Sue:] While on vacation, I picked up an LP by a guy named Zaine > Griff because it had those magic words "Kate Bush courtesy EMI > Records" on the back. The LP's about 4 years old. It's pretty > good, very much like Ultravox in their Vienna period, but I have no > idea who Zaine is. Not even the trusty Trouser Press guy lists him. > Kate duets on the song "Flowers," a tribute to Jean Genet... So how'd you stumble onto Zaine Griff, Sue? I've never met anyone who's ever heard of him except 'cuz KB's on one of his albums. He and Kate are friends because they were both in a dance class taught by Lindsay Kemp. "with love to share" Doug [][][][][][][][][][] Date: Mon, 30 Jun 86 13:05:22 EDT From: James B Hofmann <hofmann@AMSAA.ARPA> Subject: Smiles all around. Sue writes: >I am going to start a fanzine. I'm bored, that's why. If you would Good luck but the world is saturated towards overflow right now... and it should prove QUITE frustrating. How about forming a pirate radio station instead? The Robinhood people in Baltimore are starting a local free new music publication, btw, maybe you could help them? J.D. is a mediocre writer (much like his friends). Why doesn't he hang it up and get a real job? >As for sending out free records to critics, what the hell's wrong >with that? Because we the record buyers are paying the overhead for promos, that's why. Most critics write pretty meaningless drivel to help enhance their egos. Personally, I'd rather have a well-educated "describer" than a critic. This is one of the reasons I like Sound Choice over the overpriced, less copy/density "Musician". --- jim [][][][][][][][][][] From: COBLEY A (on DUNDEE DEC-10) <A.Cobley%dundee.ac.uk@Cs.Ucl.AC.UK> Date: Wednesday, 11-Jun-86 20:47:36-BST Subject: convoy 1984 revisited you lot out there in the states may not have heard about the state of human rights in good old great britain today, how its ok for the police to chase 200 hippies across 3 counties, how its ok for police to 'steal' 200 peoples homes, how its ok for the press to abuse a group of people just cause they live there own life style, how being yourself is suddenly very out of favour in england, so here is the story. It goes back 10 or 12 years when a group of 'hippies' started off a traveling alternative lifestyle called green avalon, they traveled round the country in beat up vans and bus's from free festival to free festival and had a really good time. Now the convoy grew and so did the main festival, stonehenge until there were over 200 people in the now called peace convoy and 70000 people at a free fesitival every year where you could see groups like 'hawkwind', 'inner city unit ' 'crass ' 'here and now' 'the enid' 'misty in roots' and so on for FREE, and do just about what you like. enter 1985 The govement got fed up with all these 'young' people haveing a good time for free and smoking pot, and whats worse the peace convoy claimed social security AND sold drugs so it was decided to smash the convoy and ban the festival. So the battle lines where drawn and inevitable the police won 200 arresets and vans and busses smashed to pieces 'looking for drugs'. end of peace convoy ? enter 1986 The peace convoy having paid its fines and fixed its transport tries once again to hold the stonehenge free festival and once again is bared from the site, so on it moves to somewhere else again to be moved allong and so on until it comes to somewhere where the law is a little bit slower. after three days 500 police (in full riot gear) move on to the site to move 200 men, women, children and babies off the site BUT they also impound all their vehicles. This was monday. The peace convoy is now homeless, with out transport and walking the 60 miles or so to glastonbery CND festival. they say they will not be split up and will return next year I believe them. On top of all this the press and tv have shown the most predudiced set of views I have ever come across, if you substituted jew or black for hippy in the headlines and articles we would be back in nazi germany. Now i hear that you have n't been told about it. Do we live a free democracy? enough of this. love and peace andy c cobley%dundee.micro%dundee@ucl.cs [][][][][][][][][][] Date: Mon, 30 Jun 86 23:31:20 edt From: The weenies are everywhere.... <wicinski@nrl-cst.arpa> Subject: babble babble, babble >labels. More stats, you ask? Let's rummage through the last 10 >LPs I bought and check the labels: Alpha, Rough Trade, MCA, Rough >Trade, el/Cherry Red, Mercury, Cartel, Palladium, Tandan and Wax >Trax. I only see 2 major labels there. I have a collection of everything JD baby writes in the post, from his blasting england synth bands (which I liked and would shake his hand for it) to his articles on 'Genesis stioll rocking'. Yawwnnnnnn... I call a major label anyone who charges list price (8.98 or similar) for an album. Homestead and Enigma are major labels, as are Rought Trade, and the Cartel. Skate Punk Hardcore, you have re affirmed my belief in you sue. >As for sending out free records to critics, what the hell's wrong >with that? All the critics I know buy tons of records and review them >as well, but say that critic A has never heard of band B or seen their >record in the shops. Band B's label send critic A their latest LP. >Critic A loves it and writes a glowing review. It happens, you know. We pay for it. The consumer that is. Which is why the american indie labels sell there records for cheaper than list price cause they don't send that many promos out. My feeling is that the big record labels are trash. critics are trash. we are trash. everything is trash. I think that Fripp's idea of "small, mobile, and intelligent" (actuall Bennet's) should be applied to record labels. What I would like to see is a collection of small labels which put out bands that live in the same area as the label (Ace of Hearts, Dischord, and Rabid Cat come to mind as prime examples). These labels can concentrate on local artists, and releasing albums with little publicity. The resulting products can be sold for a cheaper price, since most other expenses could go away. Also I can't see why record companies be non-profit. Most operate like that anyway due to reality. I also don't see too many big critics reviewing any cassette releases ??? too much pressure from the record industry ?? >Ooh, how cutting. I've seen the Morning Glories, and found them not >to my liking, I'm afraid. I forgot, they opened for mr. hitchcock. Did you buy a copy of the fanzine they were selling, Greed ?? If you want to put out a fanzine, there's a place to look for a prime example on how to put out a WELL prepared zine. Nice graphices, typeset nice, pictures you can see, cartoons, and great fiction. only 1.50. most zines you see will be shredded pieces of xerox. [][][][][][][][][][] Date: Mon, 30 Jun 86 23:37:27 edt From: The weenies are everywhere.... <wicinski@nrl-cst.arpa> Subject: Roger Miller Roger Miller Maximum Electric Piano at d.c. space wow, only about 30 people or so showed up for this event, I guess they were "trying" to be hip seeing green on red at 9:30. well, me and labovitz are hip, we saw the dude. Played some boss tunes our way. Did some new stuff which is on his new album, as well as a burma cover, miss shiparo, and a cool song about cyclops. Gave us a tour of his equipment too. One of the few (and I've been told lucky) owners of a 16 second digital delay. what a way to make effects, too. aliigator clips, wood blocks, and combs. his new album should be out in a few weeks. not planning any major tour as of yet, just weekend 'jaunts'. stayed tuned for more. [][][][][][][][][][] Date: Tue, 1 Jul 86 00:28:56 EDT From: nessus (Doug Alan) Subject: Re: Roger Miller > [Iguana Breath on Roger Miller:] his new album should be out in a > few weeks. not planning any major tour as of yet, just weekend > 'jaunts'. Translate few weeks into six months and you will probably have a more accurate estimate. Didn't I tell you he was boss? Hey, I'm so flucking godlike! Did I mention that Birdsongs of the Mesozoic's new EP is *finally* out. Buy it! -Doug [][][][][][][][][][] End of Love-Hounds Digest
Love-Hounds-Post@eddie.mit.edu (07/06/86)
Love-Hounds Digest Issue L7
Topics:
* Home of the Brave (new Laurie Anderson Movie)
* Hi, me again ... Show 'n' Tell Time:
* stuff (don't you love uninformative subject lines?)
* Cutout Bin TD
* KD-TD in cut-out bins
* Re: MSABAF & TH
* Irate IED
* Rappin' 86 at the Baltimore Civic Center, 6/27/86
* "Don't Give Up"
* Sorry, this is long...
[][][][][][][][][][]
Date: Tue, 1 Jul 86 12:22:22 pdt
From: Andrew Scott Beals <bandy@lll-crg.ARPA>
Geographic-Location: Second-Class Housing, Ground One, Livermore Ca
State-Of-Mind: interviewed and waiting to be shrunk
Subject: Home of the Brave (new Laurie Anderson Movie)
Yow! Pretty good stuff.
Did anyone else notice that (shriek!) Adrian Belew was in it?
andy
[][][][][][][][][][]
Subject: Hi, me again ... Show 'n' Tell Time:
Date: Tue, 01 Jul 86 13:54:52 -0700
From: J. Peter Alfke <alfke@csvax.caltech.edu>
Funny how infrequently I'm reading my mail now that I don't have a terminal
in my room anymore (definitely one of Tech's better moves -- putting Ethernet
plugs in the dorm hallways). Anyway:
"Le Mystere des Voix Bulgares" (4AD CAD603)
A collection of Bulgarian folk music, recorded some years back by a Frenchman
and just re-issued by Ivo of 4AD who, as we know, has a tendency to become
entranced by unusual female voices (Liz Fraser, Lisa Gerrard...). The music
on this record is performed by choirs of young women, with occasional
orchestral accompaniment. The liner notes explain why Bulgarian folk music
evolved the way it did, Ottoman invasions, repression and the like, but
the music is certainly not yer average Western-type folk music; it actually
reminds me a lot of Indian (India-Indian) music. There are lots of odd
tonalities and harmonies; the notes point out that one woman holds the
dominant note while the others weave harmonies around it, coming very close
to that note without hitting it. It's very easy to make comparisons to
the Cocteau Twins, but they really aren't similar enough for such compari-
sons to be valid or useful. This is very different from any other music
I own, and very beautiful. Listen to it.
Cabaret Voltaire "The Drain Train" (Caroline Records)
A-side, one song, 45rpm; B-side, two songs, 33rpm (thanks guys). Plus,
the specially-marked packages have a free disc which contains two more
mixes of the A-side song. (Had I still a terminal in my room, I could
give titles, but I don't, boo hoo.) CV are pretty much past their prime,
but their stuff's still fun to listen to if I don't take it too seriously.
Slap the needle down and groove to the beat-beat of the synthetic tom-toms
for a while -- wasn't that refreshing? Now play the remixes; hey, it's
the same song but different, kinda like the same song continuing and doing
some more stuff. There's a dub mix, interestingly enough because the
song has no bass (which is always my favorite part of a dubububub). The
B-side songs are actually better, moodier and evocative-ier. Summary?
Overall this is nice ambient industrial music, good stuff to read J. G.
Ballard to, or put in your Walkman while you tour a dry-ice factory.
I get this feeling that Kirk and Mallinder recorded everything
from "Drinking Gasoline" to here in one day, so maybe when that runs out
they'll release something more challenging. Until then, thud thud thud
squawk thud thud ...
The Smiths "The Queen Is Dead" (Sire)
No review yet. It's taken me many listenings to get to like each of the
Smiths' albums, and this is no exception. After one listening, it sounds
good, but a disappointment; but then so did all the others for a few
months. I never believed the Smiths to be God (how can they be God if
you can understand the lyrics? :-) ), but they're *damn* good, and this
album will most likely strike me as *damn* good in a while.
I'm intrigued by the Art Barbeque album somebody here mentioned, but can't
find it. And all the Sonic Youth I can find is EVOL and the album with the
centerfold (xeroxed*) on the cover. What should I get?
And oh yeah: Pere Ubu's "Song of the Bailing Man" is just too way.
--Peter Alfke
alfke@csvax.caltech.edu
"Stormy weather
It might get better
In a week or a wink of an eye"
*"Xerox" is a trademark of a company I used to get paid by.
[][][][][][][][][][]
Date: Tue, 1 Jul 86 16:23:41 EST
From: hsut@ec.purdue.edu (Bill Hsu)
Subject: stuff (don't you love uninformative subject lines?)
< Peter Alfke asks about Sonic Youth albums >
I'm not sure what you mean about the centerfold, but if you were looking
in Poo Bah, it probably was the Death Valley '69 12" (which I don't have).
EVOL is fine if you can't get Bad Moon Rising. It's more, um, accessible
(there's another reason, but I'm getting ahead of myself...)
< Music to read Ballard by >
There's a song on EVOL about a car crash (kinda) that has Thurston Moore
chanting wild lyrics over great distorted music. First time I heard that
I thought: Wow! A song to read Ballard's CRASH by! Actually it's a little
too intense to have on when reading...
< A comic to read when listening to Bauhaus >
Just picked up this curious campy looking B&W comic called Samurai #7
(yes, it looks corny). The art is decent atmospheric stuff; plot is
either a vague, Ramsey Campbell-style horror moodpiece, or diffuse
artsy garbage, depending on what your tastes are. There's a character
who's obviously supposed to be Peter Murphy, and one of the audience
in a concert scene wears a Bauhaus t-shirt. There are extended quotes
from William Burroughs and the Hollow Men. All kind of atmospheric,
a little pretentious, and good campy fun, perfect for closet Bauhaus
fans.
"There's a hole in his head
Where his mind should have been"
Bill Hsu
[][][][][][][][][][]
From: Jeff Dalton <jeff%aiva.edinburgh.ac.uk@Cs.Ucl.AC.UK>
Date: Tue, 1 Jul 86 21:01:47 -0100
Subject: Cutout Bin TD
... I believe that TD will soon appear in cut-out bins. Annd willl be
the first of kate's albums to go 'Out of Print'. ...
In the UK (e.g., Virgin Records), The Dreaming is a low-price LP (3.99
pounds); the others cost 5.99 or so. This is probably a good thing since
more people will buy it, but I'm not sure what it means for the future.
Do you remember More Songs About Buildings and Food? That seemed to go
almost straight to the cut-outs in the US (where I lived at the time), but now
its one of the most expensive TH lps (UK). What do thes things mean? Not
popular enough?
[][][][][][][][][][]
Date: 2 Jul 86 22:48:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: KD-TD in cut-out bins
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>
I have to admit, I don't remember More Songs About Buildings and Food, nor
do I know who TH is (Is this a sat question?). At any rate, to be honest,
it appears to me that two types of LPs make it to the cut-out bins here in the
good new USA; 1) Those things which were believed to be big hits by the
p9{esasingf company (e.g. EMI and The Dreaming) or those things which entered
too many pressings, probably caused by one or two blockbustewr hits (e.g.,
the first Areosmith album).
'We've all gone to look for America (sic)'
John
[][][][][][][][][][]
Date: Wed, 2 Jul 86 21:18:18 PDT
From: Jordan Hayes <jordan@titan.arc.nasa.gov>
Subject: Re: MSABAF && TH
Really-From: "ROSSI J.A." <rossi@nusc.ARPA>
I have to admit, I don't remember More Songs About Buildings
and Food, nor do I know who TH is (Is this a sat question?).
Uh, Does "Talking Heads" ring a bell? How about the song "Take me to
the River" ...? 1978 ...
I feel old.
/jordan
[][][][][][][][][][]
Date: Wed, 02 Jul 86 22:52 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.ARPA
Subject: Irate IED
>sings (eg "Not This Time" -- actually I've listened to this a bit more
>and agree with rpk: there's a good song in there trying to come out,
>but the arrangement is naff).
The above was a senseless and foolish comment the first time it was
posted, and it hasn't improved in reiteration.
>So how'd you stumble onto Zaine Griff, Sue? I've never met anyone
>who's ever heard of him except 'cuz KB's on one of his albums. He and
>Kate are friends because they were both in a dance class taught by
>Lindsay Kemp.
IED bought his first album in 1979, because it sounded
(and he looked) promisingly Bowie-ish. It was, mildly. ("Flowers"
appears on his second album. He has put out nothing of his own since
then, as far as IED is aware, although he did share a lead vocal with
the French singer Ronny on one track from Yukihiro Takahashi's
fourth LP, "What, Me Worry?")
[][][][][][][][][][]
Date: Thu, 3 Jul 86 08:04:42 EDT
From: ambar (Jean Marie Diaz)
Subject: Re: MSABAF && TH
Don't feel too old, Jordan. I bought the album only a few
months ago (for 3.99.)
Jean
[][][][][][][][][][]
Date: Thu, 3 Jul 86 11:25:13 EDT
From: James B Hofmann <hofmann@AMSAA.ARPA>
Subject: Rappin' 86 at the Baltimore Civic Center, 6/27/86
Hofboyy BreakDances at the Civic Center - pictures at 11
Well, like the Dick Clark Cavalcade of Stars, the mainstream rap-
sters of Def Jam are travelling the country now that school is
out. If they come to your town, you'll probably see: The Beas-
tie Boys / LL Cool J / Whodini and Run-DMC. I'm not too enamored
with large shows as you may have figured out - but this was pret-
ty much worth the parking/crowd/sound problems inherent in these
venues... and afterall minimalism doesn't suffer too much in a
large room. I felt like I was the only white guy over 22 there
but no one seemed to care. Missed the Beastie Boys, someone told
me they were "baaaaad" (which means good of course).
Came in on LL Cool J - he's kinda like the Springsteen of Rap,
the large crowds (and probably the paycheck, too) have helped him
get over his alienation so "Radio," his hit crossover tune does
seem outta place, but what the hell, this is dancin' not thinkin'
music anyway (not to imply that ALL rap is strictly this way how-
ever... see Bambata or Fresh or Kurtis Blow) He's also become
the darling of all the girls and women there and he knows it AND
capitalizes on it.
Whodini were suprising. I was expecting some sort of rap version
of New Edition but instead got a raunchy set a la George Clinton
on speed.
And of course, we got Run-DMC, which were great, although a bit
overdone on the histronics (I mean it seemed a little fake with
Run acting all hostile to an adoring crowd). They opened with
"Raising Hell" and man, I've grown to love that tune with the
PhilSpectorish Glockenspiel sampling and closed with Rock This
House/ King of Rock. In between, they pushed their 70's metal -
rap hybrid into maximum intensity doing songs that make you go -
"I know that song, what is it... damn.." Alas, they aren't doing
"Walk This Way", the run-away song from their latest album -
maybe because of the lack of guitar? One neat thing was when
JamMasterJay wheeled out a drumset and they played a song without
an "melodic" accompaniment. Now if they'll only get a guitar
player (my whitebread rock attitudes shine through)...
Chet Howland, Village Voice crit is rumored to say it's one of
the best concerts he's ever witnessed. Well, I thought it was a
tad overpriced myself (13.50$) but it's one of those things you
can't miss if it comes through your town... sorta like a yearly
or biyearly thing to do like the Dead.
----------------------------------------
One another note, I heard a song on the radio by COWBOY MOUTH (?)
who I assume are from Boston since it came off Throbbing Lobster.
Any details on this band from you Bahhhstonites would be appreci-
ated.
Jim
[][][][][][][][][][]
Date: Thu, 3 Jul 86 11:51:56 EDT
From: bu-cs!sam (Shelli Meyers)
Subject: "Don't Give Up"
I'd just like to take this opportunity, as the person on this list who
usually loves the "pop"-type songs, to say that I *hate* "Don't Give
Up" with a passion. It's even worse than the run-of-the-mill Lionel
Richie/Diana Ross duet.
Ick.
- Shelli
[][][][][][][][][][]
Date: 3 Jul 86 15:49:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: TH(?) and oldness
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>
I doubt that your age has anything to do with my lack of understanding
of 'TH'. If you want to use an acronym, you should define it first. In
this journal, certain acronyms are taken for granted because of the nature
of the digest (e.g. KB, HoL, TD, RuTH, etc), since this is suposed to be
a Kate Bush forum. If everyone staerted using acronyms olf their own
choosing when talking about something, it would bve a probabil,ity game in
deciding bwho knew what (ort who) they were talking about. For example,
TH (could equally be The Hour) as well as Talking Heads. Anyway, Talking
Heads wern't worth listeniong to before Eno broadened their musical style
so that it came outy of teenybopper syndrome, anyway. As for age, I think
that \i was peaking while getting hammered by the Berlin people at that
time.
'Only Time Can Close the Door'
John
[][][][][][][][][][]
Date: Thu, 3 Jul 86 14:33:11 PDT
From: Jordan Hayes <jordan@titan.arc.nasa.gov>
Subject: Re: TH(?) and oldness
Really-From: "ROSSI J.A." <rossi@nusc.ARPA>
Talking Heads wern't worth listening to before Eno broadened
their musical style so that it came out of teenybopper
syndrome, anyway.
More Songs About Buildings And Food *was* produced by Eno.
/jordan
[][][][][][][][][][]
Return-Path: <umcp-cs!jhunix!jhunix!ins_aset>
Date: Wed, 2 Jul 86 20:01:45 EDT
From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV>
Subject: sorry, this is long...
Dear innocent Love-Hounds readers,
I am sorry that this reply turned out to be so loooong. Really I am,
but when I am flamed, I fight back. Can't help it. I promise that
I shall never write something this lengthy again, and I hereby propose
to Messrs. Hofmann and Wicinski that this discussion be transferred to
net.music, if they wish to continue it (though I wouldn't mind if it
stopped)...
>From: James B Hofmann <hofmann@AMSAA.ARPA>
>Subject: Smiles all around.
>J.D. is a mediocre writer (much like his friends). Why doesn't
>he hang it up and get a real job?
If this is supposed to be a sideways attack on me, sorry. It is not
hard to get a job freelancing for the City Paper. If you can do better,
give Russ Smith (the editor) a call at 889-6600 and tell him you want
to do music reviews. Then the world will finally be blessed by some
un-mediocre music writing. However, I shall keep writing for the CP
'til they kick me off, because I need the money. And I'm sure JD shall
keep writing for Musician, the Post, the Sun, etc. until they kick him
off. He enjoys writing. He gets paid well for it. WHY should he "hang
it up and get a 'real' (yeah, writing's not a real job, is it) job?"
Because you say so? Christ. Many of the musicians he interviews have
mentioned that they like his work, so obviously the world consensus is
not with you.
>>As for sending out free records to critics, what the hell's wrong
>>with that?
>Because we the record buyers are paying the overhead for promos,
>that's why. Most critics write pretty meaningless drivel to help
>enhance their egos. Personally, I'd rather have a well-educated "describer"
>than a critic. This is one of the reasons I like Sound Choice
>over the overpriced, less copy/density "Musician".
I personally never buy Musician because I haven't the slightest interest
in reading about "Simon LeBon's favorite microphone" or "Stevie Ray
Vaughan's favorite guitar" etc. etc. Like the title says, it is for
musicians, or at least those plenty interested in such specs. However,
I hate to admit it, but sometimes that "meaningless drivel" has
convinced me to buy a record, and in many cases it turned out to be a
GOOD record...R.E.M., the Velvet Underground, and many more were bought
by me strictly because I read about them. Am I alone in this? I think
that the promo copies, sent to radio stations AND reviewers, give
returns beyond their cost. Also, as stated above, I do not write to
enhance my ego, I write to make money. Writing is my secondary
source of income, and if I can earn some extra $$ from it, where's
the harm.
Also, I get no promo records as a reviewer. Very few critics are
"famous" enough to get promotional copies of records. You guys make
it sound like any dickhead could start up a xeroxed zine and get
twelve promo copies of each new Warner Bros. record. It is not true.
Generally, magazines and papers get record service and pass the
records out to the reviewers, giving them "assignments" (more on
this later). How hard is it to get record service? Well, for a
few years I wrote for the Grand Rapids Press, which has a circula-
tion of about 150,000. Despite attempts, we could only get record
service from Elektra and Warner Bros. No one else thought we were
worth bothering with. When you think of the (rapidly dwindling)
number of "big" newspapers and music magazines in America, the
number of promo copies sent to reviewers JUST ISN'T THAT LARGE.
> From: The weenies are everywhere.... <wicinski@nrl-cst.arpa>
> Subject: babble babble, babble
Another load of ego-enhancing meaningless drivel from sue "weenie"
trowbridge...
>I have a collection of everything JD baby writes in the post, from his
>blasting england synth bands (which I liked and would shake his hand for
>it) to his articles on 'Genesis stioll rocking'. Yawwnnnnnn...
Okay. The Post. The music EDITOR at the Post is named Richard
Harrington. A couple times a week, Richard calls JD and says, "We
need a review of the new Madonna/Van Halen/Stones etc. record, could
you have it in by Monday?" In other words, JD does NOT DECIDE WHICH
RECORDS TO REVIEW FOR THE POST. He is an employee, working under
Richard Harrington, a middle-aged fellow with rather pedestrian
tastes. However, I'm sure he'd appreciate you collecting his works.
Now, Musician is a whole different matter. He is free to decide what
he shall write about in his Short Takes column. As mentioned before,
he strikes a balance of about 50/50 between indies/major labels.
Oh, sorry, if it's on Homestead it IS a major label, isn't it, Tim?
What would Greg say if he knew he was purchasing major label records?
Are you out there Greg?
>I call a major label anyone who charges list price (8.98 or similar) for
>an album. Homestead and Enigma are major labels, as are Rought Trade,
>and the Cartel. Skate Punk Hardcore, you have re affirmed my belief in
>you sue.
Always glad to affirm people's beliefs in me, I know I'm so well
thought of around here. (sarcasm off) Rough Trade and the Cartel
can't be major labels by your criteria, Tim, because most of their
LPs go for about five pounds ($7.50) in England. They sell for about
$9.99 over here, but that's just because it costs a lot to send
records air mail to America. And they do send them air mail.
My criterion for what makes a major label is different. What records
do you see in your local mall record store? No Enigma or Homestead
there, just MCA, Warner Bros., Atlantic, CBS, etc. I think that
their network of retail distribution has more to do with it than
what they charge. Also, it's shocking to me that in so many record
stores, you see all the Homestead/SST/etc. records shunted away in
the "Import" bins, selling for import prices.
>We pay for it. The consumer that is. Which is why the american indie
>labels sell there records for cheaper than list price cause they don't
>send that many promos out.
See above on comments on how hard it is to get record service.
Now, radio is a different matter, it's ridiculously easy to get record
service if you're a radio station, no matter how small...WJHU is only
10 watts, but we get service from all the majors and many, many indies
(obviously, there are more indie labels than we could ever find out
about...) But think about it. If a radio station plays a cut from
your album, you're essentially getting a three or four-minute ad
for your record. Also, towns with progressive radio stations tend
to have more progressive record stores which stock the records, and
in many cases the stores and stations work together.
>My feeling is that the big record labels are trash. critics are trash.
>we are trash. everything is trash.
Great, I'm arguing with a nihilist.
>I think that Fripp's idea of "small, mobile, and intelligent" (actuall
>Bennet's) should be applied to record labels. What I would like to see
>is a collection of small labels which put out bands that live in the
>same area as the label (Ace of Hearts, Dischord, and Rabid Cat come to
>mind as prime examples). These labels can concentrate on local artists,
>and releasing albums with little publicity.
How many people see a record in a bin by an artist they've never heard
of, and just buy it for the hell of it? Publicity serves a purpose.
Locally, of course, bands can become well known by playing area clubs,
but how many Baltimoreans are going to know about bands popular in
Boston? They could hear them on the radio...WJHU plays *lots* of music
by Boston bands...but, oops, that would require sending out promo
copies. We get good service from Ace Of Hearts, hate to disillusion
you, but it's true...
> The resulting products can
>be sold for a cheaper price, since most other expenses could go away.
>Also I can't see why record companies be non-profit. Most operate like
>that anyway due to reality.
How naive! It takes TIME to run a company, a lot of it. People can't
work from nine til five and then come home and work on their little
cottage industry record company. Who has that much energy? People
like Gerard Cosloy (Homestead's prez) and Nick Cucci at Relativity
can put their all into their small labels and make a living off it too.
People gotta eat, Tim.
>I also don't see too many big critics reviewing any cassette releases ???
>too much pressure from the record industry ??
Probably the fact that virtually no record stores (even the progressive
ones) carry cassettes have more to do with it. Also, radio stations
often don't like to play cassettes because they're a pain to cue up.
Another reason: many cassettes are just put out and sold by the band
itself, a "one time only" thing. Cassette distribution services or
cassette-only labels seem to be the answer. ROIR's releases get a
good bit of publicity, as does the company itself.
You won't like this, but bands who put out cassettes don't tend to
send out promo copies. WJHU gets maybe one cassette a month. As I
said, you don't see them in stores. The only way for critics to get
a hold of 'em would be for them to read "Sound Choice" or "Option,"
send away for the cassettes, and review them.
> Did you buy a copy of the
> fanzine they (Morning Glories) were selling, Greed ??
No, unfortunately. Didn't even notice they were selling a zine.
If I see a copy when I'm down in DC, I'll pick one up.
-Sue
[][][][][][][][][][]
Date: Thu 3 Jul 86 19:32:21-PDT
From: Bob Knight <KNIGHT@SRI-NIC.ARPA>
Subject: Re: sorry, this is long...
Well, I can see both sides, but I think Sue's right...if it weren't for
critics, I wouldn't have bought some things sound unheard that I really
like a LOT. And, radio stations don't have infinite bucks to buy records,
so promos are where they get them from. Shit, critics are like music -
you gotta find one that you like (or, translated, has taste that parallels
yours).
I can see your points, Jim and Tim, about people that deserve exposure
not getting it. And they're valid. But, there's another level to it -
I would wager that 80% of "contemporary" material getting released by
indie and major labels doesn't get airplay outside of major markets.
So, your points have validity up to labels such as Rough Trade, etc.,
and you're labelling people like Rough Trade major (and bad?). Would
you argue that they're not pushing valid music? For the most part,
I think not.
I'd shy away from saying that if something's released on a major its bad.
It may be, but there ARE good and committed musicians making music on
majors. Just because they're making money (or mortgaging their future)
doesn't make their music any less worthwhile.
I guess the point that I'm weaving around here is that you can't argue
black and white in music. I buy lots of major releases, and I also buy
indie releases. I buy what sounds good to me and what I like. I'll
admit that my tastes are not as fringe as some people's, but I don't
think that they're bad because of that more "mainstreamity."
Bob
[][][][][][][][][][]
Date: Fri, 4 Jul 86 04:35:41 EDT
From: nessus (Doug Alan)
Subject: Re: "Don't Give Up"
> [Shelli:] I'd just like to take this opportunity, as the person on
> this list who usually loves the "pop"-type songs, to say that I
> *hate* "Don't Give Up" with a passion. It's even worse than the
> run-of-the-mill Lionel Richie/Diana Ross duet.
> Ick.
I'd like to take this opportunity, as a person on this list who has no
particular love for the typical "pop"-type songs in the world, to say
that "Don't Give Up" isn't all that bad. In fact, it's pretty okay.
It's sort of a country/western-gospelly like number, which definitely
isn't my genre, but I like it any way. It's nothing great, but it's
definitely worth listening to: orders of magnitude better than Lionel
Richie/Diana Ross crap, and significantly better arranged than "Not
This Time".
-Doug
"What chance do I have, being here
Put an end, put an end, put an end
To every dream"
[][][][][][][][][][]Love-Hounds-Post@eddie.mit.edu (07/09/86)
Love-Hounds Digest Issue L8 Topics: * Toyah. More on *The Dreaming* * This Time * I hate to say I told you so.... * Don't Give Up * Re: babble, etc. * VCRs, CDs, etc * Home of the Brave, Dave Stewart * Kate on video * THE ERISTIC PERIPHRASMS OF A SESQUIPEDALIAN ENERGUMEN * TD, Gabriel, "Not This Time", "Don't Give Up" * Fripp albums * mis-interpretation * homestead recs * writing. [][][][][][][][][][] Date: Sat, 5 Jul 86 16:33:20 EDT From: nessus (Doug Alan) Subject: Toyah. More on *The Dreaming* > [John Lorch on Robert Fripp:] The second lp is a duet with Fripp's > new wife, Toyah Wilcox. I'm not familiar with her music, so no > guesses here. Toyah sounds a lot like she wants to be Kate Bush but is guitar-based and only of average talent for a rock musician. She likes to sing about occult and SF type things, and bounces up and down a lot while singing. She's also fairly well known as an actress in England (on TV, I think). With Robert Fripp producing her, though, who knows... she could turn out to be pretty decent. > [Joe Turner on *The Dreaming*:] Because of its visceral attack on my > senses, I find it hard to listen to TD sometimes - literally, it > hurts too much. I find listening to HoL a much more enjoyable > experience - not because the music is easier to listen to. So, how'd you become such a Peter Gabriel fan? PGIII (his best album) isn't the easiest thing in the world to listen to. > People talk of TD's "importance". If it was so important, why is it > that it never got mentioned? Why is it that I only heard about it > through this digest? I never said it was a smash success pop album. That doesn't mean it wasn't a big influence. Among some circles it caused quite a stir. You can hear its influence in all sorts of unexpected places; like on Duran Duran, Depeche Mode, Meta Terra, Danielle Dax, Lisa Dabello, The Cocteau Twins. The trumpets from "Sat In Your Lap" can be heard in something by Tina Turner (which sure irked me, when I heard it!). Orch-5 can be heard everywhere. The drum sound, the Fairlight sound, the no cymbol sound, the ethnic eclecticism -- they're things that are now becoming quite common, but weren't in 1982. Also, before *The Dreaming*, there were no Kate Bush fazines. Shortly afterward, four Kate Bush fanzines appeared in four different countries. Then a while later, three more popped up (including this one). Do you think *Hounds of Love* would have catalyzed seven fanzines? > [Andrew Marvick:] Thus arises an old argument, namely whether > "originality" is more important than "quality". Simply SAYING that > HoL isn't as "good" does nothing to prove the point. You offer no > specific reason for ascribing a label of superior quality to The > Dreaming, only reasons for according it the quite different > distinction of greater "importance". I think that *The Dreaming* is a better album because it has the potential to affect people more deeply than *Hounds of Love*. And I think that originality has a lot to do with how much something can affect people. If something that has no originality fascinates people, then they haven't been affected -- they've merely been handed a mirror. > I personally agree with you that The Dreaming is highly original in > ways that seem to us, living in our period, significant. But there > is really nothing specific that can be pointed to in the LP that had > never been done before, at least as far as use of studio techniques > goes. I disagree. There is no individual technique Kate used that you can point at and say that Kate was the first person to do that. But I don't feel that that sort of thing is very important anyway. What Kate did was much more important than that, and much more difficult to formalize, which means that unfortunately, it will probably not get as much recognition. What Kate did is use the studio as an essential tool of the composition to make music. *The Dreaming* is the earliest album I know of that sounds like music, yet if you removed the studio effects would probably not sound good at all. Faust and people like that did albums that were largely studio compositions, but Faust rarely sounds like music. They sound instead like interesting noise. [John Rossi:] > Yes, all people when cornered usually stick them into their lists of > great influences (Kate may have liked them but I don't see the great > musical influence showing in her work, besides she's just a kid). Kate has said that John Lennon's "Number Nine Dream" is her favourite song on several occassions, and I think the John Lennon psychedelia influence is unmistakeable in her music. In fact, I'd say that the whole album *The Dreaming* is flavoured with John Lennon's death. > Now to the heart of the matter. I do not believe that Kate stands a > chance in a quadrillion of being remembered for her contributions to > the 70/80 period anything like the Beatles were for their period. Neither do I. I don't think anyone has. But I think that Kate will surely be remembered. > That is to say, I doubt Kate Bush will ever achieve classical > status. This, I disagree with. > In fact, it is probably true that Madonna will be more revered by > the masses who secumb to what is pushed at them as classical. I truly doubt it. What she's done in the past is the stuff of fad. And if she continues doing MOR ballads, then she'll just be remembered as one of all those zillions of singers who made zillions singing MOR ballads. > The fact that Kate Bush is not a household word, I believe, works > strongly in her disfavor in achieving enough memorable clout to sway > the aristocrats of the 22nd century. In the U.S., Kate Bush is not a household name. In England she certainly is! Aristrocrats own CD players, right? Well, in England, HoL is the third biggest selling CD ever. And they own VCR's and both of her video tapes (one two years old and one brand new) are in the video tape top 10. She may not ever be classical music here, but in England she probably will be. (Actually, the world will probably be a radioactive wasteland.) > I believe that TD will soon appear in cut-out bins. And will be > the first of Kate's albums to go 'Out of Print' (this is again a sad > commentary on our times). I doubt that it will. In fact, it will probably come out on CD someday. *The Dreaming* may not be Kate's biggest seller, but it has an intense cult following. It was the popularity of *The Dreaming* in the U.S. that caused EMI-America to release *Lionheart* and *Never for Ever*. In England, *The Dreaming* is one of those specially priced albums (not cut-out, but "Nice Price" type things), but places like Virgin Records have been running full-page ads with *The Dreaming* as one of three of four prominently displayed albums. -Doug "I close my eyes and I see Blood and roses" [][][][][][][][][][] Date: Sun, 6 Jul 86 01:15:34 EDT From: nessus (Doug Alan) Subject: This Time I've transcribed the lyrics to "Not This Time", which is the B-side to "The Big Sky" single. You might remember that I have thought this song pretty yucky. Well, in transcribing the lyrics, I have had to listen to it a lot, and I have to say that I have after all become rather fond of it. I still think that the arrangement sucks (especially the guitar), but the vocals are so emotionally powerful that I can at times overlook that. Here are the lyrics as heard by the semi-reliable ears of Doug Alan (does Our Katie really say another naughty word?): NOT THIS TIME Over the line that renders everything sensitive What chance do I have being here? Put an end, put an end Put an end to every dream When you're near, I feel you, and I forget myself Not this time, baby Not this time Not this time, baby (Not this time) I don't know why I build a mountain, every time And here I am wondering why I'm doing it again "Too-lee-yay, too-lee-yo, too-lee-yay, too-lee-yo, too-lee-yo" That's what I say to keep me going To keep the shit away I don't know what it is, but every time you're near I feel you, and I forget myself No, not this time, baby (No) Aww, not this time, we won't (No) Oh, not this time (No) Not this time time Come on, we all sing "Too-lee-yay, too-lee-yo, too-lee-yo Too-lee-yay, too-lee-yo, too-lee-yo" [etc. until end of song] Not this time, baby Not this time, we won't Not this time, baby No. Huh! Huh! Huh! Not this time, yeah, yeah. -Doug [][][][][][][][][][] Date: Sun, 6 Jul 86 10:02:44 EDT From: ambar (Jean Marie Diaz) Subject: I hate to say I told you so.... ...but we did, didn't we, Doug?. When "Not This Time" came out, Doug unequivocally denounced it, saying that it sounded like Kate Bush doing Journey. When some of us pointed out that he had had more-or-less the same reaction to, first, Running Up That Hill and then to all of HOL, and that in a couple months he would change his mind about "Not This Time", he denied it fervently. Odds that the next thing following this letter is another fervent denial from Doug are probably 30 to 1. Hi, Doug. AMBAR "I need something to change your mind...." [][][][][][][][][][] Posted-Date: 06 Jul 86 12:31:17 PDT (Sun) Subject: Don't Give Up Date: 06 Jul 86 12:31:17 PDT (Sun) From: tsung@aerospace.ARPA One day this song came up when I was thinking about a friend of mine. He went through the same college as me and was having lots of pressures/doubts/frustrations. I don't mean to sound like a hypocrite but when I put myself in his position this song suddenly affected me very much; every word I could identify with; even the KB parts which I previously thought were too long/repetitive all rang with a simple truthfulness. Whatever may come, whatever may go, That river is flowing Fu-Sheng [][][][][][][][][][] Date: Sun, 6 Jul 86 14:43:29 PDT From: Douglas J Trainor <trainor@LOCUS.UCLA.EDU> Subject: Re: I hate to say I told you so.... I deny everything. Doug "Gonna be a white minority...." [][][][][][][][][][] Date: Thu, 3 Jul 86 12:41:24 pdt From: think!seismo!hao!hplabs!tektronix!omssw1!omssw1!sdp (Scott Peterson) Subject: Re: babble, etc. > Date: Mon, 30 Jun 86 23:31:20 edt > From: The weenies are everywhere.... <wicinski@nrl-cst.arpa> > Subject: babble babble, babble [ excess verbage removed ] > I also don't see too many big critics reviewing any cassette releases ??? > too much pressure from the record industry ?? Ummm, I always thought the distinction between records and tapes was only important when it came time to play them. Isn't the "record industry" just a huge marketing organization? Whether the machine in the back room is stamping out thousands of flat round things, or funny-looking squarish things seems of little importance. Since critics don't pay for anything, it makes economic sense to give them 19 cent records instead of $1 tapes (I mean, they have to pay someone to put those little screws in, right?). --- Scott Peterson <yourvax>!tektronix!ogcvax!omssw1!sdp [][][][][][][][][][] Date: 6 Jul 86 19:04:00 PST From: "ROSSI J.A." <rossi@nusc.ARPA> Subject: VCRs, CDs, etc Reply-To: "ROSSI J.A." <rossi@nusc.ARPA> As to the aristocratic nature of VCRs and CDs, if England is similar to the U.S (as indexed by the buying habits of its people), then it would appear that Kate's solid following is within the working classes. not with the aristocracy. A recent article in Forbes suggested that VCRs and CD players are a mainstay of the working middle class. As a matter of fact, for the past two years, VCR sales have outnumbered even CB radios by a five to one factor. Also, the averrage american working type is apparently into CDs in a big way. Apparently, the true audiophile still revers tube amps and vinyl records, and although VCRs were initially an upper-class phenom, the cost has been reduced to a point wherew they are now affordible by the masses. John [][][][][][][][][][] From: Robert Stanzel <alliant!apollo!rps> Date: Mon, 7 Jul 86 10:25:50 EDT Subject: HotB, Dave Stewart While seeing "Home of the Brave" (yes, I'm usually the last on the block) two questions came to mind: which Fassbinder film IS it? And what's the cylindrical, horizontally-played instrument used in "Sharkey's Day" et al? Also picked up last year's Dave Stewart/Barbara Gaskin album "Up from the Dark". On CD, it's very long; they must have included all the singles -- unfortunately. It's real drivel. Half the cuts are covers, including a very precious one of Dolby's "Leipzig". There's little of the old Dave Stewart, and the National Health sound isn't much there, either (most of NH participates). If this is Gaskin's fault (who is she?) then she's more evil than Madonna! Oh well, back to those 15 year old Egg albums... Rob [][][][][][][][][][] Return-Path: <umcp-cs!jhunix!jhunix!ins_aset> Date: Mon, 7 Jul 86 9:20:50 EDT From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV> Subject: Kate on video A small correction, Doug: you said that both of Kate's videos are in Britain's video top ten. Actually, I saw three for sale -- The Singles File, Hair of the Hound (the new one), and Live at the Hammersmith (the same one Night Flight has repeated several times). Strange pair: Whilst on vacation, I picked up some bootleg cassettes at a market, including one with the Cocteau Twins live on one side and Red Lorry Yellow Lorry live on the other!!! Probably not many people who like both those bands as much as I do...'Mazingly enough, I didn't get ripped off with any of the cassettes I bought, unlike the people I was staying with, who bought a horrible tape of We've Got A Fuzzbox and We're Gonna Use It live. Caveat emptor. They do a version of "Spirit in the Sky" which is much groovier than Doctor and the Medics', though. "Goin' up to the Spirit in the Sky That's where I'm gonna go, when I die When I die and I lay me to rest Gonna go to the place that's the best..." -Sue [][][][][][][][][][] Date: Mon, 07 Jul 86 16:06 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.ARPA Subject: THE ERISTIC PERIPHRASMS OF A SESQUIPEDALIAN ENERGUMEN >I shall never write something this lengthy again, and I hereby propose >to Messrs. Hofmann and Wicinski that this discussion be transferred to >net.music, if they wish to continue it. Well, Messrs. H. and W., how about it? Be sports, and carry on your little tiff somewhere else. It doesn't belong in Love-Hounds. >I'd just like to take this opportunity, as the person on this >list who usually loves the "pop"-type songs, to say that I >*hate* "Don't Give Up" with a passion. It's even worse than >the run-of-the-mill Lionel Richie/Diana Ross duet. >Ick. This is an understandable reaction (although it's really not fair to say the song is WORSE than Lionel Richie, etc. Come on!). You haven't made any direct criticism of Kate here, but given the purported subject of L-Hs, criticism of her has been implied. And as all the L-Hs are now aware, any criticism of KT in L-Hs will be responded to by IED0DXM. Let's remember that this is not Kate Bush's music! Peter Gabriel has frequently made maudlin, trite and slightly simple-minded "social consciousness" music in the past; whereas even Kate's most emotionally self-revealing or socially aware recordings have always been sufficiently unusual in their musical and lyrical approach to avoid such criticism. Don't blame Kate for following Gabriel's directions -- according to one of those UK rags, Gabriel first tried to get Dolly Parton to do the guest vocal; and he himself did say that Kate was not his first choice. I happen to like Zaine Griff's "Flowers" a little, but the rest of that LP is pretty lame stuff -- much like So. And what of this Big Country record, and Kate's vocal on "The Seer"? That's a pretty silly track, despite the care taken with the syntax of its lyrics. (The worst thing about it is the lead singer's insistence on taking over Kate's part, with Kate relegated to the background! As if there wasn't quite enough of his voice on the rest of the album!) Kate seems to enjoy doing session work for other musicians. It doesn't mean she should be judged for the quality of those records. This despite the fact that her voice on "Not This Time" may be the only distinctive touch on Gabriel's album. >definitely worth listening to: orders of magnitude better than Lionel >Richie/Diana Ross crap, and significantly better arranged than "Not >This Time". Better arranged? Well, maybe the phrasing in 6/8 time (it is 6/8, isn/t it?) is o.k.; but that's not arranging. The thing that bugs IED most about the new Gabriel LP is the MOR instrumentation on most of the tracks. This frustration is exacerbated by the U.S. critics' nearly unanimous praise for what they seem to think is some kind of adventurous amalgamation of pop accessibility and progressive musical ideas. The use of Laurie Anderson and a few ethnic third world musicians does absolutely nothing to disguise the fact that most of the record -- and virtually all of side two -- is empty vamping by a bunch of tired session musicians, punctuated by two- and three-note droning from Gabriel about his usual sort of social bugaboos. >{Toyah's} also fairly well known as an actress in England (on >TV, I think). She made a big splash there in a Jonathan Miller-directed production of Shakespeare's "The Tempest" a few years ago. >>Joe Turner on The Dreaming: Because of its visceral attack on >>my senses, I find it hard to listen to TD sometimes - literally, it >>hurts too much. I find listening to HoL a much more enjoyable >>experience - not because the music is easier to listen to. >So, how'd you become such a Peter Gabriel fan? PGIII (his best album) >isn't the easiest thing in the world to listen to. IED sees what you mean, but really, none of PGIII is unpleasant to listen to; in fact, most of that album has a strong, pop-sensitive groove which, in this L-H's opinion at least, is its main saving grace, usually compensating for the heart's blood with which it drips. > People talk of TD's "importance". If it was so important, why is it > that it never got mentioned? Why is it that I only heard about it > through this digest? >I never said it was a smash success pop album. That doesn't mean it >wasn't a big influence. Among some circles it caused quite a >stir. You can hear its influence in all sorts of unexpected places; >like on Duran Duran, Depeche Mode, Meta Terra, Danielle Dax, Lisa >Dabello, The Cocteau Twins. The trumpets from "Sat In Your Lap" can >be heard in something by Tina Turner (which sure irked me, when I >heard it!). Orch-5 can be heard everywhere. The drum sound, the >Fairlight sound, the no cymbol sound, the ethnic eclecticism -- >they're things that are now becoming quite common, but weren't in >1982. This is a misattribution of the rise in popularity of a few tricks of the sampling synth (orch-5 most obviously) to the "influence" of Kate's The Dreaming. Keyboard magazine asked her about this sound, and she seemed to accept the fact of that sound's popularity. It is extremely unlikely that the sameness of sampling sounds among ca. 1983 pop music can be attributed to The Dreaming, since there was at least one black dance track that came out in mid-1982 which used the same Orch-5 sound. It's possible that this kind of minimal and superficial influence can be detected in Duran Duran, but not in Depeche Mode -- as disposible as this band's music may be, it's not fair to attribute their discovery of sampling synthesizers to The Dreaming, especially since Kate's LP is miles beyond their pedestrian musical understanding. It is far more likely that they were introduced to the new range of synthetic sounds through their own interest in electronic instruments. The ethnic music fashion in English pop music was already quite strong before The Dreaming. In fact, one critic commented that Kate seemed to be following the trend herself. Since Kate was definitely aware of earlier third-world-influenced rock by that time (TH's "I Zimbra" and the RiL LP, for example, as well as the Adam Ant/Annabella crap that was permeating UK airwaves about then), such an assumption may not be entirely unjust. >Also, before *The Dreaming*, there were no Kate Bush fanzines. Shortly >afterward, four Kate Bush fanzines appeared in four different >countries. Then a while later, three more popped up (including this >one). Do you think *Hounds of Love* would have catalyzed seven >fanzines? Seven? IED knows of Love-Hounds, The KBC Newsletter, Blow-Away, Dreamtime, Break-Through, For the Love of Kate, Homeground and Under the Ivy. Of these, The Newsletter was begun more than eight years ago, Homeground before The Dreaming, and Under the Ivy following the release of Hounds of Love. I'm not doubting you, Doug; but please let me know what I'm missing! >I think that *The Dreaming* is a better album because it has the >potential to affect people more deeply than *Hounds of Love*. And I >think that originality has a lot to do with how much something can >affect people. If something that has no originality fascinates >people, then they haven't been affected -- they've merely been handed >a mirror. This is just plain ridiculous. Complete nonsense. Sorry. Simply stating that one work of art "has the capacity" to "affect people" more "deeply" than another does nothing to clarify or support a contention that one is better than another. All of the terms just quoted are vague to the point of being meaningless, and more damningly, they are all entirely subjective. If you hear something that is "better" in The Dreaming than something in Hounds of Love, then be specific -- point it out to us; then explain to us precisely how it is that the former is endowed with greater affective power than the latter. Next you bring up this business of "originality" again. All art is "original". This is a meaningless term. There is a ton of great but relatively "unoriginal" art in the world. And even more highly "original" crap! What matters is whether it is GOOD or not. If you seriously believe that novelty is the most important criterion for the ascription of quality to a work of art, then you are hopelessly mired in the modernist philosophy of our pathetic, benighted century. Originality was certainly not a concern of Bach, all of whose music is directly linked to the formal structures of the music just preceding his; nor of Mozart, whose entire oeuvre is a kind of vast extension of the classical formulae already widely explored by Haydn before him. Yet both Bach and Mozart were unquestionably "good" musicians. The point is that "originality" is no more easily pinned down and defined than "quality" -- everyone's work is "original" in one way or another. The term only acquires meaning when an individual judge assigns SPECIFIC criteria for its determination. >*The Dreaming* is the earliest >album I know of that sounds like music, yet if you removed the studio >effects would probably not sound good at all. Here you're getting somewhere, but IED is obliged to disagree with you. In IED's opinion, what would happen if all but the most basic elements of production were somehow stripped from The Dreaming is that the gorgeous beauty of Kate's musical ideas would emerge -- a little bare, perhaps, but alive and essentially unmaimed -- to reveal their own kind of simple but lasting beauty. It is agreed that the studio's presence as a musical element in The Dreaming is very powerful; but it is unquestionably as powerful in Hounds of Love, perhaps even moreso. Agreed that both records are enriched immensely by their musical ideas' studio treatment; yet neither is BASED on that treatment -- although if you want to see it that way, The Ninth Wave probably depends more upon its production than anything on The Dreaming; Kate herself has said that some of the "songs" in The Ninth Wave are really only fragments. >In fact, I'd say that the >whole album *The Dreaming* is flavoured with John Lennon's death. The influence of "Number Nine Dream" is undeniable; that Lennon's music in general was an influence, is not. In fact, with the exception of that track (which is stylistically very different from anything else on that album), the only clear influence of Lennon on Kate Bush stems from his own influence within The Beatles. As for The Dreaming being flavoured with Lennon's death, this seems a very odd and far too specific interpretation. What evidence is there to support such a reading? >> In fact, it is probably true that Madonna will be more revered by >> the masses who secumb to what is pushed at them as classical. >I truly doubt it. What she's done in the past is the stuff of fad. This doesn't convince at all. Madonna is definitely junk, especially the first batch of the stuff. That has nothing to do with whether it will come to be remembered as representative of our era in music or not. In fact, your faith that anything but the best of our age will be remembered by future generations seems excessively optimistic. It is far more likely that, since the cultural outlook for Western civilization is worsening as surely and swiftly as its technological sophistication is rising, future generations (should there be any) will remember garbage like Madonna rather than music like The Dreaming, the complexity and relative inaccessibility of which makes it a true anachronism even in our age. [][][][][][][][][][] Date: Mon, 7 Jul 86 23:39:18 edt From: Joe Turner <cutter%umass-boston.csnet@CSNET-RELAY.ARPA> Subject: TD, Gabriel, "Not This Time", "Don't Give Up" How can I be a Gabriel fanatic? Simple. I don't like most of his solo stuff. PGI and PGII almost get crassly commercial at times ("Modern Love: and "Perspective" come to mind). PGIII isn't his best album, PGIV is. PGIII is like TD - lots of texture. PGIV is lyrically and musically/melodically more interesting -> TO ME <-. Production value is higher, too. And how can I listen to PGIII more readily than TD? Gabriel paints a dark picture of life and the world in general - paranoia, hatred, chaos. Katie-kins paints a dark picture of HER life and HER world in general. Two different things. Petey sez "Life sucks!". Well, hell! I knew that. He's only confirm- ing my suspicions. KB sez "MY life sucks!", and that's intense personal hurt, which is a hell of a lot stronger. PGIII also has tinges of optimism, where TD really doesn't (correct moi if I'm not reading enough into TD). Hell, PG is nasty at South Africa for Biko, but what else does he say? "You can blow out a candle But you can't blow out a fire Once the flame begin to catch The wind will blow it higher..." There is Hope for Mankind after all. As for the raging furor over "Not This Time"... ...eh. It's a b-side. (Then again, go out and buy "Wherever You May Run" by Red Letter Day for the b-side "Suzie's Bombed Out Tonight!"... or "Go Out and Get Her, Boy" by the Wedding Present for the b-side "The Moment Before Everything's Spoiled Again" (which sounds sorta like New Model Army, aktchally) <- look! I can mispell words like everyone else! Am I cool now? Can I talk about Art?? It's not her best, I didn't expect it to be her best, so I thought "Yeah, it's Journey-ish, but it's nice to listen to. It's not a masterpeice, but so what?" As for "Don't Give Up"... o Talk about a 180 turnabout in tone!!! Is this the same darkly malevolent Gabriel I know and worship? Still: it's a pretty song, and it's convincing. Most of _So_ is "pretty" - also real pop. Some of it reminds me of the new Simple Minds music, for some reason... also ABC (must be all those high-hats). [Poor Simple Minds... now stuck in a constantly repeating loop of "Look! We Can Sing ``Don't You (Forget About Me)'' 10 different ways!!"] ------------------------ And now, something I thought I'd never say: Michael Hedges is one of the most incredible guitarists I've ever heard. I am finally buying my first Windham Swill album. ------------------------- On a final note - Did I mention the Gabriel bootleg with different words for "I Don't Remember"? I know have 5 versions of that song... sheesh! (demo, album, german album, two live versions) Such is the life of the untiring collector! The bad part is that Second Coming Records now officially has received more of my money than any bank account I have ever owned did. Save your parity bits for big cash prizes! Joe [][][][][][][][][][] From: harvard!ima!inmet!ada-uts!wayne Date: Mon, 7 Jul 86 20:21:12 edt Subject: Fripp albums The new Robert Fripp albums will be coming out in mid-July. There is a slight delay I believe due to production. The two will be on CD as well as standard black vinyl. Considering the nature of the music, I doubt there will be any 12" singles available. wayne [][][][][][][][][][] Date: Tue, 8 Jul 86 9:03:55 EDT From: James B Hofmann <hofmann@AMSAA.ARPA> Subject: mis-interpretation Dear Sue: Sorry if you thought I was "side-swiping" you when I said J.D. and his "friends" were mediocre writers. I should have added that I thought your pieces were really interesting. I didn't mean to insult your writing. However, you are young and will probably be inoculated into the rock crit world of mediocre writing eventually. Naively and idealistically yours, Jim [][][][][][][][][][] Date: Tue, 8 Jul 86 9:40:51 EDT From: James B Hofmann <hofmann@AMSAA.ARPA> Subject: homestead recs Gerald Cosloy does not own homestead, btw... he's a mere working stiff. I have no idea who is bankrolling and accounting for the operation. Cosloy merely (!) finds the talent and gets them recorded. Peace and Bondage, Jim [][][][][][][][][][] Date: Tue, 8 Jul 86 12:51:25 EDT From: James B Hofmann <hofmann@AMSAA.ARPA> Subject: writing. Some people write (about music in this case) for more than money. Some don't write for any money at all (besides breaking even). Some write out of love for music (or just life in general). Some write in disgust and can't bear to keep it inside. Some write in fevers, they can't stop since they are obsessed. Just want to point out that there is more to writing than just earning money. My opinions on rock "crits" ---------------------------- Greil Marcus - droll, bland, white-bread for the Elite Dave Marsh - dogmatic to the point of being able to second guess, dull Considine - you already know Sue Cummings - perhaps the worst prozine writer I've ever stumbled across Bart Bull - showed promise but recent efforts indicate a fast slide downhill. Scott Cohen - very affected, self-possessed with the literai crowd Robert Christgau - pompous to the point of ludicrity, mostly harmless Tim Yohannan - generic, political Byron Coley - when he's on his own he's great but his free lance stuff is very bland, maybe the edit him. Jann Wenner - arrogantly ignorant, the worst Now some of the better ones I've run across ------------------------------------------- Tim K Ansett - publishes the Offense newsletter, never a dull moment even if you don't agree with his somewhat cynical tone. Lester Bangs - dead but still readable Steve Albini - writes like he is dropping bricks on pedestrians, shows no remorse Don "Chet" Howland - enthusiastic, good imagery (even if he slagged your beloved Kate). Now I'm not familar with crits from other countries but that's my opinions on our own. Over and Out, hof [][][][][][][][][][] End of Love-Hounds Digest
Love-Hounds-Post@mit-eddie.UUCP (07/14/86)
Love-Hounds Digest Issue L9 Topics: * some comments to recent digests.. * 'eam I(ED) * Adrian Belew. The Pink Holes. * Sonic Youth Bootleg * KB News * Reply to IED * capital radio * HG 23 * Public Image Limited at the Warfield Theater in SF 6/2/86 * "Don't Give Up" * IEDeosynchronicities * Creation Records Compilation [][][][][][][][][][] Date: Tue, 8 Jul 86 16:14:29 EDT From: JURGEN%UMass.BITNET@WISCVM.ARPA Subject: some comments to recent digests.. Andy - yes, Adrien Belew was in 'Home of the Brave'. It was also not the first time that he has worked with Laurie... i understand that he played on 'Mr. Heartbreak', and also, he and Laurie collaborated with Jean Michel Jarre in 84 on the album 'Zoolook' (good stuff, check it out). Adrien Belew must be the one person who has worked with more great artists in the music/ performance genre than any other man alive! (Zappa, Bowie, Fripp, Laurie, Talking Heads, to name a few... if anyone could make a complete list, i'd love to see it) My oppinion about the TD/HoL debat is simple: i agree with the majority that TD is the better record. Or at least i like to listen to it more. But i do believe that HoL is also a very nice work, and as to originality, that's not something you can measure like temperature. The fact that HoL has more 'commercial potential' does not make it unoriginal. I suppose that every- one agrees that Kate ''s stuff is 'progressive music', and that implies that it be progressive onto itself, as well as with respect to the industry, and HoL is certainly a progression (?)... > [doug on Toyah..] Toyah sounds a lot like she wants to be Kate Bush... I must protest! I like Toyah a lot, and i also think that she doesn't measure up to Kate in talent, but she is certainly not trying to sound like Kate. If i'm right, both Toyah and Kate started out around the same time, Toyah a little earlier if anything, but Toyah was much more popular in England early in their careers, so it is not very likely that there was much copying of style there. Her (Toyah's) first couple of records were really original and progressive, even though Doug is right about her only being an average musician. I recommend 'The Changeling' and 'Anthem' very strongly to anyone who would like to hear what she sounds like... - Jurgen Botz [][][][][][][][][][] Date: Wed, 09 Jul 86 17:37 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.ARPA Subject: 'eam I(ED) Just sent off a list of questions for Kate to answer in future issues of the KBC Newsletter. With luck she may take pity on us and let us know what those Latin and Czech (?) choruses are saying. Meanwhile, EMI-America has finally released the 7" "Special Single Mix" of "The Big Sky" -- two weeks AFTER MTV dropped the film from their rotation lists. I swear those EMI people are the biggest nudniks on earth. What do they eat for breakfast? Don't they KNOW that Robyn Carstairs-Somerville will take this latest episode of EMI's de-promotion of Kate as further proof of subversive corporate conspiracy? [][][][][][][][][][] Date: Tue, 8 Jul 86 10:18:16 pdt From: fritzz@net1.UCSD.EDU.EDU (Friedrich Knauss) (tty0b) Subject: Adrian Belew. The Pink Holes. > Subject: Home of the Brave (new Laurie Anderson Movie) > Yow! Pretty good stuff. > Did anyone else notice that (shriek!) Adrian Belew was in it? When adrian did his last tour here in town he played a guitar that had been painted by miss anderson. cool stuff. (He's been on at least two of her albums...) So, when are the bears gonna have an album? > How many people see a record in a bin by an artist they've never > heard of, and just buy it for the hell of it? I do I do I do! Just last week I baught an album by the pink holes called the amazing pink holes which I'd never heard of before. I heartily recommend it. (Um, its on el "something" label that has as a drawing of two cows humping in front of a barn). f [][][][][][][][][][] Posted-Date: Mon, 7 Jul 86 16:11:20 cdt Date: Mon, 7 Jul 86 16:11:20 cdt From: ll-xn!uwvax!astroatc!gtaylor (More Blurred Than Slurred) Subject: Sonic Youth Bootleg Apparently-To: Love-Hounds Perusing that bastionrag of the "AHHT" world Artforum (which I bought for the Eno flexi in it), I notice an ecstatic review of a Sonic Youth live recording that exists in bootleg form. From what Greil Marcus say about it, it seems to have a lot of the detuned live noise stuff on the stuff that the Hof has allowed me to hear. I wanna hear it. Do any of you have it? Wanna swap for a live Robert Fripp at the Kitchen bootleg tape? This bodes ill for the youth if they're attracting the interest of the art world, I'll betcha.......... [][][][][][][][][][] Date: Thu, 10 Jul 86 01:37:50 EDT From: nessus (Doug Alan) Subject: KB News Well, the latest issue (#23) of *Homeground*, "the International Kate Bush Fanzine" arrived a few days ago and there's some new news: Kate is now working on her next album. She hopes to begin recording very shortly and the target date for completion is sometime next Spring (and if you believe that one, I have a very nice Orgone Accumulator for sale, real cheap.) A German record company somehow got hold of some of one Kate's early demo tapes from 1973, and believed it had purchased the rights to press it. The album was pressed and entitled *Kate Bush: The Early Years*. When Kate found out about it, she took legal action and all the pressed albums are to be destroyed. If anyone ever sees one of these, please keep in mind that Doug will gnaw off his left arm and mail it to you in exchange for this album. Fred and Judy Vermorel apparantly plan to publish yet another biography of Kate. And these are some reviews of "Don't Give Up": Melody Maker: The stand-out track is "Don't Give Up"... set against his sombre narrative... comes Kate Bush's imploring counterpoint, begging him to believe in himself the way his family and friends do. Her fragile anguished performance gives the piece almost unbearable emotional impact... Sounds: "Don't Give Up", the worst song on the album, is a complicated analogue that winds up sounding like a James Taylor poem... - Doug "Apocalypse Soon" Alan [][][][][][][][][][] Date: Thu, 10 Jul 86 9:48:58 EDT From: James B Hofmann <hofmann@AMSAA.ARPA> Subject: Reply to IED Dear IED: I thought the directive of this digest was to discuss all music, not just Ms. Bush. Face it, some of you could probably use a vacation from her New Age pseudo-mystiktism. Doug, perhaps you could clarify your description about the intent of this digest. Another question that bothers me: has the PMRC rated Kate yet? Will the Meese Kommision decide she is pornographic and slap her in leg- irons if she ever comes back to the states? Can I get pictures if they do? Kate in bondage, yow. jimboy p.s. Sue - cool Swans review. Now if only I could find de damn vinyl. [][][][][][][][][][] Return-Path: <dsc@seismo.CSS.GOV> Date: Thu, 10 Jul 86 15:46:03 EDT From: David S. Comay <dsc@seismo.CSS.GOV> Subject: capital radio sorry to bother all you love-hounds out there that don't live in the d.c./maryland/virginia area, but i recently moved out here from oregon and am searching for one or more decent radio stations. something along the lines of kalx in berkeley or kxlu in los angeles would be real nice, with commercial-free stations a definite plus (does anybody still listen to commercial radio?) anyway, does anybody know of a station that is not afraid to play sonic youth alongside linton kwesi johnson and perhaps even a little bit of kate once in awhile? dsc capital radio, capital in tune with nothing, don't touch that dial ... [][][][][][][][][][] Date: Thu, 10 Jul 86 22:18 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.ARPA Subject: HG 23 Got "Homeground" number 23 yesterday. Doug has mentioned the big news to L-Hs, with appropriate dubiety about its reliability. IED would like to add for the record that this issue is really a major improvement over earlier HGs. If it were just the glossy paper I wouldn't be (too) impressed (I hope), but the artwork is a definite improvement: Debbie's (?) cover is really an exceptional drawing after a photo, and Steve's "Cosmic Kate" is much better organized than it used to be, and quite funny.Perhaps the competition, as well as the shot in the arm they've got from Kate's apparent endorsement, have combined to push them to new heights. Incidentally, IED still hasn't had an answer from Blow-Away, even after seven months and three letters (two of which even had the right address on them). Regarding Belew, he worked on Riuichi Sakamoto's LP "Left-Handed Dream" and the Sakamoto/Robin Scott (formerly "M") EP "The Arrangement", which includes versions of the LP tracks. IED shouldn't be discussing this, it has nothing to do with KT. [][][][][][][][][][] Date: Thursday, July 10, 1986 11:47:30 From: mayer Subject: Public Image Limited at the Warfield Theater in SF 6/2/86 I have wanted to see PiL for a while. The last time I saw Johnny Rotten performing was with the sex pistols back in London in 1977. I was 13. I've often been told to check out PiL.... "they're intense" .... I was told. THEY were right. THEY often are. Opening band sucked donkey dicks. I can't remember their name, but they do that stupid semi-rap song "We Care Alot" that I had the misfortune of hearing the night after seeing PiL at Club DNA in SF. Anybody know who these clowns are so I can be sure to miss them next time? PIL: Yowza! The show started off slow with the band playing some Led Zeppelin tune and Johnny howling. It all comes full circle y'know. Johnny Lydon, a.k.a. Johnny Rotten, was doing it as a reaction to the purple acid haze left by the sixties and found in Led Zeppelin's music. And now PiL is churning out their own version of postpunk acid-haze. Pil, why, they're the Grateful Dead of punk! Cult-followed since the demise of punk (whenever that happened), Pil, has that "old band" feel that you only get out of really practised bands like the Dead, or like Siouxsie and the Banshees. And besides, everything PiL does on album is shit. Just like the dead. But they sure give good concerts. Just like the dead. The band itself puts you in a high-tech acid haze brought on by lots of digital delays on the voice, guitar synthesizers... a mean bass line churned out by some natty looking black dude playing a steinberger really drove the music. The overall effect was a whirling dervish of sound that sounded like King Crimson meets Ravi Shankar. The Indo-rock aspect of the music was really unmistakeable when the guitar player brought out some four string indian thang (well, it wasn't a sarod, sitar, or tamboura, as far as I can tell) that sounded like the high end of a sitar. And the bass player at times could have been playing a sarod. They both seemed to be plugged into a sounds effects machine that seemed to give mached digital efxts between the guitar and the bass.... so that pitch-shifting modulations of the harmonics of the bass and guitar seemed to be synchronized.... both the guit and bass stayed in tune with each other despite the wide pitch modulations caused by the harmonizer-delays. It seems like they were feeding the guitar and bass sounds to a synth. Its hard to describe. It sounds really nice. Makes you want to melt. Ok, so what about Johnny? well, he was simply this incredible stage presense. If you're into ascerbic english fellows of extreme pallor and egomaniacal tendencies, then you'd probly like Johnny's stage presence. Some fuckwad had a flashback to '77 and thought it cool to spit on Johnny, which prompted a nasty "You little bastard" from Lydon and audience applause. As far as stage prescience goes... well I was fucking overwhelmed at about 10 feet away from Lydon in the really-mild-thrash-pit-consisting-of-mostly-kids-from-milpitas. Hopefully the rest of the audience notices Lydon's energy else half the show is gone. The result. A bunch of intense musicians, with a ex. Sex Pistols member thrown in for free to provide "test-of-time-respectability". So there. Niels Mayer (mayer@hplabs.hp.com) Hewlett Packard Laboratories. [][][][][][][][][][] Date: Fri, 11 Jul 86 16:25:47 EDT From: bu-cs!sam (Shelli Meyers) Subject: "Don't Give Up" >This is an understandable reaction (although it's really not >fair to say the song is WORSE than Lionel Richie, etc. Come on!). >You haven't made any direct criticism of Kate here, but given the >purported subject of L-Hs, criticism of her has been implied. [paragraphs on how I shouldn't have blamed Kate at all] Wait! Calm down! I didn't flame Kate. I know Peter Gabriel wrote it. Although if Kate wrote it I'd still hate it. You know what I hate the *MOST* about "Don't Give Up"? The lyrics are so NAUSEATINGLY trite. >And what of this >Big Country record, and Kate's vocal on "The Seer"? That's a pretty >silly track, despite the care taken with the syntax of its lyrics. >(The worst thing about it is the lead singer's insistence on taking over >Kate's part, with Kate relegated to the background! As if there >wasn't quite enough of his voice on the rest of the album!) Geez, and I *like* "The Seer". I think it is a) nicely arranged, especially the vocals; b) doesn't sound the SAME THROUGHOUT THE ENTIRE SONG; and c) is very fun and unusual, especially for Big Country. [][][][][][][][][][] Date: Fri, 11 Jul 86 22:22 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.ARPA Subject: IEDeosynchronicities O.K., go ahead and maunder on about subjects unrelated to Kate if you want, Jimbo. IED was in a bad mood when posting that intolerant message. IED would like to ask one thing, however: WHY? WHY would you want to discuss OTHER music than Kate's? Or at least, why discuss other music except insofar as it might be related to Kate's in some way? This is truly a puzzlement... Speaking of Kate, IED just got out of the Nuart after seeing Herzog's "Nosferatu" again. This time he was armed with a walkman and recorded the Czech (or Russian) men's choral passage from the film which Kate used in The Ninth Wave. The "folk music", as it is called in the opening credits, is performed by a group called "Zinzcaro", if the name is remembered correctly. (The damn film isn't out on video in this country, apparently, so IED can only go by memory about the spelling.) NOT by the Richard Hickox Singers. This is especially significant in light of the extraordinary similarity between the two performances of the piece. On careful listening, however, it is clear that, although extremely similar, the two performances are definitely different. The point where the difference is most clearly audible is in the forte repeat of the theme: in Kate's version the singing is a bit stronger, and the bass singer holds his note steadily between two of the chorus's syllables. This is not the case in the film version. Also, Kate has treated the sound of the choir electronically in some way -- or so it seems to IED -- whereas the film choir, which sings unaccompanied (Kate's choir is supported by a fermata note by a string section), is recorded in a more prosaic way. All of this is particularly interesting because the same thing seems to be the case with the excerpt from "Curse of the Demon" which can be heard at the beginning of "Hounds of Love". IED has been assured that this passage is not the original, but a careful re-creation. Yet it is so similar that without such assurance it would be difficult to believe. If anyone is in contact with a German folk-music fan, perhaps he/she might ask about "Zinzcaro"? Meanwhile IED plans to try to track down Richard Hickox. Incidentally, the lead actor (not Kinski, but the younger man who plays Jonathan Harker) bears an astonishing resemblance to the actor whom Kate hired for the romantic lead in her "Hounds of Love" film. If it weren't for the thinning hair of the actor in "Nosferatu", IED would swear they were one and the same man. [][][][][][][][][][] From: think!caip!unirot!fidelis Date: Sun, 13 Jul 86 00:18:54 edt Subject: Creation Records Compilation Organization: Pubic Access Un*x, Pissthataway NJ (The Soup Kitchen) There's a compilation album called "I Love the Smell of Napalm"... mfg. and dist. in the U.S. by Rough Trade. It is a compilation of various singles on the Creation label. SUch as The Jasmine Minks, Slaughter Joe, Meat Whiplash, The Bodines, and more. It is actually pretty good...considering most other compilations are rather poor. (I don't know why this was under hardcore at the record store either - I thought the people there knew their music). Slaughter Joe is the guy that produced Jesus and the Mary Chain, tho' he is rather pathetic... Meat Whiplash is another group produced by him... they *try* to sound like JaMC - two droning, screaming guitars, simple bass line, two piece drum set...but the vocals suck, and they can't even make some kind of melody out of two chords... A song by the Weather Prophets is kinda cool...semi-60'ish. While a group called Revolving Paint Dream plays stereotypical psychedelia - slightly amusing. The other groups featured are: Biff Bang Pow!, and Primal Scream... CHameleon's new single is very good. Tho' it is on Geffen Records Incidentally, the lead actor (not Kinski, but the younger now. (Did MCA drop them?) It has the usual drawn cover...but inside are.. *gasp*...PHOTOS of them...at least the music doesn't sound like they sold out. ANyway, it includes a free single, which contains "Swamp Thing" and Incidentally, the lead actor (not Kinski, but the younger "Inside out" Which are rather good! Normally, free singles have terrible stuff on them. The material sounds like their las album, except polished up a bit more (maybe just a better recording studio). SIngle is called "Tears" b/w "Paradiso" "This is for when your flesh creeps and never comes back..." ...caip!unirot!fidelis (Usenet is great...but Love-Hounds comes so late, and sometimes we miss some issues! BLEH!) [][][][][][][][][][] End of Love-Hounds Digest
Love-Hounds-Post@eddie.mit.edu (07/18/86)
Love-Hounds Digest Issue L10 Topics: * Re: PIL * NosferaKTu * A few notes on the last issue. * No more faith in Bruno * Dr. Sue answers your questions * Alice Cooper ? * Bob Ezrin ? * cd's, msic. * Re: Capital and Mob city radio * KaTchall [][][][][][][][][][] Date: Sat, 12 Jul 86 13:41:03 pdt From: ll-xn!riacs!sequent!tektronix!reed!soren (Captain Klimt) Subject: Re: PIL I hate to break this to you, but Johnny did the spitting routine in his Portland show. He started screaming at someone who had apparently spit on him and then walked off (it was the end of an encore) saying "there's always someone who wants to ruin it all for everyone else". The "Clowns" who opened sound a lot like Faith No More. I don't know what else they do, but "We Care Alot" is a great song. Have a nice day Soren FP [][][][][][][][][][] Date: Mon, 14 Jul 86 15:56 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.ARPA Subject: NosferaKTu Small world, eh, Fu-Sheng? Well, perhaps you're right that IED's enthusiasm for KT borders on the lunatical in comparison with that of other L-Hs; he will try to keep that in mind in future. Since you ask, here is what IED knows about the Nosferatu connection: In between the verses of "Hello Earth", Kate interstitched an uncanny duplication of the men's choral passage from the surreal "drink-and-be-merry-for-tomorrow-we-may-die" scene from the end of Werner Herzog's "Nosferatu", although altering the sound somewhat, and adding other instrumental tracks, either acoustic strings or a Fairlight imitation. In the liner notes to Hounds of Love Kate "thanks" Werner Herzog, not specifying what for. Then, in Tony Myatt's Capital Radio interview, which was conducted for the Romford Convention last October or November, Kate said that she had got the men's choral section of "Hello Earth" "from" Herzog's "Nosferatu". She first identified the origin of this music as "Czech or Russian", then corrected herself by stating flatly that it was "Czech", adding that the music had sounded "truly holy" to her. (I don't remember the words exactly, but I have them on audio tape somewhere, and they are now in print somewhere in a recent "Homeground", which has been printing a transcription of the interview over the past two issues.) At the beginning of the movie credit is given to Popol Vuh for the main score (IED foolishly paid $10.00 plus for the soundtrack LP in Europe last November, naively assuming that all the music from the film would be included). Below Popol Vuh's credit, two additional musical credits were listed, one for a passage from some Wagner opera or other (didn't have time to read it) and the third for "folk music" by some group (?) known as "Zinzcaro". This is almost certainly the credit for the bit of choral music in the penultimate scene which Kate used in "Hello Earth". However, Kate's version is sung by a British choral group known as the "Richard Hickox Singers". In neither case are the words intelligible to IED, since he knows neither Czech nor Russian. He would be very interested to know what the words mean, or even if the same words are sung in both versions, even though it is admittedly highly unlikely that the lyrics' content bears any relation to Kate's theme in The Ninth Wave, or even that she ever bothered to find out what the words meant. It was clearly the sound that interested her, not the meaning of the words. This has nothing to do with the line spoken in German from the same part of The Ninth Wave: "Tiefer, tiefer, ergendwo in der Tiefe gibt es ein licht." If you notice, that line, spoken by Gabi Zangerl, is accompanied by the sounds of a submarine's sonar signal. It is IED's theory that this is meant to evoke images of U-boat activity during WWII, and possibly to create the feeling of claustrophobia that must have existed within the confined spaces of a submarine, which is a big part of the movie "Das Boot". Kate has several times referred to old war movies as a primary inspiration for The Ninth Wave. [][][][][][][][][][] Date: Mon, 14 Jul 86 10:57:48 EDT From: John Lorch <umcp-cs!jhunix!ecf_hydb@seismo.CSS.GOV> Subject: A few notes on the last issue. >From: Robert Stanzel <alliant!apollo!rps> >Subject: Dave Stewart > >Also picked up last year's Dave Stewart/Barbara Gaskin album "Up from >the Dark". On CD, it's very long; they must have included all the >singles -- unfortunately. It's real drivel. Half the cuts are >covers, including a very precious one of Dolby's "Leipzig". There's >little of the old Dave Stewart, and the National Health sound isn't >much there, either (most of NH participates). If this is Gaskin's >fault (who is she?) then she's more evil than Madonna! Oh well, back >to those 15 year old Egg albums... Is that out? I've been waiting months for that CD! I have all of D.S.'s singles on Broken Records - 8 in all, the latest being "the Locomotion". I think they're very nice pop tunes, well done and nicely played. I read in Keyboard magazine that the CD was to be released in April, but the co. (Rykodisc) said it had been delayed (of course). It's CD only, btw. I'm surprised you know Dave Stewart and don't know who Barbara Gaskins is. She sang back-up on old Hatfield & the North lps, plus other stuff from that Canterbury school group. ===== >>I never said it was a smash success pop album. That doesn't mean it >>wasn't a big influence. Among some circles it caused quite a >>stir. You can hear its influence in all sorts of unexpected places; >>like on Duran Duran, Depeche Mode, Meta Terra, Danielle Dax, Lisa >>Dabello, The Cocteau Twins. The trumpets from "Sat In Your Lap" can >>be heard in something by Tina Turner (which sure irked me, when I >>heard it!). Orch-5 can be heard everywhere. The drum sound, the >>Fairlight sound, the no cymbol sound, the ethnic eclecticism -- >>they're things that are now becoming quite common, but weren't in >>1982. > >This is a misattribution of the rise in popularity of a few tricks >of the sampling synth (orch-5 most obviously) to the "influence" of >Kate's The Dreaming. Keyboard magazine asked her about this sound, >and she seemed to accept the fact of that sound's popularity. >It is extremely unlikely that the sameness of sampling sounds among >ca. 1983 pop music can be attributed to The Dreaming, since there was >at least one black dance track that came out in mid-1982 which used the >same Orch-5 sound. It's possible that this kind of minimal and >superficial influence can be detected in Duran Duran, but not in >Depeche Mode -- as disposible as this band's music may be, it's not >fair to attribute their discovery of sampling synthesizers to >The Dreaming, especially since Kate's LP is miles beyond their pedestrian >musical understanding. It is far more likely that they were introduced >to the new range of synthetic sounds through their own interest in >electronic instruments. The ethnic music fashion in English pop music >was already quite strong before The Dreaming. In fact, one critic >commented that Kate seemed to be following the trend herself. Since >Kate was definitely aware of earlier third-world-influenced rock >by that time (TH's "I Zimbra" and the RiL LP, for example, as well as >the Adam Ant/Annabella crap that was permeating UK airwaves about >then), such an assumption may not be entirely unjust. I don't know who IED is, but I agree with it's statements here. The Fairlight sounds are/were popular mainly because they come already installed on the instrument when you buy them (presets). They are the things people discover and play with when they first buy the machine, and since most people never changes the patches on their synthesizers, you get the same sounds over and over again. If you get exposed to the instruments enough, you start to recognize the sounds they make. Yamaha DX-7's are all over the place. Also, since Fairlights are >very< expensive, usually musicians don't own them - producers or studios do. Since studio time is so expensive, people don't take the time to learn how to make new sounds on the thing. Hence, repetition from the same sounds that grab people right off. ======= > Michael Hedges is one of the most incredible guitarists I've > ever heard. I am finally buying my first Windham Swill album. > > Save your parity bits for big cash prizes! > Joe > If you think Michael Hedges is incredible on record, you should see/hear him live. What you might think is two or three tracks of guitar on record is actually all done in one track. I'm not usually impressed by acoustic guitar, but this guy is great. ======= Also - I do believe that the guitar Greg doesn't like on "Not this Time" is actually synthesizer. I'm not positive, but it sure sounds like one to me. John Lorch Johns Hopkins University Homewood Computing Facilities UUCP: ihnp4!whuxcc!jhunix!ecf_hydb ARPA: ecf_hydb%jhunix.bitnet@wiscvm.arpa BITNET: ecf_hydb@jhunix [][][][][][][][][][] From: allynh@calder.berkeley.edu (Allyn Hardyck) Subject: No more faith in Bruno Date: Mon, 14 Jul 86 16:03:24 PDT mayer: >Opening band sucked donkey dicks. I can't remember their name, but >they do that stupid semi-rap song "We Care Alot" that I had the >misfortune of hearing the night after seeing PiL at Club DNA in SF. >Anybody know who these clowns are so I can be sure to miss them next >time? Faith No More... more on them when I post my review of the show (if I do). ied: >Incidentally, the lead actor (not Kinski, but the younger >man who plays Jonathan Harker) bears an astonishing resemblance >to the actor whom Kate hired for the romantic lead in her >"Hounds of Love" film. If it weren't for the thinning hair >of the actor in "Nosferatu", IED would swear they were one >and the same man. Could be ... his name's Bruno Ganz, he's a pretty well-known German actor, been in a lot of films... allyn [][][][][][][][][][] Date: Mon, 14 Jul 86 9:15:08 EDT From: Susanne E Trowbridge <seismo!umcp-cs!jhunix!ins_aset> Subject: Dr. Sue answers your questions > jimboy >p.s. Sue - cool Swans review. Now if only I could find de damn vinyl. Thank ya. Try Joe's Record Paradise in Silver Spring, or even Music Machine in Pikesville -- they might be able to special order it if it's not in stock. >Subject: capital radio >sorry to bother all you love-hounds out there that don't live in the >d.c./maryland/virginia area, but i recently moved out here from oregon >and am searching for one or more decent radio stations. >dsc If you can't pick up WJHU (Baltimore, 88.1), WMUC (College Park, 88.1) or WCVT (Towson, 89, 90, somewhere around there), try WHFS (Annapolis, 99.1). The first three are non-commercial college stations, but as is the case with such, the wattage tends to be a bit on the low side. WHFS plays lots of commercial nu-wave. Be sure to ignore it on weekday mornings and afternoons from about 10 am - 5 pm, when the brain-damaged (seriously, he is!) Damien, the son of WHFS's owner, and the moronic Weasel are on the air. Other than that, there are some decent DJs. But during Damien and Weasel's shows, you'd be better of listening to 98 Rock... >Opening band sucked donkey dicks. I can't remember their name, but >they do that stupid semi-rap song "We Care Alot" that I had the >misfortune of hearing the night after seeing PiL at Club DNA in SF. >Anybody know who these clowns are so I can be sure to miss them next >time? Faith No More. > IED would like to ask one thing, >however: WHY? WHY would you want to discuss >OTHER music than Kate's? Because this is a much better environment to discuss alternative music than the hostile net.music, filled with Rush and Broooce fans. Of course, we are all tied together by our common love for the great Kate, and everybody contributes Katenews and views, which just proves our common good taste! [][][][][][][][][][] Date: 14 Jul 86 20:14:00 PST From: "ROSSI J.A." <rossi@nusc.ARPA> Subject: Alice Cooper ? Reply-To: "ROSSI J.A." <rossi@nusc.ARPA> Has anyone ever heard of Bob Ezrin? He apparently produced Alice Cooper's last (?) album called DaDa (1983). Along from co-producing it he gets the album credits for all the Fairlight work onb the |LP. Now, I know that Alice Cooper is quite far from Kate Bush but the Fairlight work on DaDA is just about as good (and better in parts) than what either Kate or PG have musttered up to date. Anyway, this guy Ezrin isn't bad and assuming thaty his life has not been overshadowed by working in a late-model Alice Cooper act, he deserves some attention. ow, you might ask, Why was I listening to an Alice Cooper album anyway? In truth, my 8 yr old really gets off on his early stuff (Refrigerator Heaven, Love it to Death and Killer) which he found in my vintage collection. He persuaded me to buy him DaDa at a recent trek to the local Mall. I used to enjoy Alice so I listened to the album (Typical except for Ezrin). Well, out of the record buying habits of babes, often come Fairlight Gems? School's out for summer! (If Doug can quote Paul Simon, here, then why not Alice Cooper?) John ------ [][][][][][][][][][] Date: Tue, 15 Jul 86 01:51:54 EDT From: nessus (Doug Alan) Subject: Re: Bob Ezrin ? > From: "ROSSI J.A." <rossi@nusc.ARPA> > Has anyone ever heard of Bob Ezrin? Sure. He was one of the producers of Pink Floyd's *The Wall*. He also co-wrote one of the songs on the album with Roger Waters. He also was the over-producer of Peter Gabriel's first album. -Doug "Sun arise every mornin'" [][][][][][][][][][] From: think!caip!unirot!fidelis Date: Tue, 15 Jul 86 03:27:51 edt Subject: cd's, msic. Organization: Public Access Un*x, Piscataway NJ (The Soup Kitchen) Anyone know if any material by TONES ON TAIL is on CD? I just bought a CD player...and I need CD's to play on it! So far I've only got: KILLING JOKE: 'Night Time', CABARET VOLTAIRE: 'The Covenant, The Sword and the Arm of God', and PROPAGANDA: 'A Secret Wish'... I'm not really a Kate fan..(sorry Doug!) but I wouldn't mind CD recommendations. And...*why* is IED (or wotevuh) bitchin' about people writing stuff unrelated to Kate to this digest?!?! I thought this digest was for *ANYTHING*. or am I wrong? To whoever asked who did "We Care a Lot"...the group is FAITH NO MORE. ABout CD's again...where (in the New York/ New Jersey area) can I find a good selection of CD's? (TOWER RECORDS has nothing interesting - either didn't ever have it, or sold out) ART OF NOISE video for 'Paranoimia" has Max Headroom (or whatever his name is) in it... the British version of the 'CLose to the Edit' video is also great. (they aren't as boring as 'Legs' or 'Moments in Love') I also saw a live video of Peter Gunn...interesting...they had PEOPLE! Tho' I don't know why they didn't just use a synth in place of Duane Eddy. THere were three females doing the vocals - fed through a synth...two percussionists...and the two people in the Art of Noise. It wasn't bad at all.....*sigh* and they played the Ritz a few days ago. Oh well. Anyway, I think PiL is hitting Jersey soon... "this is for when your flesh creeps and never comes back..." ...caip!unirot!fidelis [][][][][][][][][][] Date: Tue, 15 Jul 86 9:09:14 EDT From: James B Hofmann <hofmann@AMSAA.ARPA> Subject: Re: Capital and Mob city radio Re: Radio stations in the Balt/Wash area (sorry to non-regional folks, I'll keep it short). Sue's dead on about WHFS. Their worst programming occurs around the peak hours and their best programming is late at night and weekends (J.B. and some funkster guy (he mixes LL with Kate) are worth staying up for) As for WCVT (89.7), I think they generally receive a bum rap from WJHUers so I'll vouch for them. Their Friday afteroon-evening lineup is great if you want to know what is going on in the area (included are clubs that can't afford the high prices for a listing on WHFS) and caps it with a local only show so one can get an idea of what the area has to offer in way of music. Their signal is alot stronger than Sue implied. On a clear day, I've recieved it as far north as Aberdeen and I've driven down to Laurel, MD (outskirts of D.C.) with it still coming in clear. If you've got a high-gain antenna and live around DC, I'm sure you should be able to pick it up. Let me know if you do. enough regional drivel, love and bondage - jim h. [][][][][][][][][][] Date: Tue, 15 Jul 86 16:18 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.ARPA Subject: KaTchall > Also - I do believe that the guitar Greg doesn't like on "Not this >Time" is actually synthesizer. I'm not positive, but it sure sounds like >one to me. This is hard to believe (although an attractive idea). To these ears there's little doubt that it's an electric guitar, albeit with a distorted sound. If you're sure it's a guitar synth sound, could you cite some other recording with a similar synthetic guitar sound? Very interested. >> IED would like to ask one thing, >>however: WHY? WHY would you want to discuss >>OTHER music than Kate's? >Because this is a much better environment to discuss alternative music >than the hostile net.music, filled with Rush and Broooce fans. Of >course, we are all tied together by our common love for the great Kate, >and everybody contributes Katenews and views, which just proves our >common good taste! O.K. Never having read any other co-operative but L-Hs, IED was ignorant of the taste of net.music fans. Thanks for clarifying the issue. In these circumstances, so far as IE is concerned, may the floor remain wide open, with the sole stipulation that Springsteen, Rush et al. enter into these proceedings when hell has thoroughly frozen over. After all, one has to draw a line somewhere. Incidentally, there has never been any secret that IED0DXM is Andrew Marvick, who is having fun withd a pseudonymous anagram. Yes, it is silly. Get the following for irony: Kate's "video" for "RUTH" has passed into the semi-finals for MTV's annual award for "best video by a female performer", or whatever. The joke is that MTV NEVER SHOWED the official promotional film, only the Wogan Show lip-synch performance. While on vacation in the Dairyland (Wisconsin, to be precise), IED met two people who noticed his KT t-shirt (the new U.S. one with the rainbow-colored print of the HoL cover). One felt she should fill him in on the details of Kate's career. "She was discovered by Peter Gabriel, you know." The other had this to tell him: "Woh, dude. Kate Bush, right? Woh. I don't like her album {this presumably a reference to Kate Bush's FIFTH album}. It's all about a girlfriend of hers who died of a heroin overdose. Rully self-indulgent. Hey, but she does a rull sweet job on "Don't Give Up", though. Woh, dude, rad, etc., etc., etc...." This experience is related to emphasize the results of acquiring a high profile in our homeland. [][][][][][][][][][] End of Love-Hounds Digest
Love-Hounds-Post@eddie.mit.edu (07/23/86)
Love-Hounds Digest Issue L11 Kate Topics: * Bruce and Rush. * KB drivel [2 articles] * Kate Video Collection * Info on Kate Bush's SNL Appearance [2 articles] * Is IEDreaming or what? [articles] * Kate products Non Kate Topics: * Peter Murphy, The Mission * Tubular Bells on CD? * No Man Is Hurting Me [][][][][][][][][][] Date: Wed, 16 Jul 86 8:58:23 EDT From: James B Hofmann <hofmann@AMSAA.ARPA> Subject: Bruce and Rush. Well, what happens when Kate does a duo with Bruce and plays synthesizer with Rush? Will they be cool people to discuss on this newsgroup, then? I mean, last year, you would have said the same thing about Beeg Cuntry. "flyyyyyyyguy, flyguy, flyguy" jbh [][][][][][][][][][] Posted-Date: 16 Jul 86 09:13:10 PDT (Wed) Subject: KB drivel Date: 16 Jul 86 09:13:10 PDT (Wed) From: tsung@aerospace.ARPA Hey, FST do hereby thank IED for his extensive reply on Nosferatu. btw, did IED ever set those "Woh-dudes" straight? How can they go through the rest of their respective lives without knowing the Truth? :-) bbtw, where can I get a KB T-shirt? (I'd love to have one with "The Dreaming" style pictures on it, if available at all). For that matter, is there ever a poster with the cover of "The Dreaming"? Or the cover of the 12in RuTH? Love those pictures. (These pair of eyes have yet had the pleasure of seeing the now legendary (?) Japanese cover of TKI). Fu-Sheng [][][][][][][][][][] Date: 16 Jul 86 22:08:00 PST From: "ROSSI J.A." <rossi@nusc.ARPA> Subject: Kate Video Collection Reply-To: "ROSSI J.A." <rossi@nusc.ARPA> I understand that the Hair of the Hound compilation will be soon available on import videodisk (LV, of course) as a followup to the relative successes of The Singles File and Live at the Hammersmith. As far as I can tell, these videos are the only means of getting good video quality video coupled with high quality stereo sound. I understand that Hair of the Hound will have a digitally encoded soundtrack which should make it the b all around Kate expose available (that's if you buy into the digital is best CD type mentality, which, by the way, I'm even being convinced about. Just call 1-800-VHS-DISK and ask about future release info for more details). I'm going to try to direct order Hair of the Hound in NTSC from a west coast distribuitor I used to deal with. I'll pass on any info I get. If it becomes available soon, I'll be glad to make a VHS HIFI copy for anybody who furnishes me proof that they purchased the disk (should be $29.95 retail) and doesn't have a laserdisk player on which to play it. John [][][][][][][][][][] Date: Thu, 17 Jul 86 15:16:25 EDT From: nessus (Doug Alan) Subject: Re: KB drivel > From: tsung@aerospace.ARPA > btw, where can I get a KB T-shirt? You can find them every now and then in some record stores that carry lots of obscure T-shirts. There are some mail order places that carry them too. They are all bootleg type things of only okay quality. The Kate Bush Club was selling some *really* nice black sweatshirts with collars and white writing in the HoL script. The front says "Hounds of Love" and the back says "It's in the trees... it's coming!" On the sleeves are the KT logo. I don't know if they have any more left, however. > (I'd love to have one with "The Dreaming" style pictures on it, if > available at all). I've never seen one. But if you *really* wanted, you could get some printed up yourself. Getting the silkscreen made, however, would probably have about a $50 overhead. > For that matter, is there ever a poster with the cover of "The Dreaming"? Yes, there are both bootleg and official posters of this. But they are difficult to find. I know of a mail order place in England that sells bootlegs for two Pounds. I think the minimum order is 3 posters and then there'd be some more money for postage. > Or the cover of the 12in RuTH? Love those pictures. (These pair of > eyes have yet had the pleasure of seeing the now legendary (?) > Japanese cover of TKI). It's actually the British promo poster that the Japanese cover is taken from that is legendary. The Japanese cover is cropped a bit, making it a bit less, uh, legendary... -Doug "You know how that rabbit feels Going under your speeding wheels" [][][][][][][][][][] Date: Fri, 18 Jul 86 22:25:57 edt From: Greg Elder <gelder%wright.csnet@CSNET-RELAY.ARPA> Subject: Info on Kate Bush's SNL Appearance A few years back (between 1977-1979), Kate Bush appeared on Saturday Night Live and performed two songs. Can anyone tell the names of those songs and what album they are on? It was so long ago that I remember almost nothing about the songs except that I enjoyed them. Listening to Kate Bush's current album reminded me of the SNL appearance. Thanks. Greg Elder CSNET: gelder@wright ARPANET: gelder%wright.csnet@csnet-relay USENET: ...!cbosgd!wright!gelder [][][][][][][][][][] Date: Sat, 19 Jul 86 12:26:30 EDT From: nessus (Doug Alan) Subject: Re: Info on Kate Bush's SNL Appearance Kate was on SNL near the end of '78. She performed "The Man With the Child in his Eyes" on top of a piano played by Paul Schaeffer and "Them Heavy People", both from her first album, *The Kick Inside*. "I hear her before I go to sleep And focus on the day that's been" Doug [][][][][][][][][][] Date: Fri, 18 Jul 86 20:49 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.ARPA Subject: Is IEDreaming or what? Wow! That's what IED calls Love-Hounds: 100% KT. Well, let's see: >Well, what happens when Kate does a duo with Bruce and plays >synthesizer with Rush? Will they be cool people to discuss >on this newsgroup, then? I mean, last year, you would have >said the same thing about Beeg Cuntry. IED agrees that there is no intrinsic merit in BG, only ancillary interest stemming entirely from their association with KT. Whether their music is good or not is immaterial. It is enough that they have worked with the greatest living human being. >Hey, FST do hereby thank IED for his extensive reply on Nosferatu. Very welcome. >btw, did IED ever set those "Woh-dudes" straight? How can they go >through the rest of their respective lives without knowing the Truth? No, he didn't. In personal confrontational situations IED is much less obnoxious than in phosphur. His Wisconsin acquaintances continue to drift down the river Styx of life blissfully claiming as their own and disseminating still further the flotsam and jetsam of KT disinformation up against which they bump. >I understand that Hair of the Hound will soon be available. This is great news. Does this mean that the rumor of a U.S. version of The Single File video compilation, which would replace some of the old videos therein with the Hair of the Hound films, is without foundation? >...Coupled with high quality stereo sound. Hair of the Hound will have >a digitally encoded soundtrack which should make it the best all >around Kate expose available... This also means a high quality sound copy of the film-only remix section of "Cloudbusting". Amazing. >I'm going to try to direct-order Hair of the Hound in NTSC from >a west coast distribuitor I used to deal with. I'll pass on any info >I get. If it becomes available soon, I'll be glad to make a VHS HIFI >copy for anybody who furnishes me proof that they purchased the disk >(should be $29.95 retail) and doesn't have a laserdisk player on which >to play it. Thanks very much, John. Please do announce any new info on this release as soon as you hear. One eager consumer standing by. >> From: tsung@aerospace.ARPA >> btw, where can I get a KB T-shirt? >You can find them every now and then in some record stores that carry >lots of obscure T-shirts. There are some mail order places that carry >them too. They are all bootleg type things of only okay quality. The >Kate Bush Club was selling some *really* nice black sweatshirts with >collars and white writing in the HoL script. The front says "Hounds >of Love" and the back says "It's in the trees... it's coming!" On the >sleeves are the KT logo. I don't know if they have any more left, >however. Different KT shirts are or were available at different places. The one which IED mentioned in Love-Hounds was available briefly (for $10.00) at Rene's All Ears Record Shop on Melrose Avenue, in West Hollywood about three months ago. It quickly sold out, and none has been spotted there since then. Joel Watkins used to have a nice t-shirt of his own design for sale, and Dale Somerville had a shirt made for the 1983 Winnipeg KT convention. Both of those were advertised in various issues of Break-Through, Dale's KT fanzine. Then there have been four different KT shirts from the KB Club itself: the original 1978 Lionheart shirt; the Hounds of Love "designer" shirt (and t-shirt equivalent) which was available for a few months through mail order, using a form that was included in the sleeves of UK pressings of Hounds of Love -- it was very expensive; and the two 1985 Romford Convention-only shirts -- one was the really neat black sweatshirt with "Hounds of Love" on the front and "It's in the trees...it's coming" on the back which Doug mentions above (IED puts his on at the slightest provocation), and the other a blue polo shirt with "Kate Bush Convention 1985" on the front. In addition there was another shirt available through Break-Through in polo-shirt style (i.e., a t-shirt with a little blue fold-down collar sewn onto the top), which has a picture of the Japanese kite from The Kick Inside on it, and "Kate Bush" printed in "Kick Inside"-style Japanese lettering on the back. So all told IED knows of eight shirts himself. Doug mentioned the existence of a ninth which appropriately illustrates The Ninth Wave. But whether you can find any of them now, who knows? You could write to Intergallactic Garage (address in Break-Through), but then you're paying outrageously inflated prices, and contributing to the ripping off of hapless KT fans, as well as the Bush family, of course. >> (I'd love to have one with "The Dreaming"-style pictures on it, if >> available at all). >I've never seen one. But if you *really* wanted, you could get some >printed up yourself. Getting the silkscreen made, however, would >probably have about a $50 overhead. If enough L-Hs are willing to contribute, why not order silkscreen t-shirts for Love-Hounds itself? As for the question about a poster of the cover of "RUTH", no, but there was a bootleg poster done of the still photo of Kate posing in a dance position from the film with the male dancer, which has "Kate Bush -- Running Up That Hill -- 7" and 12"" on it. It's just a crude blow-up of the newsprint ad put out by EMI in England last September, and it's on very thin paper. Rhino Records had a bunch of them, selling for $8.00 apiece, but that was last April. Good luck. [][][][][][][][][][] Date: Sat, 19 Jul 86 19:04:33 EDT From: nessus (Doug Alan) Subject: Re: Is IEDreaming or what? > From: IED0DXM%UCLAMVS.BITNET@WISCVM.ARPA > IED agrees that there is no intrinsic merit in BC, only ancillary > interest stemming entirely from their association with KT. > Whether their music is good or not is immaterial. It is enough > that they have worked with the greatest living human being. Kate Bush the "greatest living human being"??? That's ridiculous. Dear Love-Hounds readers, I implore you, please let us keep things in the proper perspective. Kate the "greatest living human being"??? Kate is no mere human being, she is a God! Please try to keep this in mind before you speak heresy. Kate saves, Doug [][][][][][][][][][] From: mit-amt!caip!unirot!fidelis Date: Sun, 20 Jul 86 23:57:37 edt Subject: Peter Murphy, The Mission Organization: Public Access Un*x, Piscataway NJ (The Soup Kitchen) I just got the new Peter Murphy LP, and The Mission's newest EP... (they must've come out within the past week or so.) Peter Murphy's LP comes in a gatefold sleeve with artwork similar to that on his FINAL SOLUTION EP... hmm...I forgot that that single was available in about 4 different sleeves! ANyway, it has crayola art on the cover, and it's called SHOULD THE WORLD FAIL TO FALL APART. It includes all the songs from the BLUE HEART EP, FINAL SOLUTION EP (including THE ANSWER IS CLEAR), plus 6 other tracks. The main musicians are Peter Murphy and Howard Highes, and features John McGeogh, Daniel ASh, and many other people on various tracks. The sound of the album as a whole reminds me of a the group, Dalis Car... (of which Peter Murphy was in). Very little distorted guitar...I was hoping for more songs that sounded like FINAL SOLUTION. But otherwise, if you love synths, programmed rythms, and a pop-ish sound...I'd recommend it. ........................................................................ THe Mission's EP...is...good...but I am getting bored of this stuff! It is called 'II' (SInce it's their second EP, I guess...) It has four tracks and 3 mini-tracks... The mini tracks are like solos by members of the band - rather dull, if I may say so. The first track LIKE A HURRICANE has to be one of the worst songs by them...while the other three are more their usual sound. I think too many records have been made with that standard Sisters of Mercy sound...and their music just isn't evolving at all. I'd only recommend this for Sisters of Mercy fans that haven't gotten sick of them yet... otherwise, their first single was much better (SERPENTS KISS)... ........................................................................ By the way, is TUBULAR BELLS by Mike Oldfield available on CD? I haven't seen it around...tho' I just got THE COMPLETE MIKE OLDFIELD, a double-CD set...it's comprised of four sections:1) instrumental, 2) vocal, 3) complex, 4) live... and it cost $34... Fidelis Orozco caip!unirot!fidelis@SEISMO.CSS.GOV [][][][][][][][][][] Date: Mon, 21 Jul 86 01:35:31 EDT From: nessus (Doug Alan) Subject: Tubular Bells on CD? I have *Tubular Bells* on CD. I got it nearly two years ago. It is a West German pressing by Virgin. -Doug "Get thee to a nunnery!" [][][][][][][][][][] Date: Mon, 21 Jul 86 06:13:27 EDT From: nessus (Doug Alan) Subject: No Man Is Hurting Me ... must be a woman then... Roger Miller's (of Birdsongs of the Mesozoic) album *No Man Is Hurting Me* is now out, and it's only a couple months late (which actually makes it many months early)! It is just as wonderful as one would expect, though I'm a little disappointed that many of my favourite works by him were left off in favour of less favourite ones. It is politically correct to acquire this album. The Love-Hounds police will be checking up on you shortly. -- No Man, that is my name [][][][][][][][][][] Date: Mon, 21 Jul 86 9:36:28 EDT From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV> Subject: Kate products >If enough L-Hs are willing to contribute, why not order >silkscreen t-shirts for Love-Hounds itself? Sounds nifty. Count me in! >As for the question about a poster of the cover of "RUTH", >no, My favorite local record shop, Music Machine, staffed by a bunch of Katefans, has a RUTH cover-poster on display (not for sale, though). Maybe a limited number were made for promotion purposes only. If the price is right, maybe they could be persuaded to part with it -- I bought a promo poster of "The Ninth Wave" pic there a while back... Maybe I'm way behind the times with this bit of info, but I saw a US 12" of "The Big Sky" at Tower Records last week. Same songs as the Brit 12", but it's in a sturdy cardboard sleeve instead of the flimsy type UK 12"s come in. (A friend with a taste for social commentary says that's because the British feel that pop music is inherently disposable, and what's more disposable than a single, you'll just want to throw it away anyway. Ridiculous, say I. I wouldn't part with my complete collection of HOL 12" singles! Or with any of my others, for that matter. However, it does mean that any used 12"s you buy over there will be very dusty indeed...) [][][][][][][][][][] End of Love-Hounds Digest
Love-Hounds-Post@eddie.mit.edu (07/28/86)
Love-Hounds Digest Issue L12
Topics:
* KommenTs in general
* Some record reviews
* Madonna and Sonic Youth?
* Mike Watt
* LH T-shirts?
* Chestbursting
* WHFS playlist...
* KaTching up with Love-Hounds
* Reply to Chris Valas: Give IED an inch...
* The 'Not Long Awaited' Rossi Comments on SO
* Hounding down that elusive fox
* marvicK To the rescue!
[][][][][][][][][][]
Date: Tue, 22 Jul 86 13:54 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.ARPA
Subject: KommenTs in general
Well, Susanne, the US 12" of "The Big Sky" was released about June 25
or so, about the same time that MTV first started showing the video.
The 7", however, was only released last week. Criticism has been
leveled by IED at EMI-America's addle-brained release schedule, which
has resulted in complete market failure.
It's true that the U.S. 12" singles are packed in LP-quality board,
whereas UK 12"s are not. It cannot be concluded from this difference
that singles are seen as more disposible in the UK than in the US,
however, since UK 7" singles are usually released in much sturdier
sleeves than US 7"s.
Incidentally, it may interest business-minded Kate-fans to know that
Thorn EMI, the video branch of EMI in the US, has been purchased by
Menahem Golan and Whatsisname Globus, who co-run Cannon Films, the
Israeli-originated independent.
[][][][][][][][][][]
Organization: The MITRE Corp., Bedford, MA
Date: Wed, 23 Jul 86 09:58:08 EDT
From: Chris J. Valas <cv%linus@mitre-bedford.ARPA>
Subject: Some record reviews
IED, why don't you listen to some different music? Doug used to beat
Kate to death regularly, but he tossed in enough material about other
musics to make his stuff worth sifting through.
Records IED doesn't need to know about:
Robert Fripp and the League of Crafty Guitarists -- LIVE!
Fripp creates the analog equivalent of Frippertronics with a
pack of mixed-experience-level guitarists (the League, natch) and a
new standard tuning. Well. This is great guitar noodling and Fripp
is in his usual impeccable form. Some of the pieces could have been
omitted, particularly one which features slow scales interspersed with
single chords. This is something to put on when you're meditating
about the future of the acoustic guitar. On the whole, I prefer
Fripp's work with the ex-cop.
Jazz Butcher -- Bloody Nonsense
This guy let the domestics do the butcher number on the cover
of his US release. There is an incredibly fatuous review by some
wanker called C.C. Dammerung on the back. This particular piece of
crap was almost enough to make me pass up the record altogether but I
went ahead and bought it anyway. (Really, go into a record store and
read the review. Who is this jackass?) The Jazz Butcher's music is
far better than the cover implies. He sounds like Robyn Hitchcock
meets Elvis Costello over a few beers and they decide to do covers of
older Matt Johnson tunes. I saw him at Swifts on Monday and, like
Hitchcock, in person he manages to improve on the recorded material.
Best song of the night was a marvelous extended cover of Roadrunner.
If you can't see him, buy the record.
The Feelies have new vinyl out and are coming to Boston in early
August. These guys were doing the R.E.M. chiming guitar routine back
when I was in school. They do it a lot better, and are usually great
live, even though they used to only play gigs on national holidays.
Either these guys are weirder than us or they work for the post office
but either way, get the record "The Good Earth" and while you're at it
you might as well go ahead and buy their original record which is now
about six years old and may even be in the cut-out bins.
If anyone is interested in taking some real adventures in musical
innovation rather than spending the summer on the tame (though pretty)
stuff KB is doing these days, most of CAN's albums are available (when
you can find them) for under five dollars. Do yourself a favor. Find
out what Holger Czukay was like before he grew up.
With love,
Chris Valas
[][][][][][][][][][]
Subject: Madonna and Sonic Youth?
Date: 23 Jul 86 09:30:09 PDT (Wed)
From: tsung@aerospace.ARPA
To further that subtle link between Madonna and Sonic Youth beyond
the Madonna "covers" done by S.Y. mentioned recently by Hoffboy, this
timely piece appeared in L.A. Weekly (7/18) (stolen by me for the
continuing education of L-Hs):
----------------------------------------------------------------
_True Blue_ could very well be Madonna's _EVOL/LOVE_ LP. The spinning
nexus of reality 2 fantasy is thematically constant. Her best songs from
the last few years have been tied to the top with this magic thread.
_True Blue_ is a true continuation, though it's unfortunately a bit more
refined, glossed and generic. But ... we don't care. "White Heat," the
James Cagney tribute, is a total romantic refusal to believe in either
side of the image allove (?) it to EVOLve through her headhole: "Can you
feel the rhythm of my mind/We're not going nowhere till you have a
change of mind." This single existential concept/decept is continually
apparent in the Sean/Sex devotional song "True Blue"; not so much in the
lyrics as in the cover portrait: What's going on here? Will we see the
other half of this photo? Extremely suggestive. Only time will tell.
The fine line between responsibility/irresponsibility is important to
this function and is dealt with in "Where's the Party?": "I'm not living
in fear/I'm just living in chaos." This is the necessary progress from
Henry Miller that 1986 demands. 2 other tunes of interest are "La Isla
Bonita," which is a warm affection to Mike Watt: "Last night I dreamt
of San Pedro ..." And "Live To Tell," possibly Madonna's greatest, most
stirring words and music yet. We've played this song 1,000 times and
are always transcended. The album's dynamics (all consonant) aren't 1/2
as interesting as _Like a Virgin_ or the 1st LP, but we have yet to be
inundated to the pleasure-center pliers of repeat, so who's to say?
It's not something we worry about.
-- Sonic Youth
----------------------------------------------------------------
This and other "reviews" (by Johathan Gold, Craig Lee, Skot Armstrong,
Belissa Cohen, Byron Coley; don't know most of them) are grouped under
the title, "Meditations on Madonna".
Fu-Sheng
p.s. who's Mike Watt?
p.p.s. anybody else interested in the KB silk-screen idea? I volunteer
Doug to take votes. :-)
[][][][][][][][][][]
Date: Wed, 23 Jul 86 13:29:02 EDT
From: James B Hofmann <hofmann@AMSAA.ARPA>
Subject: Mike Watt
Mike is the bassist of the late Minutemen. He was responsible for the
flipside of the Ciconne Youth New Alliance 45. He is now heading a newly
formed group called Firehose.
Who's Belissa Cohen?
[][][][][][][][][][]
Date: Wed, 23 Jul 86 23:23 EDT
From: Tavares@MIT-MULTICS.ARPA
Subject: T-shirts
I'd be interested in at least two T-shirts. What would you put on them?
Would you be duplicating the black shirt? And who are "you" (i.e.,
who's doing 'em)?
[][][][][][][][][][]
Date: Thu, 24 Jul 86 01:47:02 EDT
From: nessus (Doug Alan)
Subject: Chestbursting
A reliable source of rumour says that Kate has just seen the hottest
SF thriller of the summer and likes it a lot. Apparently it has
inspired her to write a new song, which will be released shortly as a
special between-album single. A working version of the lyrics have
gotten out; here they are:
CHESTBURSTING
I still dream of Aliens.
I wake up crying.
You're making eggs
But you're out of reach
When your cacoon encases me
You're like my tapeworm
That grew in my bowels
What made it special
Made it dangerous
So I flushed it and forget.
Everytime it pains,
You're here in my chest
Like the tapeworm coming out
Oh, I just know that something gross is going to happen
And I don't know when
But just thinking it could even make it happen.
Under the reactor
Wrapped up in this slime
You could see them coming
They looked too small
In their big metal lander
To be a threat to the mother Alien
I flushed my tapeworm when it got too big
I can't flush you down the toilet
Oh God! I can't forget!
Your son's coming out (Ouch!)
Your son's coming out (Agggh!)
Your son's coming out (Aaaghargaglephfftargletoopgaaaaaaggggh!)
-Doug
[][][][][][][][][][]
Date: Thu, 24 Jul 86 8:23:39 EDT
From: James B Hofmann <hofmann@AMSAA.ARPA>
Subject: WHFS playlist...
THE STRAWBERRY SWITCHBLADE - "Jolene" (Dolly Parton cover)
JOAN BAEZ - "Diamonds and Rust"
KATE BUSH - "Wuthering Heights"
[][][][][][][][][][]
Date: Thu, 24 Jul 86 01:33:10 edt
From: Joe Turner <cutter%umass-boston.csnet@CSNET-RELAY.ARPA>
Subject: KaTching up with Love-Hounds
For those who care:
Please run out and grab a copy of the Japanese computer journal "Bit"
(July 1986 issue) and flip to page 192 for a mention of Love-Hounds.
(then flip to page 195 for a mention of my name, *hand-wave*)
Otherwise -
Things I Picked Up This Week:
"Cure for the Blues" by APB is kinda neat. "Sunset Song" has been getting
mucho airplay, but cuts like "Part of the Deal" and "Crooner's Lullabye"
show more promise.
"Well Well Well..." by the Woodentops is, well, come on, EVERYONE likes
the Woodentops, right? Whoever Animal Jesus is, s/he has found a good
band to produce. Lots of energy, tight playing, etc. BTW, one of the
guest producers on the album is Swami Ananda Nagara. Didn't he produce the
fine "25 O'clock" album by The Dukes of Stratosphear (XTC) ? Or am I being
silly? Best cut (I think) is "Steady Steady", which departs from the quick
pacing and lets loose with sheer paranoia and psychosis.
"The Drain Train" New Cabaret Voltaire. Kirk and Mallinder up to their
old tricks. I hated "Red Mecca" but liked the direction they took in
"Micro- phonies" and "The Covenant, the Sword, and the Arm of the
Lord". This continues in that same vein. "Shakedown (the Whole Thing)"
is less found music and more melody - to wit, it's rather funky. It's
a weird album, in that record one, side one is 45rpm, side two is
33rm, and record two is 45rpm both sides and contains two versions of
"Shakedown (the Whole Thing)", a "dub" version and a "version"
version. Not bad 'tall.
K-T-shirts: Newbury Comics in Harvard Square has the ugly HoL t-shirts in
red, pale blue, and yellow. YECHH! Even IED must admit that the choices of
color are a little, well, uh, bad.
In the same vein: My brother is doing the printing of t-shirts for the
SF-Lover's net digest. I will confer with him about price and cost. It
would basically cost $10 or so. Probably less. We would need art, tho.
Any artists out there? Anyone with uncopyrighted pix of KT? (Anyone with
copyrighted pix of KT that we can get away with printing, even?) Should it
( \/ )
be a generic "I \ / Kate Bush" t-shirt, or should it be specifically a
\/
Love-Hounds t-shirt? Ideas anyone?
By the by, Doug. Kate isn't a god, she's a GODDESS. Unless, of course,
she's been to Sweden recently for one of THOSE operations, and is now
Kurt Bush...? Let's just leave it as "major deity"...
Forsooth. It is late. I must work. (Responsible adult, bah! Not worth it.)
Thankyou and goodnight.
Oh, screw the parity bits!
Joe
--------------------------------------
This has been number 25 in ZTT's Eternal Horizon series "What's Good for the
Geese..."
--------------------------------------
PS. Andrew Marvick - WHERE do you hear them counting off beats in the
beginning of "Watching You Without Me"? I distinctly hear "What... Four"
and then nothing else. (This is listening to the CD at LOUD volumes) This
leads me to beleive that the incident is NOT a recreated studio moment,
but is possibly a question... "What for?" (Just like someone made me notice
that the beginning of each episode of The Prisoner has #6 answering his own
question: "Who is Number One?" "You are, number six!" It's all in the parsing!)
[][][][][][][][][][]
Date: Thu, 24 Jul 86 23:24 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.ARPA
Subject: Reply to Chris Valas: Give IED an inch...
Well, Chris, IED was being just a little facetious when he asked what
was meant to be the rhetorical question, "Why listen to anything other
than Kate?"
SINCE YOU BROUGHT IT UP:
In fact IED wastes away something like 50% of his life listening
intently to extra-Katian musics. Yesterday he bought four LPs of more
or less obscure Debussy (he's suddenly and almost inexplicably gotten
hung up on the "Impressionists" Debussy and Ravel, trying to absorb
their respective complete works for piano solo); and listened
extensively to two of Ivo Pogorelich's recent CDs (his live Warsaw
Chopin recital and the Ravel Gaspard de la nuit/Prokoviev 6th Sonata
CD). IED's desert island pop top ten list, NOT including Kate, is as
follows:
1. Japan: Tin Drum and Gentlemen Take Polaroids
2. David Sylvian: Brilliant Trees
3. YMO: BGM and Technodelic
4. Ippu-Do: Night Mirage
5. Miharu Koshi: Tutu and Parallelisme
6. Ronny (produced by Peter Godwin): To Have and Have Not (12")
7. Doris Day (Andre Previn, piano): Duet
8. Scriabin: Complete Sonatas, Roberto Szidon, piano (DGG)
9. Rachmaninoff: 4th Piano Concerto, Vladimir Krainev, piano (Melodya)
10. Chopin: Op. 10 and 25 Etudes, Maurizio Pollini, piano (DGG)
[][][][][][][][][][]
Date: 25 Jul 86 16:34:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: The 'Not Long Awaited' Rossi Comments on SO
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>
Between reading the comments of L-H people and reading the reviews of
SO in some of my more trusting places (e.g. Keyboard, Modern
Recording, etc), I managed to not buy (or listen to sans Sledgehammer)
PG #5. Well I picked up the cassette in Montreal Wed and I havent
played much else in my car since. I feel that, by far, theis is
Gabriel's best solo work to date. For the same reasons I am starting
to enjoy Lionheart and Never For Ever much more than HoL, I find I
like So.
Many people have claimed that PGIII is the PGs of all PGs.
Well, in much the same way that The Dreaming is probably Kate's most
interesting work to date, there does seem to be room, even in a single
artist's writings, for enough variance to put together a consistent
product which probably appeals to two entirely seperate subgroups of
music lovers. This is what I find in So. As for the claims that this
is a commercial 'Sell-Out' album (based, I would have to supose on
Sledgehammer alone, since I don't see much commercial Hit potential
for anything else on the album except for, maybe, Don't Give Up, which
with a convincing video become a a smash tearjerker ala Time After
Time), I obviously see no indications of this.
What I do hear is a welcome return to the Lamb Lies Down era Genesis
phrasing in Gabriel's style which was missing from all but PGI
(Sollsbury Hill in particular). The mere lack of the Keyboard
influence of Larry Fast with the substitution of Gabriel's own style
on the keyboards surely must add to the effect. I would have loved
this to have been PGI instead of PGV. In truth, I do like PGIII a
lot, but I like experimental things quite a bit. So hits that other
side of my musical tastes, with its reliable rhythmic romps through
melodically tasteful passages. I also like occassionally to listen to
lyrics that remain poetic and contain no discernable alternate message
which is hiding in rough symbolism (Sledgehammer is, of course, a
comic exception to that last statement. That Voice Again, In Your
Eyes, We do What Were told and especially the Thid id the Picture duet
with Laurie Anderson are examples of the flowing Gabriel I've missed
since Genesis. To even mention this LP in the same sentence with any
of Phil Collins albums does it a diservice.
As for the Don't Give Up debate. Kate does an appreciable job singing
lyrics which were written by PG in a melody composed by PG. I don't
see any special relevance for her role in the LP, however and I think
her inclusion in Games Without Frontiers was much more appropriate. I
really can't see Dolly Parton doing that vocal although I think I
would have chosen somebody other than Kate, if it were my choice
(Melanie would be my first choice and ? Oldfield who does work with
Mike Oldfield and did the memorable vocal on Voyage of the Acolyte,
second). I just guess I see a place for this sentimental type of
thing, especially from Peter Gabriel who brought us to know and
understand Rael in a similar manner. At any rate, now that he's
satisfied my interests with the album I've been waiting for, for all I
care he can go back to Shocking Monkeys, bizarre rhythms, and Larry
Fast effects for PGVI. If there is any deep meaning in the album, it
must be in the title.
'Man made light, at night, is very bright'
John
------
[][][][][][][][][][]
Date: Fri, 25 Jul 86 18:22 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.ARPA
Subject: Hounding down that elusive fox
>Please run out and grab a copy of the Japanese computer journal "Bit"
>(July 1986 issue) and flip to page 192 for a mention of Love-Hounds.
Where? Huh? Maybe you could just reprint it for those of us who
don't know where to pick up latest copies of Japanese computer
journals? IED now feels particularly ignorant. Japanese? Huh?
>K-T-shirts: Newbury Comics in Harvard Square has the ugly HoL
>t-shirts in red, pale blue, and yellow. YECHH! Even IED must admit
>that the choices of color are a little, well, uh, bad.
IED readily admits it, Joe! Never meant to imply that these
gizmos were particularly attractive. The only really nice one
is the black "It's in the trees..." sweatshirt. Even the "designer"
HoL sweatshirt is a little lame. But t-shirts are not worn for
beauty's sake, are they, rather as cultural (or counter-cultural)
identification devices. As such the US HoL shirt functions
well enough, and it IS kind of cheery. (By the way, you are talking
about the WHITE shirt with three different colors of ink, right? Not
three different colors of t-shirt?)
>In the same vein: My brother is doing the printing of t-shirts for the
>SF-Lover's net digest. I will confer with him about price and cost. It
>would basically cost $10 or so. Probably less. We would need art, tho.
>Any artists out there? Anyone with uncopyrighted pix of KT? (Anyone with
>copyrighted pix of KT that we can get away with printing, even?) Should
> ( \/ )
>it be a generic "I \ / Kate Bush" t-shirt, or should it be
> \/
>a Love-Hounds t-shirt? Ideas anyone?
PLEASE not a soppy "I heart Kate" shirt -- Dale Somerville already put
out a "Kate is Love" bumper sticker which IED had to edit for public
presentation. Aren't there enough simple KT fan shirts, anyway? Much
preferable is the idea of a Love-Hounds design. Could you explain
what format the design must be in for transference by silk-screen?
Something IED has thought of wistfully in the past is a design based
on the KT monogram (seen in good form branded into the side of the
crate on John Carder Bush's cover for Lionheart), but written out by
hand in chalk-stick-like printing in a style similar to that in which
"ET" was spelled out in ads for the movie. This has nothing to do with
"ET", you understand, which IED didn't like much, anyway. But the
logo (minus the finger-to-finger image that accompanied the title) was
direct and attractive, and very simple. Also, if drawn in soft
charcoal on rough paper, the silkscreen transfer (in any color) might
look pretty stylish. Needn't be on the front, either. Maybe just
"Love-Hounds" on the front, with a good photo of Kate, and the logo on
the back? Criticism or alternative suggestions?
>By the by, Doug. Kate isn't a god, she's a GODDESS. Unless, of course,
>she's been to Sweden recently for one of THOSE operations, and is now
>Kurt Bush...? Let's just leave it as "major deity"...
Kate a god? Kate a goddess? Huh? What is all this religio-mumbo-jumbo?
Kate as the greatest living human being -- unquestionably. Goes without
saying. Kate as God, in some vague, generic, or aesthetic sense of the
word -- o.k. But Kate as "a god" or goddess? IED just doesn't get it.
>PS. Andrew Marvick - WHERE do you hear them counting off beats in the
>beginning of "Watching You Without Me"? I distinctly hear
>"What...Four" and then nothing else. (This is listening to the CD at
>LOUD volumes). This leads me to believe that the incident is NOT a
>recreated studio moment, but is possibly a question... "What for?"
>(Just like someone made me notice that the beginning of each episode
>of The Prisoner has #6 answering his own question: "Who is Number
>One?" "You are, number six!" It's all in the parsing!)
I'll let Kate answer this one herself (excerpted from the November '85
interview recently translated and posted in Love-Hounds by IED; IED's
italics just added):
Yves Bigot: On The Dreaming you went to some pains to announce on the
sleeve that this music must be played very loudly. That
amused me at the time.
Kate Bush: In the studio, you heard it really loud. FOR MIXING, WE HAD
TO TURN IT DOWN, TO PAY ATTENTION TO DETAILS, but my desire was to be
totally overwhelmed by the flood of sound....
It is definitely there, Joe. Keep listening, bars 1 through 8,
"Watching You Without Me". Count along with the beat from the very
first down-beat of the recording, voicing only the first beat of each
bar (that is, voicing ONE {two-three-four} TWO {two-three-four}, etc.)
up to eight -- the length of the rhythmic introduction of the song.
This is where you heard "What?" Actually, IED believes, it's "What's
that?" The speaker means, "What bar is that?" At bar four, that same
musician calls out "four", just as you said -- but he calls it out on
the third, rather than the first beat of that bar. In other words,
he's off beat by half a bar, a very common mistake. Another musician
then confirms the beat, on the FIRST beat of bar FIVE. IED hears him
saying "five" quite clearly. Following this, you can hear them
counting out the first beats of bars six, seven and eight in unison.
As IED admitted the first time he offered this explanation of the
passage, it was PROBABLY recorded quite early on in the rehearsals,
and probably at the original "demo" stage of recording. However,
knowing Kate's perfectionism, and the classic character of this
exchange, it IS just possible that it was actually a staged
re-recording of an incident similar to many that must have occurred
during the original demo stages of the recording.
[][][][][][][][][][]
Date: Sat, 26 Jul 86 15:12:15 edt
From: Joe Turner <cutter%umass-boston.csnet@CSNET-RELAY.ARPA>
Subject: marvicK To the rescue!
After an extensive listening to the CD with LH moderator Doug Alan, we
conclude that the exchange is not "What's that?" but rather "What is it?".
And yes, it's there...
On another point, Doug brought up something about _Waking the Witch_. Does
Katie-kins say "Help me, baby, talk to me, listen to me, tell them, baby" or
"Help me, baby, talk to me, listen to me come, baby"? Doug maintained the
word is "come", I maintain it's "tell them". Comments, anyone?
I am unsure how to get the journal "Bit". Maybe you should come to my house,
IED, and I'll show it to you. Perhaps you could appear for.... (drum roll,
pleez...)
The Second Semi-quarterly Biannual LOVE-HOUNDS Summer Gathering of
Wits, Bodies, Food, Money, Records and etc!!!
Time to be decided. Place to be decided. But it's the summer, and probably
nearing the release date of HoL from last year, definately time for a 6-month
anniversary of LH's continued existance, it's getting to be Kate's b-day soon,
and it's a good excuse for a party, anyway! Comments? Suggestions? Maybe
we could even have the LH t-shirt printed in time for it... By the by, the
price of a t-shirt, to be printed up and everything, would be about $6 - $8.
(Oh, and Douglas... as soon as those "The Dreaming" cd's come in, I'll give
you a ring....)
Save your parity bits for big cash prizes!
Joe
[][][][][][][][][][]
End of Love-Hounds DigestLove-Hounds-Post@mit-eddie.UUCP (07/31/86)
Love-Hounds Digest Issue L13 Topics: * PARTY TIME... [2 articles] * What me worry? * KiTnKaBoodle * "The Dreaming" CD [2 articles] * T-shirts * Another year older, another year wiser * The Twelve Days of Katemas * PG rumour * Random KT KommenTs * Deeper, deeper... * Sonic Fucking Youth * Whats new in HINRG? * K-T-shirts; KriTique of _Lionheart_ pressing. * Who wants "to keep the shirt away..."? Not IED * Re: Sonic Fucking Youth * wKAing ThE witch: Yeah, but not THAT kind of awakening * If and when someone does make a t-shirt, count me in for a large * So on July 30th God said, "Let there be Kate." * PG's childhood... [][][][][][][][][][] Date: Mon, 28 Jul 86 13:02:18 EDT From: bu-cs!sam (Shelli Meyers) Subject: PARTY TIME... Oh goodie, I love a party. Just as long as it isn't on August 16th and just as long as it isn't at my house :-) I vote for Doug's. We need to piss off the little old lady upstairs who says his TV is too loud. And by the way... I know somebody at a T-Shirt place in Allston. If we could get, say 30 orders, they offer a good discount. Post it to net.music...maybe there are some KB fans that are there but are not yet *here*... - Shelli [][][][][][][][][][] Date: Tue, 29 Jul 86 07:49:37 EDT From: nessus (Doug Alan) Subject: Re: PARTY TIME... > [Shelli Meyers:] Oh goodie, I love a party. Just as long as it > isn't on August 16th and just as long as it isn't at my house :-) > I vote for Doug's. We need to piss off the little old lady upstairs > who says his TV is too loud. Women! They won't talk to you, but they'll volunteer parties at *your* place! Sigh. In any case, sure, I'll throw a party on Saturday, August 9th, 4:00 pm. I'll provide the appartment, booze, munchies, videos, and stereo. Bring your own drugs and coma-sutra oil. Don't expect my appartment to be a luxury condo. (I almost got the bargain luxury condo, but the people right before me took it! Sob! Sob!) It's more like a little student slum. Don't look in the bath tub. If anyone wants to help out (especially people who volunteer parties at other people's appartments), please tell me. RSVP si tu plais, and I'll tell you how to get to my appartment in *beautiful* Cambridge. Please include a phone number. To all those who want to taunt the little old lady upstairs, she's really a middle-aged lady downstairs who moved out. (Awwww!) -Doug "After the party..." Nessus@Eddie.MIT.EDU {allegra,seismo,decvax!genrad}!mit-eddie!nessus [][][][][][][][][][] From: The Grand Pu-Bah <nessus> Subject: What me worry? I would like to take this opportunity to remind Chris Valas that he can skip over articles he doesn't want to read and shouldn't feel it necessary to be obnoxious to people who are obsessed by things that don't interest him. I would also like to remind Andrew Marvick that he shouldn't try to discourage other people from discussing non-KB related topics. Discussion of any interesting music or art is encouraged. The charter of this maling list was something like "A forum for Kate Bush fans to discuss her music and any other artistic music or art." Both IED and cv should keep this in mind. -Doug [][][][][][][][][][] Date: Sun, 27 Jul 86 13:41 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.ARPA Subject: KiTnKaBoodle Response to: marvicK To the rescue! >After an extensive listening to the CD with LH moderator Doug Alan, >we conclude that the exchange is not "What's that?" but rather . >"What is it?" And yes, it's there... Absolutely right, it's "What is it?" Thanks. Glad to hear you hear it the way IED does, he was beginning to doubt it himself. >On another point, Doug brought up something about "Waking the Witch". >Does Katie-kins say "Help me, baby, talk to me, listen to me, tell >them baby" or "Help me, baby, talk to me, listen to me come, baby"? >Doug maintained the word is "come", I maintain it's "tell them". >Comments, anyone? Katie-kins? IED thinks it could be "come, baby" -- but NOT "...listen to me come, baby"!! Just "Listen to me. Come, baby!" The punctuation is crucial -- it's true she's been using some naughty language lately, but only when it was relevant to the song's meaning. As for a Love-Hounds meeting, great, except how to choose a location? You guys are in Cambridge, IED and others are in L.A./Pasadena, others in between. Same problem Break-Through had. Solution for IED was to miss out on the festivities. All weep here. As for t-shirts, the estimate of $6-8 is very low. What kind of design are you talking about? IED thought maybe the front should say something like Love-Hounds {in script} An International Kate Bush {in blocks} Computer Forum And below that the KT logo, or maybe a version of it with some change of our own. But it would be nice to have something else on the back, too, perhaps a quotation from one of the songs, one that would mystify the ignorant rabble, as does the line from "Hounds of Love" on the black sweatshirt. The problem is, wouldn't all this cost much more than $6-8 ? [][][][][][][][][][] Date: Mon, 28 Jul 86 18:39:49 EDT From: Nancy Everson <everson@spca.bbn.com> Subject: The Dreaming cd What's this?? Did someone say something about "The Dreaming" cd??? And using the word "when" rather than "if"???? Is it actually going to be available soon? Let me know! On the t-shirt topic, count me in. I don't have any good (or bad, for that matter) ideas for a shirt, but I definitely want one. Unless it's really gross and ugly or something, of course. - Nancy p.s. why has the volume of love-hounds gone down? is everyone on summer vacation? [][][][][][][][][][] Date: 28 Jul 86 14:46:00 PST From: "ROSSI J.A." <rossi@nusc.ARPA> Subject: T-shirts In response to IED and the $6-$8 cost assessment, I believe that a very reasonable (in terms of design) silk-screened shirt can be done in quantities of about 25 min. at a cost even less than $6-$8. In actuality, the greatest cost is in the actual fabric/construction quality of the shirt itself. The silkscreening process, a one shot deal, can usualy be amortized amazingly cheaply even over a run of 25 shirts. One possibility for lowering the cost on the silkscreening side is to have the work done my handicapped work force groups. My wife has been a director/area co- ordinator for various Mental Retardation groups for about 10 years now. In that time, I remenber her setting up silkscreening operations at some of the facilities she managed. Since the idea in those type situations is an accentuation of people's worth along with small marginal profits, these type groups will often do a low volume run (under 100 shirts) at a cost equivalent to what a real business might impose for a large run item (1000+ shirts). Since we (Love-Hounds) seem united in supporting the 'little guy' this may be a chance to contribute to society as well as our own personal vanaties. As far as complex designs go, the major technical difficulty is in the production of the mask (especially for multi-coloured designs). I personally have friends that are into doing silkscreens and may provide the labor at an attractive rate considering the nature (non-profit) of this venture and especially if we allowed the screening to be done by some handicapped or disabled group. I am definately in favor of the T-shirt concept, however, I also agree that I am against an I heart Kate type of design. I also agree, that the notion of Love-Hounds should appear on the shirt (if for nothing else than an edge against any legal questions concerning the rights to Kate Bush momentos by EMI or whover owns the rights to such things). Then again there is always the permission angle. At any rate, we should find out about such legal ramifications before we actually start production on a shirt. If the shirt was fashioned as A. Marvick suggests, from my limited experience, I think we are in the clear as long as the quote from Kate is, in fact, a quote, and is acknowledged as such (which would, of course, be the whole point anyway). I also like the international angle. As for a group get-together, lets not decide on St. Louis as a compromise location. For that matter, let's not go to the midwest at all. John [][][][][][][][][][] Return-Path: <umcp-cs!jhunix!jhunix!ins_aset> Date: Mon, 28 Jul 86 9:23:42 EDT From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV> Subject: Another year older, another year wiser Happy birthday to you. Happy birthday to you. Happy birthday dear Kate, Happy birthday to you. (By the time my fellow LHs get this, it should be Kate's birthday, so why not throw a party, call your local radio stations and request Kate songs, etc.?) >"Well Well Well..." by the Woodentops is, well, come on, EVERYONE likes >the Woodentops, right? Whoever Animal Jesus is, s/he has found a good >band to produce. Lots of energy, tight playing, etc. BTW, one of the >guest producers on the album is Swami Ananda Nagara. Didn't he produce the >fine "25 O'clock" album by The Dukes of Stratosphear (XTC) ? Or am I being >silly? Must be an Illuminati plot! Actually, Animal J. and Swami A. are both Andy Partridge! If you like "Well Well Well," which is a compi- lation of tracks from the WTs' first four 12" singles (plus a couple of BBC sessions), you MUST check out their album, "Giant." It is most...amazing. Sigh. >"The Drain Train" New Cabaret Voltaire. Kirk and Mallinder up to their >old tricks. I hated "Red Mecca" but liked the direction they took in "Micro- >phonies" and "The Covenant, the Sword, and the Arm of the Lord". I too prefer the funky Cabs, but I think their recordings are getting a touch monotonous. My friend Bill does a great impression of Stephen Mallinder singing an archetypal CabVolt song. Too bad that some things can't be sent over the net... -Sue [][][][][][][][][][] From: jmturn%ringwld.UUCP@CCA.CCA.COM Date: Monday, 28 Jul 1986 21:10-EDT Subject: Re: The Dreaming cd A source in the Netherlands swears up and down that he owns and can purchase more of "The Dreaming". I'm working out a deal where several copies will find their way into American hands, but don't really feel like fronting a group effort, especially at the $30+/CD it's gonna cost. Save Your Vertical Blanking Intervals for Big Cash Prizes! James Turner (The Ringworld Engineer) [][][][][][][][][][] From: cca!ringwld!jmturn Date: Monday, 28 Jul 1986 22:39-EDT Subject: Re: T-shirts Some data on T-shirts from the guy who's doing the SFL shirts: Plain old 1-color-ink-on-Haynes-Beefy-T-no-womens-sizes (OCIOHBTNWS) will run you $4.50 a shot in quantities of 75 or above. Now then... add $1 per shirt to mail it... (yep, it really does cost that much...) Now add another $.50 so you can print extras (and since you have to order in even dozen lots, fill out the order). Sounds like $6 to me... If someone were to deliver a list of names, and $6 per shirt, along with camera ready artwork. T-shirts would be created... Save Your Vertical Blanking Intervals for Big Cash Prizes! James Turner (The Ringworld Engineer) --------------------------------------------------- | ARPA | ringwld!jmturn@CCA-UNIX.ARPA | --------------------------------------------------- | | decvax \ | | | sri-unix \ | | UUCP | !cca!ringwld!jmturn | | | ima / | | | linus / | --------------------------------------------------- | MAIL | 329 Ward Street; Newton, MA 02159 | --------------------------------------------------- (The views expressed in this message have been computer enhanced for your pleasure.) [][][][][][][][][][] Date: Tue, 29 Jul 86 05:44:31 EDT From: nessus (Doug Alan) Subject: The Twelve Days of Katemas As you all know, tomorrow, July 30th is that holiest of holidays: Katemas. In fact, it is the 28th Katemas. I hope that you will all join me now in singing a Katemas karol, in celebration of this sacred day... THE TWELVE DAYS OF KATEMAS On the first day of Katemas my true love gave to me a long kiss with a little gold key. On the second day of Katemas my true love gave to me two "Big Sky" picture disks and a long kiss with a little gold key. ... etc. ... On the twelfth day of Katemas my true love gave to me 12 still-suits distilling 11 dancers dancing 10 pipers piping 9 drum machines drumming 8 bongoers bongoing 7 Fairlights sampling 6 digerdooers 'a digerdoodling 5 Leeeeeeeooooooootaaaaarrrrrrrds 4 videos 3 gaffers' tape 2 "Big Sky" picture disks and a long kiss with a little gold key. -Doug "And then one day you find, ten years have got behind you" [][][][][][][][][][] Date: Tue, 29 Jul 86 06:02:07 EDT From: nessus (Doug Alan) Subject: PG rumour Today on WFNX one of the DJ's said that PG's "Red Rain" is dashing up the charts? Has this been released as a single? He also said that Peter recently had to move out of his house, because so many fans were camping out on his front lawn. Does anyone know if this is true? I find it unlikely -- I mean Tears for Fears lives right down the street, and I haven't heard of them having any problems. -Doug "Science, for Vergil, was like an unattainable woman, who suddenly opens her arms to him before he's ready for a mature love -- leaving him afraid he'll forever blow the chance, lose the prize, screw up royally. Apparently, he had." [][][][][][][][][][] Date: Tue, 29 Jul 86 06:13:57 EDT From: nessus (Doug Alan) Subject: Random KT KommenTs > [Joe Turner:] After an extensive listening to the CD [of *Hounds of > Love*] with LH moderator Doug Alan, we conclude that the exchange is > not "What's that?" but rather "What is it?" We conclude??? Not that it makes any difference at all, but I hear "What's that?" Regarding "Waking The Witch": > [A. Marvick:] IED thinks it could be "come, baby" -- but NOT > "...listen to me come, baby"!! Just "Listen to me. Come, baby!" The > punctuation is crucial -- it's true she's been using some naughty > language lately, but only when it was relevant to the song's > meaning. Come, come now -- aren't we talking about the same woman who has called "Night of the Swallow", "Nice to Swallow"? Besides the naughty meaning would be completely relevant to the song. The song's about a a dream of going into a church to confess one's sins and getting accused of being a witch. It would make perfect sense in a dream about confessing to get a little extravagent in describing one's sexual sins. > As for t-shirts, the estimate of $6-8 is very low. What kind of > design are you talking about? I thought the original proposal was for a shirt with *The Dreaming* on it. > But it would be nice to have something else on the back, too, > perhaps a quotation from one of the songs, one that would mystify > the ignorant rabble, as does the line from "Hounds of Love" on the > black sweatshirt. *The Dreaming* has on the back cover the perfect quote to put on the back of a Love-Hounds T-Shirt! > [Sue:] Same songs as the Brit 12", but it's in a sturdy cardboard > sleeve instead of the flimsy type UK 12"s come in. (A friend with a > taste for social commentary says that's because the British feel > that pop music is inherently disposable, and what's more disposable > than a single, you'll just want to throw it away anyway. I don't think so. I think they just do it to be consistent. It's a 12" single, so they package them like a big single, rather than like an album, which is how they package them here. They seem to package singles much better in England than in the US, and albums too. But single packaging in England is not as good as album packaging in the US, so 12" singles come out packaged better here. They do usually do, however, a better job of pressing the singles in England, and also they are normally 45 rpm, which is better than 33 rpm. > [James Turner:] A source in the Netherlands swears up and down that > he owns and can purchase more of "The Dreaming". I'm working out a > deal where several copies will find their way into American hands, > but don't really feel like fronting a group effort, especially at > the $30+/CD it's gonna cost. I'll see it when I believe it! -Doug "After all, Vergil had turned his piss blue. They were friends." [][][][][][][][][][] Date: Tue, 29 Jul 86 08:05:35 EDT From: nessus (Doug Alan) Subject: Deeper, deeper... > [IED:] This has nothing to do with the line spoken in German from > the same part of The Ninth Wave: "Tiefer, tiefer, ergendwo in der > Tiefe gibt es ein licht." If you notice, that line, spoken by Gabi > Zangerl, is accompanied by the sounds of a submarine's sonar signal. > It is IED's theory that this is meant to evoke images of U-boat > activity during WWII, and possibly to create the feeling of > claustrophobia that must have existed within the confined spaces of > a submarine which is a big part of the movie "Das Boot". Kate has > several times referred to old war movies as a primary inspiration > for The Ninth Wave. It has always my impression that the submarine sonar sounds indicate that Kate is rescued by a submarine. After all, we have the voice telling us that "somewhere in the depth, there is a light", then we hear submarine sounds, and then Kate is safe on land again. -Doug "What about our relationship, Otto???" "Fuck that!" [][][][][][][][][][] From: wicinski@nrl-cst.arpa Date: Tue, 29 Jul 86 12:32:39 edt Subject: Sonic Fucking Youth first: You do not want to have a party in the last part of August in the Boston/tri-state area. yours truly will be in those parts, and i will be forced in inudate myself upon any festivity you have. Doug's already telling me he will be out of town... Sonic Youth/Government Issue/Gone/some other band/ Complex/July 18th. first band was like forgetable. Gone is living proof that Jimmy Page has secretly joined SST records, and will be replacing Gregg Ginn in Black Flag. Long hair and everything. Government Issue played and sounded like Government Issue. Hofmann swears they're godlike, but he just wants to get in Stabb's pants. Sonic Fucking Youth blew the house away. They were much better than their previous trendy club show, and live up to their name of noise noise and more noise. They did screw up and invite Psychodrama into the show, since some writer wrote that they were trendy. Sonic youth was then inudated with sleazy attacks from them, in typical Psychodrama fashion. *Indigesti from Italy will be at the Complex in August. Rumor has it *that they are an Anna Domino cover band. Can anyone confirm this ?? SquirrelBait/Volcano Suns/ Save your money and don't go see squirrel bait. I was so unimpressed that I was overcome with boredom. I would have fallen asleep would it not be for Volcano Suns, who opened, and ripped the house up. Didn't even stay around for the second squirrel bait set. Summary: See Sonic Youth and Volcano Suns. If you have drugs, go see Gone, if not stay home. Always see Government Issue, especially if you haven't. stay away from squirrelbait. Go see Indigesti. Look for Sonic Youth in a Video edition of the WDC period. Also Psychodrama. Rumor has it skateboards are the new yuppie things. Is this true?? If not why did Hofmann go buy one ?? tim [][][][][][][][][][] Date: 29 Jul 86 14:24:00 PST From: "ROSSI J.A." <rossi@nusc.ARPA> Subject: Whats new in HINRG? Reply-To: "ROSSI J.A." <rossi@nusc.ARPA> Pascal called me last night to inform me that TRANS-X's latest album was released on Atco last week. He also appologizes for becomming the darling of the 'Gay-Disco' set, and assures me that the new album is more in line with what Hofboyy (note:I got the correct duplicate letter this time) hates in Euro-Techno-Wimpy pop. Pascal is using two backup females for vocals now so now he should sound like a cross between Kraftwerk and The Eurithmetics. Anyway, for the few fans of Living on Video, it is the first single from this album (its on both) and has hit the CA charts with a bullet. Knowing his flair for extravagance, I'll be surprised to see a fully listenable album this time, but, Who Knows? If the LH party is going to be anytime between 21 AUG and 26 AUG we can have it in Arlington, VA. APA is in Washington, and I'll have a suite at the Guest Quarters there for that time. It offers all the amenities and, I havent trashed a hotel during a convention since 1977. Even if there is no organized party there at that time, any LH locals can feel free to come over and start one during that week. Please note, however, I do not have A. as a middle name as my stupid mailer keeps telling the world. At any rate, I'd be interested if anything worthwile is going on in the Wash-Balt-Phil area during that time to find out. John [][][][][][][][][][] Date: Mon, 28 Jul 86 22:32:24 edt From: Joe Turner <cutter%umass-boston.csnet@CSNET-RELAY.ARPA> Subject: K-T-shirts; KriTique of _Lionheart_ pressing. I was thinking of a design more along one side only... but that's personal preference. Costs change depending on what type of shirt you ask for -- after being around science-fiction conventions, which are notorious for t-shirt-mania, the consensus I've found is that Haynes Beefy-T's are the best t-shirts to use for silkscreen printing. This is the type of shirt being used for the SF-Lover's t-shirt, which costs $6 - $8, depending on size. Costs will also change depending on how carefully you ask them to check the shirts. It will also change for double-sided printing. You can expect to pay no more than $10 for an excellant quality, single-sided t-shirt, possibly in two colors. (I'd rather go for three-color printing, but two-color is more economical) As for a design, I was thinking of something more general and simple. The front of the shirt would be: __________ _____________/ \_____________ | | | ______________ | ----------+ | / +---------- | K | / B | | |/ | | A |\ U | | | \ | | T | \ S | | | | E H | |__________________| The words "Kate Bush" could either be in "Hounds of Love" calligraphy, or, as someone suggested, in "Kick Inside" lettering. On the back, in "Hounds of Love" calligraphy, would be: ___________ _______________/ \_______________ | | | | ---------+ LOVE +---------- | HOUNDS | | | | | | love-hounds@mit-eddie | | | | 'the pull of the bush' | | | |________________________| Additional suggestions: remove the net address and make the KT logo in dot-matrix form? The quote from "The Dreaming" also seemed quite ap- propriate... In regards to a gathering... the summer *is* nearing the end (like, a month until college starts back up), so it should be soon. Boston is quite far from anywhere, so I was thinking, NYC? DC? Philly? Some major area like that... Andy Marvick, maybe we can contribute a few bucks and fly/bus/train you out here... or get in a car with some other Californians and make the trek! (Let's be a tad unrealistic, why don't we?) I know - let's all meet in the geographic center of the country! Better yet, let's all fly to the UK and have a get-together with the Bush family! ("Like, party at Kate's house, her folks are away for the weekend...!") But seriously, how prohibitively expensive would it be for people to get to the east coast? Other KaTe stuff: I recently picked up the US pressing of "Lionheart". DANGER! DANGER WILL ROBINSON! What a horrible pressing! The sound is PITIFUL - very fuzzy and crackly, and there was even a dimple in the record at the beginning of "In the Warm Room". I returned the thing to Newbury Comics, and got another. Same problems! Blech. Stupid me for not buying import. AVOID AMERICAN PRESSINGS OF _LIONHEART_!!!! Talking to the clerk, I understand there are many returns of _Lionheart_ due to imperfections. Let's go firebomb an EMI-America record plant, then they'll have to build a newer (better?) one... Later. Save your parity bits for big cash prizes! Joe +--------------------------------------------------------------------+ |PAPER: Joe Turner, 329 Ward Street, Newton Centre MA 02159 | |SOUND: (617)/965-8058 +====================================+| |CSNET: cutter@umass-boston | Life in the so-called space age... || |ARPA : umb!cutter@csnet-relay +====================================+| |UUCP : {decvax,ima,linus,sri-unix}!cca!ringwld!cutter | +--------------------------------------------------------------------+ [][][][][][][][][][] Date: Tue, 29 Jul 86 12:33 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.ARPA Subject: Who wants "to keep the shirt away..."? Not IED To: John Rossi Re: KT-shirts Sounds great, John. IED's all in favor of using what sounds like your vast network of T-shirt-making experts. We have to see the design, however, unless we can describe it very precisely in Love-Hounds. About Doug's reminder that it was going to be a "Dreaming" t-shirt, o.k., but you're just talking about the picture part of the design, and maybe the quotation on the back, right, Doug? The front of the shirt should still say "Love-Hounds" on it. Also, there are several great lines that could be used as the quotation, not just the "Houdini" line. Still, that IS a great line; IED approves. So, we've got "Love-Hounds" in HoL script (or the closest thing to it that's available) on the front at the top, with the lines: "An international / Kate Bush / computer forum" printed below that, in smaller blocks, upper- and lower-case. There should still be room for the picture below that. If we use a photo, remember that for a good silkscreen the original can't be too dark, should have a lot of contrast and very clear contour lines. The Dreaming cover is a pretty good candidate in this regard; even better on these counts is the Ninth Wave outer cover photo, at least the section of the photo with Kate's face. Then, on the back, the quotation, two or three lines long, in HoL script, and below that either "Kate Bush" or better yet the KT logo. After all, it's pretty obvious from the front that the quotation on the back is by Kate, right? We don't want this shirt to seem too obvious.Or we could just have the title on the front, and put the picture on the back. The only thing is, IED thought it cost a certain amount of money per letter for these things, isn't that right? Does the estimate John made include any length of quotation? Also, how sharp and small can the letters be? [][][][][][][][][][] Subject: Re: Sonic Fucking Youth Date: Tue, 29 Jul 86 13:02:13 PDT From: trainor@CS.UCLA.EDU SquirrelBait/Volcano Suns/ Save your money and don't go see squirrel bait. I was so unimpressed that I was overcome with boredom. I would have fallen asleep would it not be for Volcano Suns, who opened, and ripped the house up. Didn't even stay around for the second squirrel bait set. Who the hell is in Squirrel Bait? They stole the name. Now they've gone and ruined it... I'll sue!!! Douglas [][][][][][][][][][] Date: Tue, 29 Jul 86 12:55 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.ARPA Subject: wKAing ThE witch: Yeah, but not THAT kind of awakening Sorry, this "come" business in "Waking the Witch" just doesn't hold water with IED, who is no prude, but simply can't see any clear basis for the interpretation. As IED sees the song, the character is asking for help from her confessor BECAUSE she has been accused of being a witch; the main purpose for her confession is to seek the protection of the Church, NOT to admit that she is guilty. Her hope of salvation is a metaphor for her hope for protection -- and, of course, both are forlorn. But Doug's interpretation introduces a completely irrelevant, even conflicting scene, wherein the character not only confesses real sins (in the Church's eyes, mind you, not in IED's), but RE-ENACTS them in the confessional! Give IED a break, Doug! [][][][][][][][][][] Date: Tue, 29 Jul 86 16:56:44 EDT From: seismo!umcp-cs!aplvax!cp1!uucpesac@amsaa.arpa Apparently-To: <love-hounds@mit-eddie.arpa> The Bible says that you shall put no false Gods or Goddesses in front of you... love-hounds sinners, repent and go to Church. Throw away your evil records and compact disks, now... and you will be saved. Trust in the lord and read your bible. Randy Fitzwater [][][][][][][][][][] Subject: If and when someone does make a t-shirt, count me in for a large From: KNIGHT@MAINE (Michael Knight) Date: Tue, 29 Jul 86 14:42:56 EDT If and when someone does make a t-shirt, count me in. I'm also submitting to this forum the following idea. We need to design an emblem for this conference, a visible icon to represent us in the future, and on our t-shirt immediately. I feel this icon should be in the form of a robotic dog: a love-hound. Here's one I'm submitting now to start off with. Perhaps everyone who wants to could submit ideas over the net and we could compile them into it's own special digest, on which we could vote. Of course the final silkscreen need not be an exact duplicate, but general layout, slogans, and lettering could be decided (or not decided) in this way. _ ----------------- V---- \\ / \ / o\ \\ / \/ _ \ \\ / \ / \_/ \Y \ / / Love-Hounds V / \ /_____________________________\ This fellow might be doing all sorts of cute things, like admiring a Kate Bush logo. _________ _ ----------------- V---- | / \\ / \ / o\ | / \\ / \/ _ \ | / \\ / \ / \_/ |/ \Y \ / |\ / Love-Hounds V | \ / \ | \ /_____________________________\ | \ I leave this up to you folks. Doug, how about it? Michael Knight Bitnet: Knight@Maine [][][][][][][][][][] Posted-Date: 29 Jul 86 18:16:57 PDT (Tue) Subject: So on July 30th God said, "Let there be Kate." Date: 29 Jul 86 18:16:57 PDT (Tue) From: tsung@aerospace.ARPA I want a picture on the T-shirt!! Are we gonna get in trouble if we print the "Gold key" pic? fst [][][][][][][][][][] Date: Tue, 29 Jul 86 12:22:51 EDT From: JURGEN%UMass.BITNET@WISCVM.ARPA Subject: PG's childhood... Can anybody tell me where Peter Gabriel is from? I know that he got his higher education in England, but i seem to notice another accent in when he speaks. Both his english and his german have something of an eastern european sound to them... just wondering, JEB [][][][][][][][][][] Return-Path: <umcp-cs!jhunix!jhunix!ecf_hydb> Date: Tue, 29 Jul 86 11:54:30 EDT From: John Lorch <umcp-cs!jhunix!ecf_hydb@seismo.CSS.GOV> Love-Hounds Digest Issue L12 >If anyone is interested in taking some real adventures in musical >innovation rather than spending the summer on the tame (though pretty) >stuff KB is doing these days, most of CAN's albums are available (when >you can find them) for under five dollars. Do yourself a favor. Find >out what Holger Czukay was like before he grew up. >Chris Valas Let's hear it for Holger! I think the stuff he's done since he grew up is pretty hot, too. "Movies" is an incredible album, if only for "Persian Love" and "Cool in the Pool". His next two, "on the way to the peak of normal" and "den Osten ist Rot", are good but (I think) more difficult. I have two Irmin Schmidt albums, "Toy Planet" and "Film Music vol.1" both are quite fine, and highly recommended. > IED's desert island pop top ten list, NOT including Kate, is as >follows: > 1. Japan: Tin Drum and Gentlemen Take Polaroids > 2. David Sylvian: Brilliant Trees > 3. YMO: BGM and Technodelic > 4. Ippu-Do: Night Mirage > 5. Miharu Koshi: Tutu and Parallelisme Another Japanese music fan. Good taste, IED. Have you tried following the YMO clan as solos? Quite an expensive hobby, but worthwhile. Are there other LH "Nipponophiles" out there? >Many people have claimed that PGIII is the PGs of all PGs. I've heard several people on the net say that. My personal two drachmas worth is that PGIV is the best. The only song that I think is less than a masterpiece on that album is "Kiss of Life", which is still a good song. BTW, if and when he tours, sell your mother for a seat, but *go see him*. I've seen him six times, and he has been absolutely incredible each time. The last two (same tour, a week apart) were the weakest, I think because of the computer lighting, but still blew away anyone else I've ever seen. I'd be interested in seeing Bruce Springsteen just to compare the two. >(Melanie would be my first choice and ? Oldfield who does work with >Mike Oldfield and did the memorable vocal on Voyage of the Acolyte, >second). Sally Oldfield, worthy of some attention herself. Just a note- SO is, technically, PG VII. "Plays Live" and "Birdy" both appeared in there. I know, live albums don't really count, and I can see arguments for calling Birdy only a half, but ... >I am unsure how to get the journal "Bit". Maybe you should come to my house, >IED, and I'll show it to you. Perhaps you could appear for.... (drum roll, >pleez...) > The Second Semi-quarterly Biannual LOVE-HOUNDS Summer Gathering of > Wits, Bodies, Food, Money, Records and etc!!! >Time to be decided. Place to be decided. But it's the summer, and >probably nearing the release date of HoL from last year, definately >time for a 6-month anniversary of LH's continued existance, it's >getting to be Kate's b-day soon, and it's a good excuse for a party, >anyway! Comments? Suggestions? Maybe we could even have the LH >t-shirt printed in time for it... By the by, the price of a t-shirt, >to be printed up and everything, would be about $6 - $8. Funny you should mention it. This past Saturday was the date of the (drum roll, please) Fourth Annual Peter Gabriel/Kate Bush WJHU Memorial Crab Feast a grand tradition that was started on the occaision of Pete's last concert tour (yes, it's been four years), which I believe occurred either on or near Kate's bday. I counted at least three LoveHound denizens there - meself, Sue Trowbridge, and a mystery guest who asked to remain anonymous. Maybe we should expand on this next time. >(Oh, and Douglas... as soon as those "The Dreaming" cd's come in, I'll give >you a ring....) When? Where? I want one, too! John Lorch JHU/HCF veteran of the soon-to-be late lamented WJHU [][][][][][][][][][] End of Love-Hounds Digest