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Date:         Wed, 27 Jan 1993 09:32:00 -0800
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>>was on Bluenote. Anybody know if this is out on CD yet, and how is it? Any
>>tunes on there that he also did with Miles?

>Hmm. don't ever recalling The Prisoner.

Well, there's a chance it doesn't even exist seeing as how I discovered
it listed in the new 1993 Rolling Stone guide to what music they think
is important. (Geez, they even waste the space on Tiffany only to give
her 1/2 a star for her first album, and zilch for the rest.) It's pompus
as hell, but I managed to pick up a beat-up copy for half price. Actually
it's quite alot of fun to compare the new guide to the old RS guide from
1983. Their opinions swing far and wide. Albums they gave 5 stars to when
they first came out get 2 and 3 stars now. Great fun.

> What, no Plugged Nickel?  forget it.
> 4.      (: deleted due to rules of the game :)

You crack me up, Beer. Even when you play by the rules, you break the rules.
Hey, that sounds like the mark of a good jazz-man if ever I've heard one!!

Little do you know that I savor these top 10 lists of yours, and I actually
go out and find this stuff. (Well, only as quickly as my pocketbook allows.)
If Beer listens to it, it must be worth listening to, or definately worth a
try at the very least.

Did you ever get a listen to that Miles CD from November of 1967 in Paris?
I'm submitting the "Round Midnight" from that CD for the newest allmusic
compilation.

And what did you think of the videotape I sent you? The one of Miles live
in '66, '67, and '68?

I never did get back to you about taping some more Miles for me; I really
should. Bought Big Fun the other day and simply love side 3, the one that
sounds like Jack Johnson's first cousin. What other Miles stuff can I get
that sounds like JJ? I've got In A Silent Way, and it's like a mellow JJ.
What about the second album of Directions? I've heard the first album, but
the library's copy was missing the second one. If you have Directions, I'd
sure love a copy of that. I'm really starting to get into the late 60's
early 70's Miles stuff more. (With the exception of Bitches Brew which I
still can't listen to very much, but haven't listened to it in months, so I
should really try again.)

                                                        Tom
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Date:         Fri, 22 Jan 1993 10:58:09 CST
From:         Leonard Watkins <ISTS024@UABDPO.BITNET>
Subject:      Re: Gabriel and MTV -- Len's question belatedly replied

On Fri, 22 Jan 1993 08:45:39 PDT David Malbuff said:
>
>Nope, the brown one, self-titled _The Band_. _Big Pink_ is pretty darn good,
>too, but "masterpiece", not quite.

I have trouble with what i consider a "Mpiece" there are several which i
think are very good, but not of "Mpiece" status such as John Hiatt's Bring
The Family, Allman Bros Fillmore East, Kinda Blue, Little Feat's WFC
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Date:         Fri, 22 Jan 1993 11:23:44 CST
From:         Leonard Watkins <ISTS024@UABDPO.BITNET>
Subject:      Re: TV Bands
              22 Jan 1993 12:16:38 EST from <brockieb@STUDENT.MSU.EDU>

On Fri, 22 Jan 1993 12:16:38 EST Brodie H Brockie said:
>
>C'mon, kids, since it is a universal truth that most TV bands are made up of
>mostly cheese why not disscuss which TV band is the cheesiest. Maybe it's the
>Bradys (with "It's Time to Change") or Josie and the pussycats. After all we
>the Muppet Show, y'know the one Animal played the drums for.

Because it's easy to pick the cheesy ones, but much harder to pick the 'real'
ones. BTW the Darlngs were a real bluegrass band i forget their real name, but
they actually played.........L.W.
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Date:         Wed, 27 Jan 1993 23:00:34 EST
From:         Terrence Michael Drozdowski <6153@ef.gc.maricopa.edu>
Subject:      RE: Recipient mailbox is full. Returning message to sender

Favorite song writer?  Hmmm, well I'd have to vote for the team of Neil
Tennant and Chris Lowe, beign a hard core Pet Shop Boys fan.  Where else
can you get lyrics that most people can interpet to fit their lives and
unquenchable dance beats to match.

btw.- Does anyone have the news on the new Pet Shop Boys single which was
due out at the beginning January.  Just curious....
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Date:         Wed, 27 Jan 1993 07:57:41 EST
From:         Ken Koester <MAINT2@ERS.BITNET>
Subject:      Re: Time signatures

On Tue, 26 Jan 1993 21:31:03 GMT Hendrik Jan Veenstra said:
>
>O, and another funny example crosses my mind. I've always loved "Golden Brown"
>from the Stranglers -- a plain 3/4 with an occasional 4/4 mixed in, which
>"throws you off your feet" somehow.  I always thought they deserved to have
>a hit with this song, not just because (as opposed to nearly all other 'pop')
>they use a strange (and basically non-commercial) time-division, but also
>because the song is centered around vocals and harpsichord (which isn't too
>commercial either IMO :).
>
Oh, I dunno, Leonhart & Harnoncourt seem to do ok with it (-:

Actually, it is just this mixing of time that catches me the most about
early music, where nothing is all that regular any more once you get to the
Renaissance; even dance music has usually got a switch from duple to triple
or vice versa somewheres along the way.  You build a lot of energy into the
music when you do this sort of thing. . . .
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Organization: York University
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Date:         Wed, 27 Jan 1993 00:08:56 EST
From:         MMORSE@YORKVM1.BITNET
Subject:      Re: Take-home exam

Rarely has a harvest on allmusic offered so many invitations to serious
wrong-talking.. and someone actually had the 180-proof taste to encourage
me to dump on ALW? Okay, sports fans:
  Ladies and gentlemen of the list (strike out where not applicable), the
80s, like its spiritual parent the third reich, is OVER. Potato-witted
defenses of moral and artistic relativism--in the name of justifying
vast wealth for tone-deaf scuzzbags--won't cut it anymore. Andrew Lloyd
Webber a *popularizer*? An EDUCATOR? That's like calling John Dillinger
a financier or Oliver North a Christian. What the hell kind of backhanded
compliment is to say that you walk out of his shows whistling the set?
Webber is completely incapable of sustaining musical thought for more than
four bars. And that, I've finally realized, is the secret to his success.
His "fans," the present-day public, is so freaked out and fucked up that they
can't concentrate for more than a few seconds. In consequence, they are
completely incapable of pleasure. (This is very ironic, since they reject
music for ALW on the theory that his arsenic-laced oatmeal is more "pleasing")
For, comrades, one common feature to the joys of, say, Mississippi John
Hurt's three-minute songs & Mahler's 90 minute symphonies is the cumulative
feeling of time. Bluntly, crudely (so the 80s is over, big deal; now it's
the fucking 90s): the more you pay attention, the more it's WORTH IT. There
are connections galore between ALL the moments: it's called musicianship,
it's called music. With ALW, it just plain doesn't matter what you do.
The experience is emotionally flat and, apparently, prized as such.
  And THAT brings us to tirade the second: Beermeister imagines Reaganite
exile will be made more tolerable by listening to Boulez playing Sacre &
Lulu? BOULEZ? That insensitive, politically-hyperactive weasel? That
schmuck who thinks that meaning is waste of time which won't advance his
career? That Bismarck with a math degree? I know FZ reveres him--but even
great folk have their eccentricities; Pops loved Lombardo, and that parallel
ain't far off at all. The guy's a complete sonofabitch, and rarely has
any musician--Herbie Mann comes to mind--made that fact so audible. You
want Lulu Suite? Check a real musician like Abbado! Never mind the cardboard
posturing, the "Holy shit, I'm so hip I can wee wee on the score!," get
the fuck down to the music, and ditch that French jackanapes. Thank you.
In conclusion:
I'm King Kong, don't fuck with me!
Sincerely,
Michael
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Date:         Wed, 27 Jan 1993 09:37:00 -0800
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Ken Koester <MAINT2@ERS.BITNET> writes:

>On Sat, 16 Jan 1993 12:50:48 -0500 <mjferzig@MIDWAY.UCHICAGO.EDU> said:
>>
>>I'm curious - What is the strangest (conventional - not aleatoric or
>>something - I'm referring to numbers here) time signature that you've ever
>>seen / heard in a piece of music? What was your experience with it like?
>>Was it hell to perform, if you did so, or easier than it looked?
>>
>Umm. . . probably 3/64 in a piece by Telemann.  It's the "Gulliver" suite.
>Gets down to 256th notes at one point.  It's a joke, of course, but still.

I like the 3/64... :-)  But on the original question: what is "strange" in
this respect?  Many people would find a 7/4 strange when they're only used to
playing Mozart, but many "modern" musicians wouldn't blink at the sight of
a 7+5+3/4 I think.  I used to use non-conventional signatures a lot (and
sometimes still do), so there's little I would find strange.
Probably the weirdest t.s I ever used was a 1/16 -- although many would
find a 15/4 or 11/8 strange enough... :)

On a related track: what I always find fascinating is how some composers are
able to use non-conventional time-signatures and make them sound like e.g. a
straight 4/4.  I mean: they use strange signatures in a non-obvious way.
E.g. Brubeck's "Take Five" has a very nice swing and it wouldn't be a problem
to dance to it, even though it's not 3/4, 4/4 or 6/8.  Same holds for
"Everything's allright" (from Jesus Christ Superstar) which is also 5/4
but sounds very "normal" - i.e. "4/4-ish".

O, and another funny example crosses my mind.  I've always loved "Golden Brown"
from the Stranglers -- a plain 3/4 with an occasional 4/4 mixed in, which
"throws you off your feet" somehow.  I always thought they deserved to have
a hit with this song, not just because (as opposed to nearly all other 'pop')
they use a strange (and basically non-commercial) time-division, but also
because the song is centered around vocals and harpsichord (which isn't too
commercial either IMO :).

Enough for today...

Hendrik Jan


--
Hendrik Jan Veenstra    hjv@phil.ruu.nl  *  How can I save my dreams
Dept. of Philosophy                      *  in the nightmare, in the flood
University of Utrecht                    *  But I try.
The Netherlands                          *
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Date:         Tue, 26 Jan 1993 15:36:00 CST
From:         crispen <crispen@EIGHT-BALL.BOEING.COM>
Subject:      Re: Songwriters

Robert Garret Gruhn asked:

>Who's your favorite songwriters (have we covered this yet, probally so)

Richard Rogers, Brian Wilson, Hoagy Carmichael, Stevie Wonder.  Is
Leonard Bernstein cheating?  If not, move him to the top.  Edward
Kennedy Ellington, Holland/Dozier/Holland, Teddy Randazzo,
Carole King.

Bob
crispen@foxy.boeing.com
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Date:         Thu, 28 Jan 1993 15:16:09 EST
From:         a memory engraved upon your soul <REWOICC@ERENJ.BITNET>
Subject:      re: Black Tape
              28 Jan 1993 15:10:39 EST from <MICK.JEFFRIES@UKWANG.UKY.EDU>

Mick Jeffries sez:
>What label is it on anyway?

projekt records, based in california somewhere (grove city?). projekt, on
the whole, is a fairly 4adish kind of label. lots of mellow, ambient stuff.
for a taste of what the label's bands are like, check out any one of their
compilations, which go by the moniker of _from across this grey land_.
there are three volumes of the series now. some of the other projekt
bands include love spirals downwards, thanatos and steve roach (who's
got a recent release called _soma_ which is somehow related to that new
age radio show _hearts of space_ on npr). great stuff.

>BTW, ever check out Hugo Largo?

hugo large are pretty fun. i'll never figure out how hahn rowe managed
to be both part of them and bosho. i managed to catch a live show of theirs
a few years back - '91 i think - at the knitting factory. too many people
were there and i managed to get sick as well...but it was still a good show.
mimi goese is small.

woj
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From: ludwigt@Informatik.TU-Muenchen.DE (Thomas Ludwig)
Subject: BRUCE WILLIS CD wanted!!!!!!!!!!!!
Originator: ludwigt@sunjessen21.informatik.tu-muenchen.de
Organization: Technische Universitaet Muenchen, Germany
Date: Fri, 22 Jan 1993 12:50:13 GMT


Hi out there!

Is there anybody in the world who owns a 

	BRUCE WILLIS - Compact Disk


I can"t get this CD in Germany anymore, because they are
taken out of the catalog, so I can't order them anymore


I'm looking for


	CD 1:   The Return of Bruno

	CD 2:	If it doesn't kill it just makes you stronger


If you want to sell them please E-mail. It's a clloecters item
for me so the price almost doesn't matter

my adress : ludwigt@informatik.tu-muenchen.de
            ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~


	Thanks in advance

-------------------------------------------------------------
Thomas "Big L" Ludwig      *****  *  *****   *
TUM Munich,  Germany       *   *  *  *       *
			   *****  *  *  **   *
			   *   *  *  *   *   *
			   *****  *  *****   *****
A little story:
   This is a story about four people named Everybody, Somebody
   Anybody, and Nobody.
   There was an important job to be done and Everybody was
   sure that Somebody would do it.
   Anybody could have done it, but nobody did it.
   Somebody got angry about that because it was Everbody's
   job
   Everybody thought Anybody could do it, but Nobody realized
   that Everybody wouldn't do it.
   It ended up that Everybody blamed Somebody when Nobody
   did what Anybody could have done
-------------------------------------------------------------
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Newsgroups: bit.listserv.allmusic
Subject: Re: Jack Johnson and other things Miles....
Date: 27 Jan 1993 12:08:46 -0600
Organization: Educational Computing Network
NNTP-Posting-Host: uxa.ecn.bgu.edu

In article <ALLMUSIC%93012702420348@AUVM.AMERICAN.EDU> TBUCK@KNOX.BITNET writes:
>> >And what did you think of the videotape I sent you? The one of Miles live
>> >in '66, '67, and '68?
>>
>> those tapes are the greatest.  i just wish the quality was better, but
>> you can't have everything.
>
>I have the sneaking suspicion that you may have gotten a copy made prior to
>my purchase of a good head cleaner for my VCR's. Does it sound like it's
>really compressed, almost like it was taped in the shower? If so, I should
>re-dub it for you. The sound on my copy isn't really all that bad. Just some
>normal multi-generational tape hiss, but not much distortion. I'll try and
>re-dub it for you anyway cuz if it sounds that bad, it must be those dirty
>heads.

that is what it is  but don't worry about it.  it sort of adds to the
charm of it.  The sound is decent enough.

Jeff
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Date:         Tue, 26 Jan 1993 10:16:00 EST
From:         John M <LIBJRM@EMUVM1.BITNET>
Subject:      Who Done It?

L.W. queries:

>Crossing the highway, late last night
>shoulda looked left, shoulda looked right
>didn't see the station-wagon car
>skunk got squashed, and there you are
>....etc

>Who did it and what was it called, I saw a CD by this fellow yesterday and
>that made me recall this song. BTW Richard Thompson plays on the CD...L.W.

You didn't include my favorite verse:

Take a whiff on me, that ain't no rose
roll up yer window and hold yer nose
you don't have to look and you don't have to see
'cause you can feel it in yer olfactory!

Now is that poetry, or what?

and the answer is.......

Loudon Wainwright III
"Dead Skunk"

-John M.
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Date:         Wed, 27 Jan 1993 09:39:00 -0800
From:         SYSMGR@CBOS.UC.EDU
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Tim the mysterious one writes:
>  "I laughed, I cried"

>                      -Tim's sensitive side, bursting out
>                       (anyone can have an evil twin, how
>                        many of y'all have sensitive new
>                        age guy twins?)

>omc:  disguised.

Ooooh! I think I got it! Let's see....

Who like to talk about their feelings....
Who's into crystals, into healing....
Who like to dress like Richard Simmons...
Who are hard to tell from women....
Who tape ...thirtysomething... on their VCR's
Who've got "Child on Board" stickers on their cars...

Did I get the OMC? Huh, Tim? Did I? Huh?

A Christine fan, or just like the song?

Marsha



Marsha J. Ferziger
University of Chicago School of Law
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Date:         Wed, 27 Jan 1993 22:47:17 -0700
From:         Eric Dennis Wincentsen <267@EF.GC.MARICOPA.EDU>
Subject:      Snakefinger

This is for the guy who asked for a discography of Snakefinger's
recordings. This is taken from the third edition of the Trouser Press
Record Guide.

Snakefinger

Chewing Hides the Sound (Ralph/1980)
Greener Postures (Ralph/1981)
Manual of Errors (Ralph/1982)
Against the Grain (Ralph/1983)
Snakefinger: The CD Collection (East Side Digital/1988)

Snakefinger's Vestal Virgins

Live in Chicago (Ralph/1986)
Night of Desirable Objects (Ralph/1986)

His most popular single, "The Spot", is rather easy to find here in
Phoenix, so I wouldn't think it would be too hard to find elsewhere. The
single's flipside is Snakefinger's reworking of the Residents' song,
"Smelly Tongues".

I can put the entire text of the review up here later if you request it.
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Date:         Wed, 27 Jan 1993 23:01:06 EST
From:         "Michael H. Bloom" <MHB@MITVMA.BITNET>
Subject:      Take this job and shove it

I have just resigned my day job. (I was being heavily encouraged to do so,
and I'd rather jump than be pushed.)

I don't know how long they'll let me keep this account, or when I'm going to
finagle some other flavor of net.access. I'll participate as long as I can.

Actually, right now I feel like computers are utterly loathsome, and I would
like to not have anything to do with them for a while! Of course, it really
has nothing to do with the computers, but the swine who manage them...

I'll do a more blatant self-promotion later, but I want to mention that my
various bands' output is still available! The Urban Ambience cassette album
_FLOW_ can be obtained from The Noisy Room (in Italy), Flying Esophagus (in
California), and A State of Flux (in Rhode Island) as well as from us. _The
Video Album_, 45 minutes of live-in-the-studio performance with chromakey up
the wazoo and other psychedelic special effects, is also for sale through us
(and A State of Flux lists it in their catalog but hasn't sold any yet).

The CD by Judas and Natasha Experiments is also still available. I calculate
we may need to do a second press run some time in the 22nd century.

And one thing I hope to do while I'm not working is, make some more music!
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Date:         Wed, 27 Jan 1993 09:38:00 -0800
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> > >I like a majority of different styles of music, I find something worthy in
> > >every type of music out there.  I mostly listen to what people deem
> > >"Alternative" (i.e. Smiths, Concrete Blonde, Depeche Mode, Pet Shop Boys,
> > >etc...), but I've been known to like groups and artists diverse such as
> > >Amy Grant, Mary Chapin-Carpenter, Pink Floyd, and Metallica.
> >
> >   I've always been amused by the folks who say "I have really broad
> > tastes in music, I like all kinds of rock."
> >
> >                             -Tim

> Those were the artists that popped into my head Tim.  Lets see, I love
> anything that Verdi has written, I love Motzart, Liszt, Gershwin, love all
> the Rogers and Hammerstein musicals, a big Perry Como fan, a big Sinatra
> fan, a big Placido Domingo fan, and I like Ice-T too...you should see my
> album collection...its quite...unique...

           Well, I've always been fascinated by the folks who say "I am
very open-minded. I like everything". Maybe I don't understand
something, but a big fan of Sinatra who likes Pink Floyd? Unless you
don't take seriously either one, it's beyond me how you can combine such
fondness. As for the album collection... I was at MHB's house ten days
ago... don't think you can surprise me with anything... unique...

         Macbeth, the cop killer.

P.S. Oh yeah, forgot to tell ya: most of the stuff you listed falls
into the category of 'popular music' (tm). Beware!
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Date:         Tue, 26 Jan 1993 15:25:00 CST
From:         TBUCK@KNOX.BITNET
Subject: RE: The Prisoner (Herbie Hancock)

>>was on Bluenote. Anybody know if this is out on CD yet, and how is it? Any
>>tunes on there that he also did with Miles?
>
>Hmm. don't ever recalling The Prisoner.

Well, there's a chance it doesn't even exist seeing as how I discovered
it listed in the new 1993 Rolling Stone guide to what music they think
is important. (Geez, they even waste the space on Tiffany only to give
her 1/2 a star for her first album, and zilch for the rest.) It's pompus
as hell, but I managed to pick up a beat-up copy for half price. Actually
it's quite alot of fun to compare the new guide to the old RS guide from
1983. Their opinions swing far and wide. Albums they gave 5 stars to when
they first came out get 2 and 3 stars now. Great fun.

> What, no Plugged Nickel?  forget it.
> 4.      (: deleted due to rules of the game :)

You crack me up, Beer. Even when you play by the rules, you break the rules.
Hey, that sounds like the mark of a good jazz-man if ever I've heard one!!

Little do you know that I savor these top 10 lists of yours, and I actually
go out and find this stuff. (Well, only as quickly as my pocketbook allows.)
If Beer listens to it, it must be worth listening to, or definately worth a
try at the very least.

Did you ever get a listen to that Miles CD from November of 1967 in Paris?
I'm submitting the "Round Midnight" from that CD for the newest allmusic
compilation.

And what did you think of the videotape I sent you? The one of Miles live
in '66, '67, and '68?

I never did get back to you about taping some more Miles for me; I really
should. Bought Big Fun the other day and simply love side 3, the one that
sounds like Jack Johnson's first cousin. What other Miles stuff can I get
that sounds like JJ? I've got In A Silent Way, and it's like a mellow JJ.
What about the second album of Directions? I've heard the first album, but
the library's copy was missing the second one. If you have Directions, I'd
sure love a copy of that. I'm really starting to get into the late 60's
early 70's Miles stuff more. (With the exception of Bitches Brew which I
still can't listen to very much, but haven't listened to it in months, so I
should really try again.)

                                                        Tom
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