HDTenEightyP/NetNews huggingface dataset:
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Date:         Mon, 28 Sep 1992 14:40:00 EST
From:         MCINTYRE@MSUPA.BITNET
Subject:      Revenge of the Quackenbush Brothers

>From:         Sebastian Welton <SWELTON@ESOC.BITNET>

>>However, while pawing through the pile of (mostly) used CDs at Flat,
>>Black, and Circular (and you thought calling a store a record shop
>>dated it), I did find a total surprise, one that actually caused me
>>to scream out loud "What the *FUCK* is this doing on disc?":
>>_Milestones_ by SRC.

>Not the band who did the album Revenge Of The Quackenbush Brothers in '87
>which I didn't buy because I thought it was a country album with a name
>like that?

The very same.  _Revenge of the Quackenbush Brothers_ was a compilation
album drawn from the three SRC albums: _SRC_, _Milestones_, and _Traveler's
Tale_.  Strangely, it omitted "Hall of the Mountain King/Bolero".  It
did, however, include the single version of "Black Sheep" which has a
guitar solo that was not on the album version.  The owner of FBC speculated
that it was a bootleg, as it was not on Capitol.

John McIntyre
Physics - Astronomy Dept
Michigan State University
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Date:         Tue, 6 Oct 1992 11:13:20 CDT
From:         "Leonard Watkins" <ISTS024@UABDPO.BITNET>
Subject:      Re: CD Clubs and Cheezwhiz

On Tue, 6 Oct 1992 11:56:12 EDT Michelle May said:
>I don't claim to speak for the network, but it's funny how at least a few
>other people on the net agreed with my post for you guys to "take it outside".

Including Lenny, as far as i'm concerned you have my vote as spokes-person
for the group, lets rotate it between you and Sonia
L.W....Lenny or ........etc
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Date:         Mon, 28 Sep 1992 17:14:00 EST
From:         JBRIN@WNEC.BITNET
Subject:      Re: Xenakis

Sticks and stones won't make electronic "music" music.  It may be great
stuff, but Music it ain't.  Luning
(oops)  Luening and Ussachevsky made some great cases for the possibility,
but that was probably before Rick was born.  There's a cute little work
called Layla and the Poet by el Dibh if I remember correctly.  I'm not
opposed to electronic sounds, but to calling them MUSIC.  You won't find
Subotnick and Sibelius in the same bin.  Think about it
                                                 J.B.
P.S. I can hardly wait to read the mail tomorrow
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Date:         Tue, 29 Sep 1992 09:46:42 CET
From:         Sebastian Welton <SWELTON@ESOC.BITNET>
Subject:      Re: Revenge of the Quackenbush Brothers

>guitar solo that was not on the album version.  The owner of FBC speculated
>that it was a bootleg, as it was not on Capitol.

Had a quick look through the reference books last night and this came out on
Bam Caruso in March 1987. If I see it again I'll buy it, this time.

Seb
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Date:         Mon, 28 Sep 1992 14:52:00 N
From:         "OUT,
              OUT - YOU'LL NOT FEEL THE FALL-OUT..." <OLIVOTTO@ITNCISCA.BITNET>
Subject:      Peter Gabriel's new album

Peter Gabriel - _Us_
* A short review *

        Last Saturday the new Peter Gabriel's album, _Us_, finally appeared
in the stores of my town. Needless to say that I immediately rushed off to
get a copy, since I had been waiting for it for more than six years.
        I've had the time to give it three or four spins, and I must say that
I'm quite impressed. This time Gabriel follows a line which falls right between
_So_ and _IV_ (_Security_ for you Yankees :) ): _Us_ is far more experimental
than _So_, and possibly less commercial, but the heavy drum atmospheres of
the fourth album are far away.
        Most of the songs have a strange and yet beautiful sound, sort of a
"wool-like quality" (I'm sure you got the picture), which gets along very well
with the very intimate and personal atmospheres of the lyrics.
        If Gabriel wanted to unveil his personal experiences in songs, well --
he's got it made. He claims that "this album is mainly about relationships"
in the liner notes, and even gives some names of people who are or have been
important to him in this sense: his parents, his ex-wife Jill, Rosanna [Arquet-
te, the story is well-known] and his daughters.
        A couple of songs fall in the "Sledgehammer" pattern, but they sound
a bit more natural ("Steam" is a powerful R&B with a _great_ horns section,
in particular).
        But the real peak of the album is reached with such songs as "Washing
Of The Water", a slow and bluesy ballad which can really tear one's heart in
pieces.
        The single, "Rubbin' In The Dirt", is commercial -- but it's a Gabrie-
lish commercial taste, so it's catching but not compromising. And the closing
track "Secret World" is possibly one of the best of the entire album.
        I think that Gabriel has learned the ethnic music lesson better than
any other western musician: the proof is the large number of African and Asia-
tic musicians sensibly "used" in this album.
        A last mention for the great co-production work of an old aficionado
like Daniel Lanois, which adds a lot to the undoubtedly brilliant raw ideas
of Gabriel.
        I wouldn't miss the chance to listen to this record, if I were you.

        Ciao, Marco
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Date:         Mon, 5 Oct 1992 11:28:35 EDT
From:         Sonia Kovitz <skovitz@MAGNUS.ACS.OHIO-STATE.EDU>
Subject:      Albert Ayler

Reporting in on Ayler, since I had such helpful listening suggestions last
week.  Jeff's word "primitive" really rang a bell for some reason--first of all
it meant that I could let myself off the hook of presumably having to
be very "sophisticated" to get this music...also the New Orleans background was
helpful--so I jumped in again and I was truly amazed that I actually heard a
lot more in the music the second time around ("Ghosts" and "Bells" from _Love
City_)... One thing that worked for me in getting more inside the music (also
Pharoah Sanders' Aum/Venus, which put me off the first time even more than
Ayler)... was changing my frame of reference from "listener" to projecting the
music as if it was coming directly from ME--you know, the way those nice old
paranoid schizophrenics hear voices?  It was a great way to listen ...  I
could hear some of the "thrashing around" in the music with a lot more
sympathy... Instead of being indignant that some nice finished "listenable"
product was not being offered for my "listening enjoyment," I found myself more
in the spirit of being PART of the band (scuse the arrogance) in terms of
feeling what they were TRYING to say... Also funny that the more I listen the
less "compacted" it sounds--more space seems to be opening up between the
parts; this is very much like learning a new language which at first is just
undifferentiated sound and then parts start to jump out and MEAN something...

I also got my first listen to Ministry's Jesus Built My Hot Rod--I was going
nuts--I hear this (I'm probably all wrong) as REAL early and raw (1950s) R&R...
this could turn me into a serious head-banger... LOVED IT!!!!!!!

Sonia "totally lost cause"

P.S. Scott "Exquisite Taste" Hammer--loved your vote for most hated pop
performer (maybe we could stuff the ballot box) (I think you deserve a copy of
my fanged Madonna toilet/wall paper--if you do, e-mail me)
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Date:         Fri, 2 Oct 1992 12:37:03 DST
From:         Clint Pearcy <clintp@PARROT.CREIGHTON.EDU>
Subject:      Dead Miller

I saw a T-shirt from a Steve Miller Band/Grateful Dead tour from this summer
today.  Did anyone get to see any of the shows?  And do you know of any
plans for future tours?

Clint Pearcy
clintp@parrot.creighton.edu
From: MHB@MITVMA.BITNET (Michael H. Bloom)
Newsgroups: bit.listserv.allmusic
Subject: They call it Stormy Monday, but Tuesday's just as bad
Date: 6 Oct 92 12:16:07 GMT
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Picked up _US_ yesterday. I agree with the grump consensus (surprise!) that
he's done all this before-- most songs sound like re-realizations of _So_.
"Digging in the Dirt" sounds like a more measured "Shock the Monkey," and
"Kiss That Frog" sounds so much like the Small Faces' "Little Tin Soldier"
I'm surprised he didn't call up Ian McLagan to do keyboards. I'm also trying
(and failing, on first go-round) to detect some self-awareness about what he
did to fuck up the relationship(s)-- mostly it sounds like self-pity mode.
But all that's on one listening and a fairly cursory reading of lyrics while
getting into the grooves. It's a good record, just not six years' worth.

Leonard, you're inconsistent: you want everyone else to live by a standard
you're not willing to adhere to yourself. First you insist that your music is
the best, with the most feeling in it, while admittedly knowing nothing about
several other prominent genres; then you also feel free to insult anyone
who talks about your music just as cavalierly as you talk about theirs.
And you're considerably less educated than you think, otherwise you'd have
been able to think of more than two white women that sing blues.

Now I have to go spend the day in this pinhead management seminar. Happy
happy joy joy...
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Date:         Thu, 1 Oct 1992 14:17:28 -0400
From:         "(Russ Gelinas)" <R_GELINAS@UNHH.UNH.EDU>
Subject: Re: Announcement

>Oh and let us not forget that the people who vote for these
>award things aren't musicians themselves.  In fact, these are
>the same kinds of people who voted for Milli Vanilli and voted
>Jethro Tull as Metal Band.

Sort of like Ross Perot's Yes-only phone line.

R
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Date:         Sat, 26 Sep 1992 17:11:45 -0500
From:         924ANIFTOS@HANNA2.NLU.EDU
Subject:      subscripion

subscribe + listname + Marinos Aniftos
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Return-Path: crispen <@ada3.ca.boeing.com:crispen@efftoo>
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Date:         Mon, 5 Oct 1992 08:01:42 CDT
From:         crispen <crispen@EFFTOO.BOEING.COM>
Subject: Re: Sinead O'Connor

Dave Hall <USTS060@UABDPO.DPO.UAB.EDU> sez:

>I agree with whoever complained of her over-orchestration there were just
>too many instruments.

Especially for her voice, when seems to me to be very weak (except when
she's in air-raid-siren mode of course).

The string arrangement sounded like a Jimmy Haskell thing.  Does anyone
happen to know?

>Her second set was an a capella piece that did more
>than raise a few eyebrows.  As best as I could figure the entire song was
>a kind of listing of all the world's evils at once

Man, I'm growing old.  I remember when that sort of thing would have
made me shout "Right on, sister!"  Now it just seems embarassing.
+-------------------------------+--------------------------------------+
| Rev. Bob "Bob" Crispen        | Music should not be held responsible |
| crispen@foxy.boeing.com       |   for the people who listen to it.   |
+-------------------------------+--------------------------------------+
From: bt979@cleveland.Freenet.Edu (Jeff Preston)
Newsgroups: bit.listserv.allmusic
Subject: Michelle needs some new threads
Date: 6 Oct 1992 05:58:35 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: bt979@cleveland.Freenet.Edu (Jeff Preston)
NNTP-Posting-Host: hela.ins.cwru.edu


In a previous article, MAMAY@WAYNEST1.BITNET (Michelle May) says:

>Can you guys get offa this blues thing?  Or take it over to private e-mail?
>Unless there are those allmusicers that like reading a juicy fight.  However,

  I thought you'd been here for a while.  ;)

>thinks the blues is god, Gary thinks metal is god, and the Bloomster has
>another excuse to post 200-line entries on the net.  ENOUGH ALREADY!!

  Hey, at least when the Bloomdido man posts, he has something to say, 
which is more than I can say for some... even myself, lately.  :)

>New thread:
>Can someone tell me if it's worth subscribing to the Columbia CD club?  You
>know, the one where you buy 10 CD's for a penny?  I know you have to buy more
>within a certain time frame; overall, is it worth it?  The CD prices run
>between $11 and $15--I'd kind of like the convenience of ordering by mail. . .

  Not worth it -- unless you buy all the CDs you plan to buy immediately
after joining. Otherwise, they will continually send you those annoying
"selection of the month" CDs, even when you manage to get the card sent
in to them in time. I did just what I described: got fed up with getting 
CDs I didn't want, so I bought the rest of my obligation and sent them a
letter telling them I could (and would) legally keep any CDs sent to me
after that date and consider them a gift (the USPS will back you up on
this, too). Never heard from 'em again.  :)

  Jeff ("n.n.")

-- 
| Jeff Preston - owner and moderator of | "We don't  get  many requests |
| the  Allan Holdsworth discussion list |  for recent history."  -- Mr. |
| *** To subscribe, send e-mail to: *** |  Atoz, from the '69 Star Trek |
| <atavachron@morekypr.morehead-st.edu> |  episode _All Our Yesterdays_ |
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Date:         Tue, 29 Sep 1992 17:05:45 EDT
From:         Rick <MMLRICK@UBVM.BITNET>
Subject:      Re: Xenakis

On Tue, 29 Sep 1992 16:00:00 EST <JBRIN@WNEC> said:
>This one is for Rick, who would like to be understanding.  My original
>comment, that "electronic music" is an oxymoron, is an opinion that many
>people share.

   Sorry, I haven't read that survey. Where did you find that?

>I regret that I jangled so many nerves.

   Your regrets acknowledged, Jack. But did you really think you'd get away
with stating an opinion as a One-line Holy Pronouncement as if it were the
Absolute Truth without rattling a few cages? You gotta admit, it's as if
I had written a message simply stating "Sibelius' music is garbage" and sent
it off without any explanation, or even saying that it was my opinion (which
it isn't by far, incidentally). It took Michael's confrontation to get you to
admit that you weren't quite stating a fact.

   I mean it's perfectly OK not to like electronic music, but couldn't you
have explained why in the first place??

 (after the interesting comparison to fractal images, Escher and so forth)

>                        But to be honest, my negativism in the case of
>electronic music(?) comes from never having been more than mildly curious
>about any of the works I've heard, let alone overwhelmed the way I HAVE
>been
>     by fractal images.  Art?  Maybe.  You decide.  As for Subotnick, no,
>Sibelius, yes, and bagpipes, sometimes.  Cheers.
>                                            Jack

OK, so THAT'S finally clear. Mild curiosity and lack of excitement breeds
negativity. I'll buy that. Now I'll decide. Subotnick: Yes. Sibelius: Yes.
Bagpipes: Hoot mon.  Explanation: I'm very curious and wildly excited about
all three.

By the way, Jack -- what did my birthdate have to do with this topic anyway?
Jus' wondering,
Rick
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Date:         Mon, 5 Oct 1992 11:24:03 EDT
From:         Scott Hammer <SCOTH@WMVM1.CC.WM.EDU>
Subject:      Re: longest song title ever???

On Fri, 2 Oct 1992 17:00:22 EDT Rick said:
>>>Theresa's looking for the longest song title ever:
>>
>>As has been known for a long time Pink Floyd has the record with:
>>
>>"Several species of small furry animals gathered together in a cave and
>>groving with a pict"
>>
Actually, I believe the true title is ". . . gathered together in one place .
. ." but as Sonia, and others (my wife for one) can tell you, I've been wrong
before.
>
>In the 1968 Guinness Book of World Records (where else) I came across this
>tidbit that makes that Pink Floyd number seem very abbreviated indeed:
>
>   "I'm a Clanky Old Yank in a Clanky Old Tank on the Streets of Yokohama
>With My Honolulu Mama Doin' Those Beat-o, Beat-o, Flat on My Seat-O, Hirohito
>Blues" written by Hoagy Carmichael in 1943.  That's the title, supposedly;
>I'm trying to find reference to it in other sources. So far, I haven't had
>much luck locating it in Carmichael's autobiography, RLIN, OCLC, and several
>discographies. Can anybody verify this?
>
I can't verify that this is a Hoagy Carmichael tune.  I can verify, however,
that this is *somebody's* tune as I've *heard it performed* by a group that
combines Ancient and Folk Music influences (and whose name I cannot remember).
They're from the Washington, DC area, and their membership includes one member
of the National Symphony (on viols, rebecs, and the like).  Can anyone name
this group?  Ken?

-Scott "I Thought I was Wrong Once, But I was Mistaken" Hammer
 College of William and Mary
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Date:         Mon, 5 Oct 1992 15:48:14 +0000
From:         "OUT,
              OUT - YOU'LL NOT FEEL THE FALL-OUT..." <OLIVOTTO@ITNCISCA.BITNET>
Subject:      Re: like _So_ but far from so-so

Carol says something about the last Gabriel's cover:

>I like the album cover with all the artworks associated with each song. In
>particular, I was struck by the piece by Andy Goldsworthy (England) for the son
   g
>"Washing of the Water".  To me it looks like a moss covered vulva-like
>landscape... phallicism at it's best.  :)  It's too bad that the lyrics weren't
>included -- I'd like to examine them in greater detail.

        Right. That picture is stunning. If you look closely, it even looks
like a natural phenomenon, not something that was hand-made especially for the
picture. Also, the front cover, features PG as if he were coming out of a very
similar hole -- maybe a reference to birth?
        And, no lyrics included?!? The Italian version has them all. Do you
want a photocopy?

        Ciao, Marco
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Date:         Mon, 28 Sep 1992 13:40:40 EDT
From:         Tim Johnson <ST402711@BROWNVM.BITNET>
Subject:      Re: Extraordinary Popular Delusions and the Madnes

Beersky:
>> BTW MBloom, have you heard Xenakis' Plelades?  It is a percussion
>> piece.

Bloomster:
>I don't think I know this one. Is that the correct spelling? When I first read
>your post, in my haste I thought it said "Pleiades," after the star cluster in
>Taurus-- which would be a pretty cool thing to call a composition anyway. They
>don't call this stuff space music for nothing.

  Pleiades it is.  The seven sisters.  Of which there are six.  Or hundreds.
Depending, of course, on how good your eyes are.  (Sounds like a lot of
bull to me.  Perhaps, instead of the seven sisters, which is clearly
misleading, they should name them the horny sisters - given their location
in the constellation.)

  I've heard it.  I must admit, I wasn't so impressed.  Maybe I just didn't
get it, or maybe I was unaware of whatever formalism was driving it, but
it sounded pretty ordinary to me.  (I guess you could say that I'm not
bullish on this piece.  Which is not to say it is udderly without redeeming
features.)  (You suppose there are more puns to be milked from this?  I'll
bet there are, though I wouldn't steak my life on it.)

                                      -Tim
From: MCINTYRE@MSUPA.BITNET
Newsgroups: bit.listserv.allmusic
Subject: recanting regarding ambience
Date: 6 Oct 92 14:17:00 GMT
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Original_To:  BITNET%"allmusic@auvm"

Recently I made a couple of postings denouncing the genre of ambient
music.  Honesty compells me to confess (might as well tie this in with
the past thread of guilty secrets) that I do own several ambient albums.
And I recently purchased a CD that boldly proclaims itself to be New Age.
[No, not Ash Ra's _New Age Of Earth_.  I've had that one for years. 8-)]
The ambient albums are recordings of howling wolves [Go ahead and laugh,
Marco. 8-)], and the recent purchase is _New Age Wolf_ put out by
Northwords Press.  Yes, it is a CD of New Age music with interspersed
wolf howls.  I felt honor bound to at least check it out.  It would
also serve as a joke birthday gift for my brother if it turned out to
be as bad as I feared.  (He actually likes New Age music and knows of
my wolf worship.  He and his wife gave me two wolf T-shirts for my
birthday.)

It is better than I had feared.  I think I shall have to keep it and
buy brother another copy for his birthday.  The bridge players even
gave it their nod of approval.

Still, it does have its flaws.  Some of the music is somnambulant
piano tinklings.  Some of the music is far to energetic to pass as
New Age.  While the wolves are clearly recorded, other environmental
sounds are included, usually far too high in the mix.  The mic was
way too close to the babbling brook, for example.  (One of the bridge
players said it sounded as if the microphone were *in* the brook.)
And the surf noises for "Beach Scene" are much too loud.

Overall the packaging is atrocious.  The song titles seem random:
the best piece on the CD is entitled "Tiger Attack".  Now, isn't
that a great song title to include on _New Age Wolf_?  The musicians
are not credited although the liner notes hint that several composers
were used.  And the notes do not answer the big question I was asking:
how was the album put together?  Were the composers given tapes of
wolf howls and asked to write music to them?  Or were they merely told
"write something we can put wolf howls on top of"?  Or, as I suspect,
were the pieces composed independently and the wolf howls added after
the fact by the producers to the musicians complete surprise?  Indeed,
did the producers use the same music for _New Age Loon_?  Oh yes, they
offer that title as well.  And _Classical Wolf_ and _Classical Loon_.
No, they don't tell you which classical pieces have been "enhanced".
I would hope for "The Moonlight Sonata".  Sigh, why do I get the feeling
I'm going to find out...

John McIntyre
Physics - Astronomy Dept
Michigan State University
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Date:         Sat, 26 Sep 1992 21:58:42 EDT
From:         WK7@CORNELLC.BITNET
Subject:      halloween

1. "Witchy Woman" by ?
2. "Frankenstein", by Edgar Winter, but nobody would relate unless they
   already knew the song and its name.
3. How about Black Sabbath's 1st album - that might be too heavy - you might
   discover some real ghouls by playing that one.


.....choosing the ghouls.................walt.....
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