HDTenEightyP/NetNews huggingface dataset:
From: drew@bluemoon.rn.com (drew wenger)
Subject: Re: THE TEN MOST OVERRATED ROCK BANDS EVER(GNR)
Organization: Blue Moon BBS ((614) 868-998[024])
Date: Wed, 15 Apr 92 21:04:11 EDT

tim@tcom.stc.co.uk (Tim Kennedy) writes:

> In article <1992Apr12.212143.3369@sbcs.sunysb.edu> chrmurph@engws4.ic.sunysb.
> >In article <92100.224336U14540@uicvm.uic.edu> <U14540@uicvm.uic.edu> writes:
> >>In article <1992Apr7.022627.15011@nic.unh.edu>, tcw@kepler.unh.edu (Timothy
> >>Webb) says:
> >>
> >>Yeah you're right Guns and Roses sucks. Debbie Gibson, Phil Collins, Amy Gr
> >>and CC Music Factory are the coolest bands out there today. I agree Sweet C
> >>of Mine was the worst song ever written. God and I really hate it when G an
> >>swear on their albums. It sends me running for my bible. Yeah, you're also
> >>right about the dissonant guitar work. Why even have a guitar when you can
> >>simulate the sound on a synthesizer. I also hate groups that write their ow
> >>songs. It's just too original for me. Just give me some hip-hop beep bop
> >>and off to the bathroom I go to wack off. You guys would make great music
> >>critics if you had ears.
> >
> >Wait... Your saying that Debbie Gibson, Phil Collins, Amy Grant, and CC 
> >Music Factory are the coolest bands out there?  Not. First of all these 
> >"singers" are all electrically fixed up to sound the way they do.  Phil
> > and Amy do have natural talent and can sing, however the others are just 
> >losers off the streets. GNR has music talent and can at least play some 
> >instruments where as Debbie and CC Music Factory have to use the pre-
> >recorded music for their songs.  Where has the music industry gone when
> >all you have to do is lip sync in concert and for videos?
> >
> >Murpht
> 
> What happened to your irony detection equipment?  There was a tongue planted
> firmly in cheek in Tim's piece.  Seems to me a lot of you chaps lack the 
> ability to spot a bit of smart humour unless it has a red nose stuck on.
> 
> For what it's worth,  if you don't like rawkk n rawwl damnation then you
> won't like Guns n Roses who are a (unintentionally hilarious) superb 
> exponent of the genre.  I personally like that sort of thing,  among other
> types of music (and I like my bands to be a bit silly too).
> 
> 				Tim
> 
> 
> 
> --
> In 1988 BBC Radio One listeners voted for  | T. Kennedy <tim@tcom.stc.co.uk>
> the alltime greatest single.  Way ahead of | Dept 30730 NME, BNR Europe,
> Strawberry Fields and Stairway To Heaven,  | Oakleigh Rd South, London N11 1H
> at no. 1 was I Owe You Nothing by Bros.    | LUFC, Yorkshire's No. 1.

GNR may not lisync but they do have teleprompters in front of the stage 
with the lyrics of the songs going acroos them so they can't forget.

Drew Wenger
drew@bluemoon.rn.com
From: tim@tcom.stc.co.uk (Tim Kennedy)
Newsgroups: rec.music.misc
Subject: Re: The Clash: "bullshit detector" in Garageland
Keywords: What on earth?
Date: 15 Apr 92 09:10:36 GMT
Organization: BNR Europe

In article <30059@cbmvax.commodore.com> grr@cbmvax.commodore.com (George Robbins) writes:
>In article <1992Apr4.085903.29989@sfu.ca> wonge@fraser.sfu.ca (Edmund Wong) writes:
>> In article <trkisa.702298990@uta.fi> trkisa@uta.fi (Kimmo S{{skilahti) writes:
>> >
>> >Just listened to "Garageland" by the Clash and remembered a 
>> >question that has been bothering me for years.  The lyrics go:
>> >
>> >Back in the garage with my bullshit detector
>> >Carbon monoxide makes sure it's effective...
>> >
>> >(these come directly from memory, so there may be inaccuracy)
>> >
>> >What on earth is a "bullshit detector"?  And in what way does
>> 
>> 	A lie detector?  <hey..just a wild guess>
>

The single best song they ever did.  Musically it conveys all the despair
in the punk movement.  "My bummin slummin friends have all got new boots"
Anyway on the subject of bullshit detector,  well it is as far as I can
tell  Joe's guitar that he is alluding to.  I heard the lads play this
when I saw them in January 1979 for the first time,  while punk was really
dying with Sid and Nancy....

			Rude Boy

--
In 1988 BBC Radio One listeners voted for  | T. Kennedy <tim@tcom.stc.co.uk>
the alltime greatest single.  Way ahead of | Dept 30730 NME, BNR Europe,
Strawberry Fields and Stairway To Heaven,  | Oakleigh Rd South, London N11 1HB.
at no. 1 was I Owe You Nothing by Bros.    | LUFC, Yorkshire's No. 1.
From: storeyr@venus.ycc.yale.edu
Newsgroups: rec.music.misc
Subject: Tony Kaye: the glue in the Yes sound
Date: 17 Apr 92 05:24:46 GMT
Organization: Yale Computer Center (YCC)

In article <1992Apr17.010753.5770@nic.unh.edu>, tcw@kepler.unh.edu (Timothy C Webb) writes:
> In article <1992Apr16.133017.25471@njitgw.njit.edu> dic5340@hertz.njit.edu (Davi

 
>   Believe it or not, I think Kaye should stay. People don't give him the credit
> he deserves.  
> -- 
> ===============================================================================
> |    Tim Webb                \      "Would you believe...?                    |
> |     tcw@kepler.unh.edu      \              -Agent 86                        |
> ===============================================================================


I agree.  The reason they sounded so incredible on the last tour was that they
were able to fill up space.  The music had a lot of depth.  Songs like And You
And I and Awaken were HUGE due to the fact that they could get all the parts
in there.  Who was filling up all that space without getting in the way of 
Rick Wakeman?  Tony Kaye, unselfishly too.  If Moraz were in the group with
Wakeman, you'd get some amazing dual keyboard runs, but most of the time you'd
have so many runs flying around that the music would lose touch.  

Ross Storey
From: Rob.vanGerwen@phil.ruu.nl (Rob van Gerwen)
Newsgroups: rec.music.misc
Subject: Re: frank zappa
Date: 7 Apr 92 12:00:10 GMT
Followup-To: rec.music.misc
Organization: Dept. of Philosophy, Univ.of Utrecht

In article <1992Apr3.193914.17907@clpd.kodak.com> benham@anion.serum.kodak.com (Todd Benham (x37354)) writes:
"That depends on what kind of music you like.  Frank did everything from doo-wop
to fusion."

"Perhaps the most famous album is Apostrophe.  That one is basically a novelty
album.  It contains the notorious "Don't Eat The Yellow Snow" suite.  The
humor is both musical and lyrical."

"My personal favorites are the fusion-oriented stuff, e.g. Burnt Weeny Sandwich,
Waka/Jawaka, Shut Up 'n' Play Yer Guitar.  If you want more straight-ahead
rock, I recommend Zoot Allures or Ship Arriving Too Late To Save A Drowning
Witch (IMHO, the second side of that album is one of the greatest compositions
in the history of music).  If you want something really wild and freaky, check
out Absolutely Free."

"Though many might disagree with me, I suggest that you avoid Sheik Yerbouti
and You Are What You Is.  The songs on these albums are mostly dirty novelty
songs.  Some of them would make the 2 Live Crew blush, but they're not all
that funny, and the music is not very impressive."

Since I agree on the above recommendations, I wonder why you left out 
Hot Rats?
It's got Captain Beefheart on it, too. (Although that's not the reason
why I think you should check it out.) I think it's one of Zappa's classics,
 if not THE ZAPPA CLASSIC. :-)

Rob.vanGerwen@phil.ruu.nl (Rob van Gerwen)
Dept. of Philosophy
Utrecht University
The Netherlands

"Christianity is Platonism for the people."
Xref: sparky rec.music.misc:14026 alt.rock-n-roll:9528
From: sommar@enea.se (Erland Sommarskog)
Newsgroups: rec.music.misc,alt.rock-n-roll
Subject: UAP #16 - Results for Lou Reed
Keywords: Usenet Artists Polls
Date: 10 Apr 92 21:56:33 GMT
Organization: Enea Data AB

(The first attempt to post this seems to have failed, so I'm
reposting this. Since the first tally I have received one late
ballot, so the result is slightly changed.)

Only 25 persons voted on Lou Reed which was a little disappointing,
but maybe Lou Reed is not as popular as many of the other artists
we had in previous polls. Typically the ballots were also often
incomplete. But thanks to all who voted. Next poll will be on
Marillion/Fish.

Total number of ballots: 25

     TITLE                 POINTS   LISTED   FIRST   LAST
     =====                 ======   ======   =====   ====
  1. New York                 877       22       4      0
  2. Berlin                   804       20    8.50      0
  3. Magic And Loss           691       17    0.50   0.50
  4. Take No Prisoners        452       11    0.50      0
  5. Street Hassle            273       12       0   0.10
  6. The Blue Mask            258       16    2.50   2.09
  7. Transformer              233       23       3   0.10
     Walk On The Wild Side    233        5       0      0
  9. Songs For Drella         198       22       2      3
 10. Rock'n'Roll Animal       128       16       1      2
 11. Lou Reed                  25        7       0   0.10
 12. Lou Reed Live           -137       11       0      1
 13. New Sensations          -254       13       0      0
 14. Coney Island Baby       -358       13       0   0.10
 15. Metal Machine Music     -365       11       2      2
 16. Sally Can't Dance       -388       14       0   1.10
 17. Legendary Hearts        -494       10       1   2.09
 18. Growing Up In Public    -503        7       0      0
 19. Live In Italy           -623        7       0      3
 20. The Bells               -718        9       0   1.10
 21. Rock And Roll Heart     -977       11       0   1.10
 22. Mistrial               -1108       17       0   5.59

"The Best Of Lou Reed" and "Wild Child" were also listed once.

"Berlin" topped most ballots, but apparently "New York" was less
often pushed down to the lower half of the ballots.

Since I am not very knowledgeable with Reed's work, I can add
too many not comments. Of those three I have, "Berlin" is the
one I like the most, so I'm pleased to see it on the top of
the list.

A special item on the list is "Metal Machine Music" which one
voter wanted to list both first and last. First for the spirit,
and last for what it actually is. These polls are probably too
one-dimensional to catch the opinions on such a special album.
-- 
Erland Sommarskog - ENEA Data, Stockholm - sommar@enea.se
From: grr@cbmvax.commodore.com (George Robbins)
Newsgroups: rec.music.misc
Subject: Re: Yet another indie label about to bite the dust
Date: 8 Apr 92 12:45:21 GMT
Reply-To: grr@cbmvax.commodore.com (George Robbins)
Organization: Commodore, West Chester, PA

In article <1992Apr7.150850.21888@cbnews.cb.att.com> ajw@cbnews.cb.att.com (andrew.j.whitman) writes:
> In article <1992Apr6.202730.29427@predator.vpharm.com> dap@vpharm.com (David A. Pearlman) writes:
> >
> >Thus dies yet another of the remaining significant indie labels. Polygram
> >will supposedly be paying a hundred million for the label, mostly
>                                                             ^^^^^^
> >to get access to their vast jazz holdings...
>  ^^ ^^^ ^^^^^^ ^^ ^^^^^ ^^^^ ^^^^ ^^^^^^^^
> 
> Really?  Any idea just how profitable the jazz labels have been for
> Fantasy?  I'd love to think that the faceless corporate heads at 
> Polygram have some inherent love for the music, but the saner part
> of my nature tells me that it's purely a business decision.  But if 
> that's the case, I still have a hard time believing that the Prestige, 
> Riverside, and Milestone recordings actually made much money for Fantasy.  
> Jazz doesn't sell anyway, unless it's Jazz Lite or ends with the name
> Marsalis, and I would think that the market for the vast catalogues
> of fifties and sixties jazz that Polygram just purchased would be
> fairly small.  Is my thinking off here?

Jazz doesn't sell...  Gee, have you noticed the relative size of the
jazz section in your local record stores.  The amount of space given
ties in very closely to sales volume.  Jazz is a substantial chunk
of sales, and from the record companies perspective it has a major
advantage: it is cheap to produce and has reliable/low-risk sales.

Ignoring the rip-off pricing factors, producing something like Rock
does cost substantial money - bands are trying for real royalties,
want to spend money on "album covers", require advertising promotion,
DJ promos, concert tours and videos.  A large percentage of "new"
groups flop miserably on national release, and even for established
groups, many new release end up in the cut-out bins for one reason
or another...


-- 
George Robbins - now working for,     uucp:   {uunet|pyramid|rutgers}!cbmvax!grr
but no way officially representing:   domain: grr@cbmvax.commodore.com
Commodore, Engineering Department     phone:  215-431-9349 (only by moonlite)
From: gtaylor@vme.heurikon.com (Gregory Taylor)
Newsgroups: rec.music.misc
Subject: Re: Lyrics Wanted [no, *not* U2 or Tori Amos....]
Date: 16 Apr 92 14:37:14 GMT
Reply-To: gtaylor@vme.heurikon.com (Gregory Taylor)
Organization: Heurikon Corporation, Madison, WI

You gotta love the net. When I asked [somewhat because I wasn't sure
*who* would know] here for the lyrics to an African song called 
Nkosi Sikeleli Africa, I not only got the lyrics, but a polite 
correction to my initial question [the song in question is identified
with the African National Congress, not the Congress of South African
Trade Unions [COSATU]], and a pointer to a *wonderful* version of the
tune by Charlie Haden and the Liberation Music Orchestra. This answer
is worth several hundred "10 biggest undergraduate weenies' lists of
ten greatest ciphers for ten greatest kneejerks" anyday, as far as
I'm concerned.

I also got a couple of "what the HELL is that?" posts, so I'll oblige:
The tune sounds like a hymn [almost like a sacred harp song, to me] 
that you'll hear if you ever see the film "Cry Freedom". You'll also
hear a fragment of the song opening the recordings of Peter Gabriel's
song "Biko" - the German and English language versions use a different
fragment of a live recording of the tune as sung at Biko's funeral.
There's also a lovely version of it on one of the GlobeStyle compilations
of music by womyn or somesuch [one of those site recordings where some
poor soul has a mike in their hand and are standing in the midst of
a sweaty crowd bellowing at the top of their lungs whilst the songleader
runs their mike into a tinny amp cranked to 9].

Here are the lyrics:

Nkosi sikelel' i-Afrika
Maluphakanyisw' uphondo lwayo
Yizwa Imithandazo yethu
Nkosi sikelela -- Nkosi sikelela
Nkosi sikelel' i_Afrika
Maluphakanyisw' uphondo lwayo
Yizwa Imithandazo yethu
Nkosi sikelela -- Thina Lusapho Iwayo
Woza Moya
Woza Moya, oyingcwele
Nkosi sikelela
Thina Lusapho Iwayo

Morena Boloka
Sechaba sa heso
O fedise dintwa le Matswenyeho
Morena boloka
Sechaba se heso
O fedise dintwa le Matswenyeho
O se boloke -- o se boloke
O se boloke -- o se boloke
Sechaba sa heso
Sechaba sa Afrika
O se boloke Morena -- o se boloke
O se boloke Sechaba -- o se boloke
Sechaba se heso
Sechaba sa Afrika
--
Modern times are an awkward spectacle. One the one hand, our public selves
compete for scarce window space, for the opportunity to see in and to where
power is decided and used. On the other, private life recedes like a glacier,
a translucent corner of heaven meant only to be photographed, never settled.
Newsgroups: rec.music.misc
From: falcon@buhub.bradley.edu (D. Nathan Hood)
Subject: Re: THE TEN MOST OVERRATED ROCK BANDS EVER
Organization: Bradley University
Distribution: na
Date: Fri, 10 Apr 92 23:29:09 GMT

In <28731@brahms.udel.edu> ferg@brahms.udel.edu (Christopher Ferguson) writes:

>>
>>4. JIMI HENDRIX:  Was inventing feedback really that difficult?
>>

>If you could name even one person who plays or played guitar that could even
>stand Hendrix's shadow, I would retract this.
>ferg

IMHO:
Eric Johnson
Stevie Ray Vaughan
Eric Clapton

D. Nathan Hood
falcon@buhub.bradley.edu
falcon@camelot.bradley.edu
--


 ____     ____                            //////////////////////
/    \   /    \                           //Nathan of the Hood//////// 
|----|    |--|                            //falcon@buhub.bradley.edu////       
\____/   \____/                           //falcon@camelot.bradley.edu//
 THETA     XI                             //x2095///////////////////////
From: chelle@cats.ucsc.edu (Mavourine Tesoro)
Newsgroups: rec.music.misc
Subject: Beatles influence on REM?
Date: 7 Apr 92 22:54:31 GMT
Article-I.D.: darkstar.32302
Organization: University of California, Santa Cruz



on a nostalgia kick for the past few days, i've been listening
fairly continuously to ``Rubber Soul.''  whatta great album!

anyway, i was noticing that some of the guitar riffs --
particularly on _If I Needed Someone_ -- sound particularly
REM-ish.  'anyone know if the guitarist in REM has ever
confessed to have come under the influence of the Beatles?

and here i always thought of REM as being *totally* original... ;-)

michelle
Newsgroups: rec.music.misc,rec.music.classical
From: westphal@iscnvx.lmsc.lockheed.com (Dorothy Westphal)
Subject: I belong to Glasgow
Organization: Lockheed Missiles and Space Co.
Date: Mon, 13 Apr 92 20:32:36 GMT



Hi everyone
I am hoping that somewhere a knowledgable Scot (or something
else) can help me convince my husband that he is full of
hot air.
 I say the song "I belong to Glasgow" was recorded by Will Fyfe;
he inists it was Sir Harry Lauder!
Any support out there?
thanks!

-- 
Dorothy Westphal, Sunnyvale, Calif. % Just when things are going your way...%
westphal@iscnvx.lmsc.lockheed.com   %               they get even better!   %
From: rjc@cstr.ed.ac.uk (Richard Caley)
Newsgroups: rec.music.misc
Subject: Re: Genesis more creative than Yes??!!!
Date: 9 Apr 92 16:03:40 GMT
	<1992Apr8.150815.28818@cs.hw.ac.uk> <1992Apr8.235148.15607@nic.unh.edu>
Organization: Centre for Speech Technology Research

In article <1992Apr8.235148.15607@nic.unh.edu>, Timothy C Webb (tcw) writes:

tcw> If you knew anything about Yes, you'd know they're not in it for
tcw> the money.

Yes, Right, Sure.

That's why they sell all their albums and concert tickets at cost,
right? 

--
rjc@cogsci.ed.ac.uk				_O_
						 |<
Newsgroups: rec.music.misc,alt.rock-n-roll
From: msr@kepler.unh.edu (Mathew S Reno)
Subject: Re: THREE GREATEST CHORDS OF ALL TIME
Organization: University of New Hampshire  -  Durham, NH
Date: Thu, 9 Apr 1992 02:58:40 GMT

In article <1992Apr8.151820.3484@nic.unh.edu> tcw@kepler.unh.edu (Timothy C Webb) writes:
>In article <1992Apr8.144015.17286@fs7.ece.cmu.edu> silvus@vauxhall.ece.cmu.edu (Gregory Lee Silvus) writes:
>>In article <1992Apr8.124526.29352@sci.kun.nl> eerke@cs.kun.nl (Eerke Boiten) writes:
>>>>1. E  - *the* all-time classic rock chord, period.
>>>>2. A  - the chord that just begs to follow E.
>>>>3. B  - cuz no chord sounds sweeter after eight bars of E and A.
>
>  You see, this is why so much rock 'n roll is so boring. I-IV-V? You can do
>better than that.
>
>>There's one in every crowd. I think my favorite chords are (drumroll,
>>please):
>>
>>G
>>Eb
>>Cm
>>
>>Used in that order, of course. Anyone know where those are used?
>>(I'm sure there's more than one place.)
>
>  That's more like it! Sounds like "Wurm" from Yes' "Starship Trooper". Though
>I don't actually remember the exact chord types, the root motion is the same. 

Actually, Webb, it goes G Eb C. Playing a Cm chord would have made the solo
easier!

---Reno
-- 
********************************************************************************
**Matt Reno            ** Percy-"Ahh, the fashion today is towards the tiny." **
**msr@kepler.unh.edu   ** Edmund-"Then Percy you have the most fashionable    **
**M_RENO@unhh.unh.edu  **         brain in all of England."                   **
********************************************************************************
Xref: sparky rec.music.misc:14421 alt.rock-n-roll:10107 alt.music.alternative:3423 soc.culture.japan:3528
From: relph@presto.ig.com (John M. Relph)
Newsgroups: rec.music.misc
Subject: Re: ReRemakes
Date: 7 Apr 92 23:18:06 GMT
Distribution: usa
Organization: Space CUDets Int'l

In the referenced article, gtaylor@vme.heurikon.com (Gregory Taylor) writes:
>2. Can you think of a Remake of a given song which changed the way you
>heard the song ever afterward, even when done by everyone else? [that is,
>a song which put a kind of ambiguity in the song that you'd not heard
>before and fixed it so strongly that you tended to identify with the
>NEW version ever afterward as your internal "map" of the piece.

One of my recent favourites in this category is Cud's cover of Queen's
"Bohemian Rhapsody", from the _Alvin Lives in Leeds_ album.  They have
distilled a six minute long bobastic operatic rock masterpiece into
less than three minutes of hard pop.  The only things that survive are
one of the melodies, most of the lyrics, and the acapella bit in the
middle of the song which is reduced to around 10 seconds of whispering
and shouting "No no no no!"  Highly danceable, very energetic, and
quite imaginative.  Now every time I hear Queen do the original I have
to laugh and I can hear Cud's iconoclastic pop in my head.

	-- John

-- 
If you are interested in joining an XTC mailing list,
drop a line to chalkhills-request@presto.ig.com.
Newsgroups: rec.music.misc
From: tcw@kepler.unh.edu (Timothy C Webb)
Subject: Re: THREE GREATEST CHORDS OF ALL TIME
Organization: University of New Hampshire  -  Durham, NH
Date: Wed, 8 Apr 1992 15:18:20 GMT

In article <1992Apr8.144015.17286@fs7.ece.cmu.edu> silvus@vauxhall.ece.cmu.edu (Gregory Lee Silvus) writes:
>In article <1992Apr8.124526.29352@sci.kun.nl> eerke@cs.kun.nl (Eerke Boiten) writes:
>>>1. E  - *the* all-time classic rock chord, period.
>>>2. A  - the chord that just begs to follow E.
>>>3. B  - cuz no chord sounds sweeter after eight bars of E and A.

  You see, this is why so much rock 'n roll is so boring. I-IV-V? You can do
better than that.

>There's one in every crowd. I think my favorite chords are (drumroll,
>please):
>
>G
>Eb
>Cm
>
>Used in that order, of course. Anyone know where those are used?
>(I'm sure there's more than one place.)

  That's more like it! Sounds like "Wurm" from Yes' "Starship Trooper". Though
I don't actually remember the exact chord types, the root motion is the same. 
-- 
:::::::::::        ::::         ::::::   
 <<<<<<<<<<<      >>>>   >>>   >>>>>>    Tim Webb   tcw@kepler.unh.edu
     ????        ????  ?????  ?????    _________________________________
      ((((      (((( ((((((( (((((   
       ####    ########  #######       "The challenge is to chase the sound
        ||||  |||||||    ||||||      just to break away"   ---YES
From: gajarsky@pilot.njin.net (Bob Gajarsky)
Newsgroups: rec.music.misc
Subject: Re: SMITHS!!!!
Keywords: Address
Date: 6 Apr 92 14:48:06 GMT
Organization: Somewhere in Hoboken

the smiths mailing list.

gt7274c@prism.gatech.edu

it's been in existence for quite a while, formerly through kevin 
 kawado in california.  however, he will still be leaving school,
 i believe, and transferred the operation of the list.  it's still
 up and running, andyou receive a catalog once every so often -
 month or so?

and i believe the archives are available via anonymous ftp at 
 128.6.60.6  .  i'd also beleive they're available at dave
 datta's site, which i can't remember offhand.

- bb gaj
From: raivio@niksula.hut.fi (Perttu Raivio)
Newsgroups: rec.music.misc
Subject: Re: He can't dance/he CAN sing
Date: 7 Apr 92 13:04:03 GMT
Organization: BREWTeX - Wine, women and song

In article <tichbord.702571664@p4.cs.man.ac.uk> tichbord@p4.cs.man.ac.uk (Damian Tichborne) writes:
>
> By the way, he's [P.Collins] just bought a $5 million mansion
> in the States...

	Oh, and this is the guy who had the cute little video in which
he cried over the homeless people of America...

--

	K.P.Raivio - Helsinki U of T - raivio@niksula.hut.fi
	Ei fl|ittej{, ei niin dzoukin p{tk{{k{{n...
Newsgroups: rec.music.misc
From: akuma@netcom.com (Steven E Barnes)
Subject: Re: Iggy Pop
Date: Fri, 10 Apr 92 20:41:14 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 


>I don't know too much Iggy stuff, but Dog Food is a
>personal favorite.  Any listening suggestions for other great
>music by him?

My vote is for "New Values".  Lots of classic Iggy tunes.  For
some reason, it was still only available on import, last time
I checked.  "Funhouse" and "Raw Power" by the Stooges are also
classics.

-steve