HDTenEightyP/NetNews huggingface dataset:
Original_To:  ALLM
Original_cc:  OLIVOTTO
Newsgroups: bit.listserv.allmusic
Date:         Fri, 14 Aug 1992 11:20:00 N
From:         "OUT,
              OUT - YOU'LL NOT FEEL THE FALL-OUT..." <OLIVOTTO@ITNCISCA.BITNET>
Subject:      Thank you all for the info...

Guys,
        thanks for taking the time to give me some hints about Adrian Belew.
I now have some titles to find, I think... it may not be easy, but I'll try.
        Since I'm at it, I've been asked by several people how the VISA thing
is going here at TNR. I am utterly sorry to admit that we don't have this
facility yet - and though I don't despair I'm not sure it's going to be avai-
lable soon.
        You see, in Italy VISA is seldom used for mail orders (we're far
behind with respect to USA in this sense), and when we told them we wanted
to receive money in foreign currency (i.e. $) the guys at the central VISA
office entered a terrible logical loop -- and they haven't been able to break
through yet.
        Actually, I am moving my attention to American Express, but I think
that the ONLY way for those who are interested in our stuff now is the Postal
Order. Some of you did (thanks!) and had no problems. Some others had little
snags.
        I realise this may be annoying: thus, though in my newsletter I say
that we can't accept cash, I guess this rule may be broken -- if you want to
send green paper it's OK for now, we'll change it here. But, beware: if your
money gets lost we won't take any responsibility! It's based on trust, you
know... in the past people have sent $ and everything was OK, not even a cent
was lost -- this is also true anyway.
        If you need more info, please e-mail me (olivotto@itnvax.cineca.it)
and I'll be glad to give you more details.
        Some new listfriends may want to know where this talk about TNR comes
from... e-mail me, in this case too!

        Sorry for the non-musical posting, but I owed this explanation to the
millions :) who had asked...

        Ciao, Marco
Newsgroups: bit.listserv.allmusic
From: bt979@cleveland.Freenet.Edu (Jeff Preston)
Subject: Re: Jimmy Johnson / Flim and the BBs
Reply-To: bt979@cleveland.Freenet.Edu (Jeff Preston)
Organization: Case Western Reserve University, Cleveland, OH (USA)
Date: Sun, 23 Aug 92 08:18:46 GMT


In a previous article, MIKE@WVNVM.BITNET (Mike Karolchik) says:

>>  I see. Well, I have to admit that I'm not up on my Flim, but what
>>I've heard has been pretty good stuff. Perhaps you could point me to
>>the better recordings...?  I know t.l.g. is also into Flim -- maybe
>>he'll have more suggestions. Or different ones. Hey, there's a thought:
>>Flim Wars I!!  ;)

>Um, who me? Oh yeah, you're right... I do know a bit about them. Problem
>with F&BBs is that I like all of their albums so it's tough to make
>recommendations (other than "go out and buy all of their albums!").

  Oh great... *another* band I have to buy the entire catalog for!  :)
Sometimes I envy folks who can be entirely happy with the radio and/or
liMpTV. 

  But... not very often.  ;)

>To borrow from a note I sent previously to n.n.:

>      F&BB were the first band ever to be digitally recorded, or so
>   they claim in some of their liner notes. They experimented with
>   digital recording for 3M in 1977 and became dedicated to the digital
>   medium. The influence is clear in their jazz/rock music, which
>   characteristically uses a lot of dynamic range and abrupt changes.
>   Some of their songs are very far out, some are conventional, and
>   many are a mixture of both. The band always plays live, although
>   rarely in concert, directly onto 2-track digital tape. No fancy
>   overdubs or mixes.

  I still have that note stashed away in a directory somewhere... it
seems the longer I'm exposed to you people the more I seem to play "hide
the file."  :)  That's one reason I'm glad it's not all factual data on
Allmusic...

>For an interested first-time listener, I suggest the "Tunnel" and
>"Neon" albums as good starting places.

  "Hello, Noteworthy?  Yes, I need to commit financial suicide today.
Please send me the Flim and the BBs catalog, _fROMOHIO_ by Firehose,
anything by Tori Amos and the Coltrane _Live in Japan_ set. Oh, let's
heap a few Sharrock CDs on there, too. And... can I advance order the
upcoming Holdsworth CD, _Wardenclyffe Tower_ while I'm here?"

  Thanks for the suggestions, btw.  ;)

  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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Newsgroups: bit.listserv.allmusic
Date:         Tue, 18 Aug 1992 09:24:24 CDT
From:         Lee=Jenkins%Factory=Sup%Mfg=Hou@BANGATE.COMPAQ.COM
Subject:      re: RETRANS & OTHER TOPICS
X-To:         wotan!AUVM.AMERICAN.EDU!ALLMUSIC@twisto.eng.hou.compaq.com

From:           DMetcalf%IC-LOG@WALKER-LTT.ARMY.MIL
Subject:        RETRANS & OTHER TOPICS
Date:           Tuesday, August 18, 1992 at 7:33:58 am CDT

[...]
>GOOD point, Sonia... some of MY best musical/improv moments (while in NO way
>on the same level as a Cage or a Jimi) come when NO theory is applied...
>they just COME! & that's the way "I" prefer it!
>
>ZZAJ

hmmm.  i'm not sure you can make that kind of separation.  i mean, i dig what
you're saying about not making a cognitive effort (my interpretation of what
you said), but is that the same as not applying theory?  i've been in the
studio several times this last week and each of our jam sessions has produced
a new song.  they just formed, seemingly on their own, but i know that's not
true.  they are products of our sub-concious, an expression of something below
the surface.

see, all the music (and other experiences, for that matter) i've ever taken in
and all the theory i've ever learned is dancing around in my head every time i
pick up an instrument.  some of it is so much a part of me that i don't even
have to think about it to do it.  i've developed an intuative feel for what
kinds of things work for me and which ones don't.  this is what makes up my
particular style.  it is both liberating and constricting.  of course,
learning to see beyond what you know is a key to growth... but i digress.

look at it from the other way around:  let's say someone had great technical
skill but no theoretical background.  he picks up a guitar and... does what?
plays some notes, but... do they belong to a certain scale?  how long does
each note last?  is there a time signature?  are his chords the same kind you
or i might use, or are they totally random combinations of notes?  if he has
no musical experience to draw from, he won't have any idea how to even begin
to express an idea, much less put together all the ideas and emotions that go
into an entire composition.

or try this angle: i could write a program that plays random tones for
random durations, but is that music?  and even if i did write such a program,
it would have its own "theory" in terms of the range and distribution of
frequencies and durations.

please, this is not a flame!  it's really a compliment.  i think that when you
come to the place where music just comes to you naturally, it means you have
absorbed enough "theory" so deeply that you use it without thinking about it.
if you've ever learned a foreign language (with as much as you travel), you
know the breaking point that comes when you actually begin using the language
without thinking about it.  conjugating verbs and making the adjectives agree
is no longer a task in itself, and you communicate *ideas* without being
concious of the *media*, so to speak.


lee "trying not to be long-winded and failing miserably"
Newsgroups: bit.listserv.allmusic
Newsgroups: bit.listserv.allmusic
Date:         Wed, 19 Aug 1992 21:17:24 EDT
From:         Walter Keller <WK7@CORNELLC.BITNET>
Subject:      Nightclubs and Bonehead Neighbors

Hello again net: This post is inspiredby the shit that went down at one
of our local Ithaca,NY nightclubs/pizza restaurants in the area known as
Collegetown because of its proximity to Cornell.

Now Collegetown is known far and wide as being a noisy place to live; even
if there aren't any live bands playing the many bars' sound systems and the
people in them create quite a racket. Already this summer one club that
features an outdoor cafe patio area in the summer was forced by bothersome
neighbors to virtually eliminate any outdoor concerts this summer. I thought
that was bad enough, but then some twerp Monday night had the stones to call
the cops twice on an indoor club where the Blue Monday jam night is held.

I was having one of my better tries at a blues organ sound, and the collection
of musicians playing on stage at the time - 2 guitars, trombone, harp, drums,
bass, organ had just finished a long, slow basic 12 bar version of Stormy
Monday. All of a sudden there was a conference among the management and we had
to take 5. Manager/bass player dude who hosts the event said the cops had been
called twice by some unknown neighbor, and that if they came back again then
manager dude would be going to jail.

Now some people don't take this kind of shit lightly, and cries of lets start
the defense fund now and keep playing rang out from the crowd. Manager dude
said on stage that "we" would keep playing, but we'd have to play it quietly.
At this point friend/guitar player collaborater of 25 years dude tried to tell
his buddy to basically f**k those bastards and play on. Manager dude didn't
want to go to jail, and co-host guitar player stormed out, and the night was
over.

Now my point is this - what in hell do you expect when you move into a bar-
fested neighborhood??A week from now the students themselves will make more
noise than we did. And if you are a club of long standing and have live bands
often how the hell can the cops permit one little nimrod disrupt a whole lot
of other people's evenings, and hurt the business too. Isn't this what zoning
permits and the like are all about?? Is this shit legal do you think, or did
the cops just not know themselves, and figured what the f**k shut it down -'it
sounds like low down subversive electric guitar music to me, clem'. I'm obvious
ly pissed at the cops, but also at the manager/musician's lack of balls. And
yes, I've been to jail before, but not for playing the blues.

Thoughts?? Comments ?? Does this shit happen everywhere ?? I just hope we haven
't lost a great blues venue. ...fume ...steam ...growl ..............walt
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Newsgroups: bit.listserv.allmusic
Date:         Wed, 19 Aug 1992 13:41:30 EDT
From:         Sonia Kovitz <skovitz@MAGNUS.ACS.OHIO-STATE.EDU>
Subject:      just one note
X-To:         allmusic@american.edu

Re: improv--I especially like Russ's advice (which I would do well to take to
heart but it's hard to resist the nervous habit of playing too many notes when
you're feeling insecure about what you can do) about playing JUST ONE NOTE (but
make it a good one).  On that score (ha), here's a quote (you all must
realize I collect these, I certainly don't remember them)  from Cecil Taylor in
an interview in Keyboard (1985): "The attempt to make the one note in itself...
a universe."

Re: Rick's question: "Which came first?  The sounds or the printed notes?"  Now
that's wonderful!  Bach is a good example of a musician with the ability
both to improvize and compose "on paper" - Bach would have no problem with
Rick's question.

Re: Leonard's question, which two musicians would we like to see jam together?
I know I made a version of this comment earlier, but I'll say it again: Johnny
Winter and Bach would blow each other away, their long curls whirling around
their heads... truly, if Bach came back, he would want to play with Johnny, I
guarantee it!

Re: Marco: "Jazz was born from mistakes."  People would do well to remember
that.   On this subject: the word "error" comes from a root meaning to WANDER.
I.e. you'll never GET anywhere without errors...

 Re: Leonard's latest great post, "It's in him and it's got to come out."  If
that doesn't say it all when it comes to where this music comes from.... (in or
out, theory or chance, you name it)... John Lee's parents, I believe, were the
authors of this great wisdom and that's where I cast my vote.
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Original_To:  BITNET%"ALLMUSIC@AUVM"
Newsgroups: bit.listserv.allmusic
Date:         Fri, 14 Aug 1992 12:06:00 CDT
From:         CV01@SWTEXAS.BITNET
Subject:      One last thought before the weekend

   Regarding David M.'s question about Melvin Gibbs.  You can catch him in
the infamous Power Tools lineup (with Frisell, RSJ).  He's also on most (if
not all) of the RSJ and The Decoding Society stuff.

   We now return to you Allmusic -- which is already in progress.


      bye,
      cmv ("chuck")
Newsgroups: bit.listserv.allmusic
From: bt979@cleveland.Freenet.Edu (Jeff Preston)
Subject: Re:      Re: Help me create a FAQ file
Reply-To: bt979@cleveland.Freenet.Edu (Jeff Preston)
Organization: Case Western Reserve University, Cleveland, OH (USA)
Date: Sat, 22 Aug 92 12:47:43 GMT


In a previous article, bulm2533@hgc.edu (steven bulmer) says:

>OMC:  I am plying lounge lizard gigs this weekend at the Newport Resort
>and Marina....rich babe heaven.   "Hey I'm a pirate in my spare time...
>how about you ditch the old fart for an evening and screw around
>with me and my parrot?"

  The old parrot line, eh?  ;)

  Hey Carol!  Isn't this where we were supposed to catch the harbor
cruise from?  No, this was the place we left for Ft. Adams on the ferry,
right?  Am I the only one who wants to remember all of this?  :)

  But Steve --- are you making scale?  ;)

  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:         Wed, 12 Aug 1992 12:41:17 EDT
From:         Gary Hanley <ghanley@DG-WEBO.WEBO.DG.COM>
Subject:      Al DiMeola
X-To:         allmusic <ALLMUSIC@AUVM.AMERICAN.EDU>

	Well, I joined BMG again. They sent me a buy one - get so many
free offer, and I took it. Yesterday, my disks came in, and after the
first listen of one particular disk, I have to say that I am slightly
born-again to the jazz-guitarist style of music. The disk is Al DiMeola's
lastest, "Kiss My Axe," and I like it a lot!
	The last album I heard of Al's, was _Casino_, about ten years ago,
and unfortunately for me, I never picked up on his talents, mainly
because I was on a strict Rock & Roll diet back then. But now, I'm
glad I ordered this disk, and I hope to add _Casino_ to my collection
shortly.
	The other disk I ordered is:

New York Rock & Soul: Live at the (Uhhh, I forget). I'm going to see
this show at Great Woods soon, so I thought I'd better pick this up
and get an idea what to expect. Not bad, but not really exciting (at
this point anyway. Again, I've only listened to it once). I'm going to
this show to hear Steely Dan tunes, and if they don't play enough of
them, I'm sure it will be Montreal all over again!! :)

--
Regards,
    Gary Hanley
<ghanley@dg-webo.webo.dg.com>
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Newsgroups: bit.listserv.allmusic
Date:         Thu, 20 Aug 1992 14:07:32 CDT
From:         "Leonard Watkins" <ISTS024@UABDPO.BITNET>
Subject:      sinead

Just curious what are your thoughts on her STAR SPANGLED BANNER ordeal
at wherever she was performing. Would you have met her demands ?
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Date:         Thu, 13 Aug 1992 09:55:11 EDT
From:         Gary Hanley <ghanley@DG-WEBO.WEBO.DG.COM>
Subject:      Re: CD Splurgefest IX-XII (I'm gettin' lazy 8))
X-To:         ALLMUSIC@AMERICAN.EDU
              OUT - YOU'LL NOT FEEL THE FALL-OUT..." at Aug 12, 92 10:51 am

Marco say:

>        Hogarth, you say? Well, I didn't like much "Holidays in Eden", but
>he did a fine work on "Season's End". Fish was another thing, of course, mos-
>tly because his lyrics had something different.


	Here's an interesting tidbit for all you Marillion fans
out there. This was forwarded to me by one of my comrades here at DG
after I expressed an interest in Marillion and the quality of their
other albums after I had just bought Fugazi. Apparently, not many
people liked "Holidays in Eden" either.

> The results for the Marillion/Fish poll is here. 59 people voted,
> which is maybe a bit lower than I expected given that there is
> quite heavy traffic on Marillion and Fish at times. Anyway, thanks
> to all who voted. Next poll will be Elvis Costello.
>
> Total number of ballots: 59
>
>      TITLE                            POINTS   LISTED   FIRST   LAST
>      =====                            ======   ======   =====   ====
>   1. Misplaced Childhood                 879       57   18.75      2
>   2. Clutching At Straws                 666       58   11.25   2.25
>   3. Fugazi                              630       57   14.25   2.25
>   4. Script For A Jester's Tear          554       56    8.75      1
>   5. B'sides Themselves                   39       51       1      3
>   6. Real To Reel                       -107       39       1   4.50
>   7. Vigil In A Wilderness Of Mirrors   -132       46       0      2
>   8. The Thieving Magpie                -148       44       3   2.25
>   9. Internal Exile                     -311       35       0      0
>  10. Brief Encounter                    -508       23       0   2.50
>  11. Seasons End                        -694       50       1  13.25
>  12. Holidays In Eden                  -1144       43       0     24
>
> Not a surprising the result. I expected "Misplaced Childhood" to win,
> and hoped that "Fugazi" would do it. Maybe I'm a bit surprised to see
> "Clutching at Straws" coming in second, but as you can see the whole
> affair is very even. The four studio original albums with Marillion
> and Fish together are safe away from the rest. Some folks are maybe
> surprised to see "B'sides Themselves" rank so high. I am not. I think
> it is a good compilation.
>
> As for the opinion on Marillion's and Fish's career after the split
> the verdict is clear. None of them gain any real enthusiasm, but
> Fish solo albums at least has some respect, while "Seasons End"
> and particulary "Holidays in Eden" end up last.

--
Regards,
    Gary Hanley
<ghanley@dg-webo.webo.dg.com>
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Date:         Thu, 20 Aug 1992 13:44:00 EST
From:         gmgettie@THAMA1.APGEA.ARMY.MIL
Subject:      re: warning 1-liner
X-To:         allmusic@auvm.american.edu

>does anyone know the site that has all the gif's of musicians i got there
>once, but now i don't remember how.

 Geesh, Leonard, don't you write anything down?

But, hey this is definetly one of those FAQ's.

I believe it is at CS.UWP.EDU



Seeya,
Gary
Organization: Central Michigan University
Date: Thursday, 20 Aug 1992 12:58:27 EDT
From: <32GCHRG@CMUVM.CSV.CMICH.EDU>
Newsgroups: bit.listserv.allmusic
Subject: Re: Train Kept A Rollin

They havn't recorded it (unless its on a b-side) but
Skid Row has done it in concert many times.

                      Doc
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Date:         Fri, 14 Aug 1992 10:48:06 CDT
From:         "Leonard Watkins" <ISTS024@UABDPO.BITNET>
Subject:      Chet Atkins

I asked the ? about Chet so i thought i'd tell my thoughts he's
one of the greatest IMHO i was given front row seats at Chet show
(my wife kept refering to him as Chad Everet) he was a wonderful
entertainer as well as player. A album that is highly recommended is
C.G.P. the guest musicians include george benson,Mark KNopler,steve
lukather,and others i can't remember. Chet tried to enlist eddie
van halen but he was touring in eroupe , it has lots of jazz/rock
stuff lukather really shines. I read a story about the sessions and
chet and knopler would just sit on the back proch with cooler of
brewskies and jam their brains out. That would be the ultimate good
time to me, and mark said he could sit and play with Chet forever.
The band I'd prefer to have played in would be the Allman Bros or
someon like Etta James where i could just sit out of the limelight
and get off like a... like a..... a word carol would use.
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Newsgroups: bit.listserv.allmusic
Date:         Fri, 14 Aug 1992 16:29:36 -0400
From:         "Vincent P. Cocco" <cocco@CMPSCI.SUFFOLK.EDU>
Subject: Subject: Getting off this list.
X-To:         allmusic@american.edu

I need to sign off this list.  What is the full name address of the listserver
that I send a "sign off" command to?
Thanks,
Vin.
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Date:         Thu, 13 Aug 1992 08:33:50 EDT
From:         Gary Hanley <ghanley@DG-WEBO.WEBO.DG.COM>
Subject:      Re: come monday
X-To:         ALLMUSIC@AMERICAN.EDU
              "U19807@UICVM.UIC.EDU" at Aug 12, 92 5:24 pm

Chris said:

>O.M.C.: Since one of my least favorite "musicians"-Michael Bolton-is coming
>to Chi-town to howl in his usual castrato fashion, I'd like to know if any-
>body has info concerning that lawsuit one of the Isley Brothers filed con-
>cerning his rip of "Love Is a Beautiful Thing". If he hasn't settled out of
>court,does anybody know (A) when the case is supposed to happen and (B)
>what the stakes (as in the amount of $ being sued for) are?

	Sorry, no info here on the suit, but yesterday's Boston Herald
had an interesting article about how his fans love him, and the critics
hate him. Personally, I usually will take the fans side over the critics,
but in this case, I have to make an exception. I don't have the article
handy, but the basic argument about Bolton (which I very much agreed with)
is that he exaggerates the emotions in the songs he covers, to the point
were it becomes a burlesque. Bolton's singing (whining) has always
brought me close to the point of regurgation, and it really annoys me
to see him win any kind of award when more deserving artists are
ignored.

--
Regards,
    Gary Hanley
<ghanley@dg-webo.webo.dg.com>
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