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Date:         Wed, 11 Nov 1992 14:38:46 +0000
From:         "OUT,
              OUT - YOU'LL NOT FEEL THE FALL-OUT..." <OLIVOTTO@ITNCISCA.BITNET>
Subject:      Re: Peter Gabriel Revisited

>From: Ilia <CC29@IONA.BITNET>
>Subject: Peter Gabriel Revisited

>I have a version of "Here Comes the Flood" on Robert Fripp's _Network_,
>which I suspect to be a compilation. Does this song appear on any
>of Gabriel's albums?

        I don't know _Network_, but I suspect that it's the same version
appeared on _Exposure_, by Fripp. I can't remember the year when it was
issued, but I guess it was around 1978-79.
        Peter Gabriel's second album, in fact, was supposed to be part of
a trilogy which would include also Fripp's _Exposure_ and Daryl Hall's solo
album _Sacred Songs_.
        For several reasons, Hall's work got frozen and it appeared only in
1981, I think.
        The only intersecting area of the three works was Fripp's presence,
in those days he was deep into Frippertronics (not elaborating about this now,
ask if you don't know what it is). There was this curious exchange of songs,
anyway: Gabriel has "Exposure" on his second album, and Fripp has "Here Comes
The Flood" on _Exposure_. Hall stood aside and watched, even though he had
"Urban Landscape" by Fripp on _Sacred Songs_ (which is a marvellous record
everyone should have, IMHO).
        The version of "Here Comes The Flood" appearing on _Exposure_ is
far more minimalist than the original one, on PG's 1st album (and I can
believe this -- even a metal band would be more minimalist than Bob Ezrin!).
Gabriel often said *that* was his favourite version, and everytime I've at-
tended one of his shows he played it with piano and voice only. Much better
than the baroque and heavy arrangment of his first record.

        The ending point of it all was, as everybody knows, that Fripp pro-
duced PG's second album, and that's possibly the worst production of his
career.

        Also, for fans: in the tour that supported PG's 1st release, Fripp
actually was on guitar on most shows. He played behind a wall of amps, hid-
den from the audience, and was introduced as "Dusty Road". No-one ever men-
tioned his name. And several people are ready to swear he was absolutely
crappy too. But those were the years when he even convinced EG Records to
sign up a sugar-and-plastic artist like Toyah (anyone remembers?), whom he
later lived [=slept!] with, and THIS was a sensible move, believe me -- but
that's another story! :)

        Ciao, Marco
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Date:         Thu, 12 Nov 1992 01:35:47 -0500
From:         mjferzig@MIDWAY.UCHICAGO.EDU
Subject:      Re: A Capella and teleology

>Marsha (Jann and Cyndi's sister) asks about Todd Rundgren's
>"A Capella".  Well, it's technically a capella (have I changed to
>spelling it right or have I changed to spelling it wrong?) in
>that all the sounds are made by Todd and his body (mostly voice).
>However, some of the sounds are recorded into a sampler and
>then frequency-shifted, processed and so on.
>

The spelling is a cappella. I'm positive. That's according to the Harvard
brief dictionary of Music, and three or four album covers....

>There are a few genuine a capella tunes, though (the best ones IMHO):
>Mighty Love is from this album, but Hodja, Johnny Jingo and Pretending
>to Care(?) are also the genuine article and are even better.  The last
>one in particular is just heart-meltingly good.  There's also one
>kinda disco song (almost Bee Gees, but good) that if you'd never
>played with a sampler you'd swear had all kinds of instruments on
>it -- Something to Fall Back On.  I generally fast forward over the
>song if somebody else is in the car because I don't want to be
>caught liking it so much.  What can I say?  There's some trash
>out there that just seems to have your name on it and it's gonna
>get ya.
>
>Anyway, it's still in the dollar bins, and definitely worth it.
>Get this puppy!
>

I'll try ot get it...sounds fabulous! Has it been put out on CD?

Marsha
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Date:         Sun, 8 Nov 1992 20:50:00 EST
From:         CORV7402@SNYPLAVA.BITNET
Subject:      ROCK AND ROLL

        Musicians today don't play with the same enthusiasm as they once
did.  With innovations in instruments you would think that they would be
better, but no guitarist plays like Jimmi Hendrix or Jimmy Page ever did.
Do you think that there will ever be a four man band as great as Led Zeppelin
?  Also bands seem to be playing for the money rather than for their fans.
TAke Guns-n-Roses for example.  APPETITE FOR DESTRUCTION was one of the
best albums I've ever heard and then USE YOUR ILLUSION 1&2 come out and they
have a totally different sound to them.  Why do you think that is?  I think
the only true band still playing today is THE GRATEFUL DEAD.  Don't you
agree that if more bands were like them the world of music would be so much
better today?
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Date:         Thu, 12 Nov 1992 15:11:15 -0500
From:         mjferzig@MIDWAY.UCHICAGO.EDU
Subject:      Re: I bought a marimba yesterday!

>From:         mjferzig@MIDWAY.UCHICAGO.EDU
>Subject:      Re: What Makes It This or That
>
>> a cappella - singing without accompaniment of melodic instruments.
>
>Originally this meant "chapel style," and referred to the practice of music
>for a homogenous group: all viols, or all krummhorns, or what have you. It
>became "all voices" as a relatively modern usage.
>

OK, Bloomdido - as i believe they call you...

From the Harvard Brief Dictionary of Music...

A cappella (ah ka-PEL-a: It., in or for the chapel). Designation for choral
music without instrumental accompaniment. Originally the phrase referred to
unaccompanied church music such as was written in the 16th century by
Palestrina. Today it is used for all unaccompanied choral music whether
sacred or secular.

Unless oyu have a different definition of "modern" than I do, I don't know
what you mean here. As far as I know, the term was never used to refer to
anything but voice. Of course, today it's been corrupted by that horrible
thing called a beat-box....

MArsha
From: ST402711@BROWNVM.BITNET (Tim Johnson)
Newsgroups: bit.listserv.allmusic
Subject: Re: Nice Mouth!
Date: 6 Nov 92 01:38:44 GMT
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Daron says:
>                                   "Homos are shun in the bible and the
>                                          church"

  Well, apart from the fact that this isn't even true,
the bible also condemns bigotry and hatred, and commands
you quite clearly to love your neighbor.  We'd take your
references to the bible more seriously if you made some
pretense of buying into the bigger picture.  After all,
even Satan can quote scripture for his own purposes, eh?

                                            -Tim

                                 "Daron is shunned in educated company"
From: USTS060@RUST1.DPO.UAB.EDU (Dave)
Newsgroups: bit.listserv.allmusic
Subject: Re: Nice Mouth!
Date: 5 Nov 92 22:51:31 GMT
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Priority:     normal
X-mailer:     Pegasus Mail v2.3 (R4).

The Holy Rolling High Priest said:

> Hey, Rev. Dave, I think I may have flamed this guy when he was
> talking about you.....
> .............And I'm seriously upset that the witty redhead
> (whose name will come to me after I mail this, to my everlasting
> shame) hasn't come to me for some pastorly advice before embarking
> on the dangerous dating game.  Surely you meant "Are you Jewish or
> SubGenius", didn't you?
    It's a real shame ain't it?  I mean, everyone knows that, we as
members of the Holy Order are imbued with Divine Powers...;-)>
======================================================================
Rev. Dave Hall                |  "We are all born mad.  Some remain
usts060@rust1.dpo.uab.edu     |   so."   -- Samuel Beckett
======================================================================
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Date:         Fri, 6 Nov 1992 08:24:37 +0000
From:         "OUT,
              OUT - YOU'LL NOT FEEL THE FALL-OUT..." <OLIVOTTO@ITNCISCA.BITNET>
Subject:      Re: Lyric Request

>From: pv <055412@UOTTAWA.BITNET>
>Subject: RE: Lyric Request

>Here are the lyrics requested:
>
>And So It Goes...
>[...nopleasenotagain...]
>And so it goes, and so it goes
>and you're the only one who knows.

        Not qute, pv... we're about 200 who know out here, since it's the third
time this get posted :) :).
        ALLMUSIC, usually, doesn't send a copy of the message back to the sen-
der -- at least by default. So, don't worry, your message gets through -- loud
and clear.
        Very good lyrics, anyway... :)

        Ciao, Marco

P.S.: horrible the doubt creeps in... or is MY mailer sending me a copy of
      this song a day?!? X-|
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Date:         Wed, 11 Nov 1992 22:56:46 -0500
From:         mjferzig@MIDWAY.UCHICAGO.EDU
Subject:      New voice...

Dearest ALLMUSICkers...

I just want to let you know that I am really happy about a new person in
our net family....(at least there's someone newbie-er than I...). Seriously
- my friend Randy Goldberg, who i went to school with undergrad, is on now.
He's also a big a cappella fan, so now I have a kindred spirit!!!! By the
way...have any of you potential fans gotten your tapes yet? I wanna know if
you like em!!!

Marsha
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Date:         Thu, 12 Nov 1992 08:23:40 EST
From:         Ken Koester <MAINT2@ERS.BITNET>
Subject:      Re: Martin Luther
              11 Nov 1992 15:35:45 EST from <SCOTH@WMVM1.CC.WM.E DU>

On Wed, 11 Nov 1992 15:35:45 EST Scott Hammer said:
>Meant to post this yesterday, but didn't the chance.  Yesterday (Nov. 10)
>was the 509th anniversary of the birth of Martin Luther (b. 1483).
>
>OMC: Luther wrote the words to "A Mighty Fortress (Ein Feste' Burg)."
>     Did he also write the music?
>
I'm fairly certain he didn't.  I think the melody might have been a common one
that he appropriated.  However, cum grano salis.

>OLC (Obligatory Linguistics Content): "Mighty" is actually a poor translation
>    of "feste," which is a direct cognate of English "fast," as in to fasten,
>    or to make secure.  However, "mighty" has the advantage of having two
>    syllables.
>
Well maybe in 1517 it was a cognate, but "strong" (or mighty) is a better
choice for 1992, methinks; if I talk about making something fast, I'd better
be on the sloop, or Carol, Sonia, and Marsha are gonna get the wrong idea :-)
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Date:         Thu, 12 Nov 1992 08:11:57 CST
From:         "Leonard Watkins" <ISTS024@UABDPO.BITNET>
Subject:      Re: Studio demo

On Wed, 11 Nov 1992 23:07:42 EST <WK7@CORNELLC> said:
>Heh man, good luck and good vibes ! My would-be blues band is still stuck
>in stupid practice space/working schedules/personnel bullshit. I'm getting
>re-pissed off. So I wish you all the best. My next move is to nail down a

I have the same problem, we're gonna get a calender mark the practice days
engrave it in stone and stick with it, i'm real pissed and fixing to give up
on them and start over with someone else.


>owner and prospective gig-payer just told me tonight she's laying off the live

We have open invitations to play at alot of very good clubs in town, but we
have trouble getting everyone together enuff to where we all feel comfortable
playing.....I'm always ready to play somewhere whether we practice or not
so i tend to sit in, with alot of people...just to get my rocks off

...........................................L.W.
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Date:         Thu, 5 Nov 1992 10:33:00 EST
From:         gmgettie@THAMA1.APGEA.ARMY.MIL
Subject:      Bob Marley Box Set

Forgive for not paying more attention to the previous discussion on this
topic...

I can buy the Bob Marley box set for $34.99 at Price Club. This seems like an
excellent price for a 4 disc set.

Do I need this set? I have _Legend_ and love every note on it, but is there
*that* much Bob Marley out there that is worth getting?

This set seems to be jam-packed, there are 24 songs alone on disc 1.

If I'm a good boy, maybe Santa will bring it for me this year.

Seeya,
Gary
"It does not matter if you fall down as long as you pick up
 something from the floor while you get up."
From: TBUCK@KNOX.BITNET (SOUND CAN WASH CLOTHES)
Newsgroups: bit.listserv.allmusic
Subject: Miles video: THEY DO NEFFERTITI!!!!!!
Date: 5 Nov 92 19:12:00 GMT
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Original_To:  @ALLMUSIC,TBUCK

This is the GMaW of the year!!! I haven't had but two minutes to sample the
tape, but I'll be damn if the second tune they do is my beloved Neffertiti!
And unlike the studio version, Miles starts the head, not Shorter. The
sound quality is very good (no worse than a third generation dub of an
audio tape) and the video quality is not bad at all. For those of you who
are completely lost, let me explain....

About a week ago I mail-ordered a bootleg videotape of Miles Davis live
in 1966 and 1968, taken from two German television broadcasts, two hours
long. I just got the tape today, and WOW!!!

I'll report in full later tonight. I'm in heaven!!!

                                             Tom "Buck-Naked" Buck
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Date:         Sun, 8 Nov 1992 23:21:53 EST
From:         Ilia <CC29@IONA.BITNET>
Subject:      ROCK AND ROLL

Mister X says:

>         Musicians today don't play with the same enthusiasm as they   ce
> once did.                                                             be

I am tempted to make a commnet here about the generality of the
above statement. So, you mean that a pianist playing Shopin does not
acieve the same level of performance as he did twenty years ago? :)

> With innovations in instruments you would think that they would
> better, but no guitarist plays like Jimmi Hendrix or Jimmy Page ever did.

Well, I am no guitar-guru, but it seems to me that many-many guitarists
play *like* Hendrix and Page. If none of them reaches quite the same
level, it is their problem, but would it be kinda boring if Hendrixes
reappeared in every generation?


> Do you think that there will ever be a four man band as great as Led  eppelin
> Zeppelin?                                                             ans.

Dunno. But if there would, they'd have to be different. I mean, there
cannot be a second Led Zeppelin (only a Dread form of it). If there
appeared a band of four people playing like Zep, and as good as Lep,
they would most likely instead of fame and fortune get accusations of
plagarizm.

> Also bands seem to be playing for the money rather than for their f
> TAke Guns-n-Roses for example.  APPETITE FOR DESTRUCTION was one of the
> best albums I've ever heard and then USE YOUR ILLUSION 1&2 come out and they
> have a totally different sound to them.  Why do you think that is?  I think
> the only true band still playing today is THE GRATEFUL DEAD.  Don't you
> agree that if more bands were like them the world of music would be so much
> better today?

I would agree that many bands that started pretty good seem to change
their way in order to get something to eat. I wouldn't use Greatful Dead
as a counter-example, though. First of all, I think noone has to worry
about The Dead's wealth - they get their share playing what they are
playing. Second, I think that staying within an established succesfull
form is to some extend another way of going along with music
industry laws - it is a very secure form of a existance. Just MHO.
              Ilia.
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Date:         Wed, 11 Nov 1992 07:56:22 CST
From:         "Leonard Watkins" <ISTS024@UABDPO.BITNET>
Subject:      Lion Sleeps Tonite

Who recorded Lion Sleeps Tonite.......I believe Johnny Nash recorded it
but i don't think he was the first anyone know........L.W.
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Date:         Wed, 4 Nov 1992 14:48:36 EST
From:         Tim Johnson <ST402711@BROWNVM.BITNET>
Subject:      Re: Wrap ourselves in The Constitution

>> >I have the ability to kill you....
>> >I, however, in our society, don't have the
>> >right to kill you.  Does this mean I can kill you anyway?

>> Well, Chris, as a matter of fact, it does.
>> Is that not clear to you?

>No, it is absolutely not.  The use of the word "can" does not
>refer to my ability to actually take action.

  Hmmm.  Maybe so.  But, in *English*, the use of the word
"can" does exactly refer to your ability to actually take
action.  Perhaps we should agree to what language we are
speaking, first.

>The answer to that
>question is "No, I can't" because there are rules which this
>society has dictated....

  I see.  Translated into standard English, you mean:  "The answer
to that question is 'No, I may not' because there are rules which
this society has dictated, and I accept society's authority to make
such rules."
  Which is, you see, clearly not the same thing.
  Which is not even to address the question about whose society and
what society has authority on this list.

>Sure, take the action, but be prepared to give something up in return.

  When you wrote this line, did you ever stop to ask yourself "well,
how can I go ahead and take the action, prepared for the consequences,
if I cannot take the action?"

>For a variety of reasons, one of which is to keep peace and order
>we have, as a community, agreed to certain standards. When you
>subscribe to a public list and indeed, even USE the internet,
>you are implicitly binding yourself to a code of conduct which has been
>agreed on by the community.

  Explicitly, then, I hereby disavow my acceptance or
participation in any such implicit agreements about
standards of behavior established by some amorphous
community of users.  I am the Electronic Anarchist.  Power
to the People, baby.  You have nothing to lose but your
chains.

  And, yeah, words are important.  Write clearly, think
clearly.  Know what you are saying.  Rhetorical nirvana.
Use the right words for the right job.

                        -Tim"a penny saved is a penny earned"J
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Date:         Wed, 4 Nov 1992 18:05:16 EST
From:         Rick <MMLRICK@UBVM.BITNET>
Subject:      Re: Public Enemy

Mike rationalizes why Public Enemy, well, uh, is called Public Enemy:
>
>I'd just like to say that there are excepted standard morals.  Public
>Enemies morals do not coincide with those morals.  You by their music.
>They become more famous.  They become figure-heads.  Kids idolize them.
>Our world turns upside down.
    Well, I'm trying to resist commenting on the twisted meaning caused by
 your unintentional spelling error, because I know that it's a cheap shot and
 all that ... can I hold out? ... uh oh, here it comes--- Gee, Mike, you say
 there are excepted standard morals? Me too - I've always had an exception
 to them!! ...There. I had my little fun. Now back to the accepted
 standard morals.                                         --------
     How are Public Enemy all that much different in their confrontability,
from, say, Jefferson Airplane, The Fugs, the Sex Pistols, Guns 'n' Roses,
Billy Bragg, Joan Baez, Pete Seeger, The Clash, Ruben Blades, and Fela Kuti,
to throw out a sample? OK OK, before I get bombarded with charges of my
oversimplification, let me, well, oversimplify even more. (Christ, did I say
Guns 'n' Roses back there??? OK, strike them.)
    "Ah", you may respond, "PE advocate the slavery of the white race for the
         next 100 years and the others don't."
    "No no no! That's not the point!" I splutter. "The point is can you apply
         this 'accepted standard morals' gambit in your condemnation of PE
         and let the other musical acts off scott-free, even though they too
         have been blasted by people who've had their feathers ruffled by the
         messages put forth, and who are scared of the dire impact that the
         music will have on the legions of impressionable youth who buy the
         records?"
             (at which point I step down from the podium and I put down that
              pointer for God's sake before I poke somebody's eye out.)

  As far as the world being turned upside down as a result of buying Public
Enemy records, uhhh... heh... heh heh A HA HAH AHAHAH HAH AHAHAAH... uh. whew.
*ahem* Sorry Mike for losing it for a second. I'm not laughing AT you, I'm
laughing WITH you.
Rick
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Date:         Fri, 13 Nov 1992 08:58:16 MEZ
Comments:     Resent-From: Hosko <RMCB@DLRVM>
Comments:     Originally-From: "The Chrome-Plated Megaphone of Destiny"
              <ALEVIN@RCNVMS.RCN.MASS.EDU>
Comments:     Warning -- original Sender: tag was ALLMUSIC@AUVM
From:         Hosko <RMCB@DLRVM.BITNET>
Subject:      RE: Errmmm....CBMSTW

>>From:         SWELTON@ESOC.BITNET
>>Subject:      Re: Errmmm...CBMSTW
>>
>>> Can White Men Sing The Blues is by....um..it's on the tip of my tongue...
>>
>>Bonzo Dog Band.
>
>Yeah. I'm the Urban Spaceman.
>
>-Adam Levin

'Can Blue Men Sing The Whites' was written by Viv Shanshall (you know, the
voice at the end of 'Tubular Bells' who introduces the various instruments)
and recorded by The Bonzo Dog Doo-Dah Band. BTW, 'I'm The Urban Spaceman'
was produced by Paul McCartney, but under what pseudonym?

Hosko
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: What Makes It This or That
Organization: Educational Computing Network
Date: Thu, 12 Nov 1992 14:18:30 GMT

In article <92316.193958MMORSE@YORKVM1.BITNET> MMORSE@YORKVM1.BITNET writes:
>The process of creating and using labels for genres always amazes
>me. Why, do you think, do we have such a need? Most of us decry it,
>especially when *asked* to define or defend, but it seems we all
>indulge it; as if there were some point to it. What is it?

Labels are used when you want to distinguish one style of music from
another.  When it is necessary to do that, labels are required.
On the other hand, the music is always changing, but labels don't.
Sometimes people can't hear the music because they cannot put it in the
category they think it should fit.

Jeff
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