HDTenEightyP/NetNews huggingface dataset:
From: piscine@rs1.tcs.tulane.edu (Mike Taylor)
Subject: Re: Question for all
Organization: Tulane Museum of Natural History
Date: Wed, 16 Dec 1992 18:53:16 GMT
Nntp-Posting-Host-[nntpd-17216]: rs1.tcs.tulane.edu

> Motto for the day: Progressive listeners should be progressive
> thinkers!! Listen to everything and anything with an open mind!

Who says we don't?  Just because we may not like something doesn't mean we
haven't listened with an open mind.

Mike

      /-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=(*)=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-\
      ^ Mike Taylor                  <->                  rolyaT ekiM ^
      ^ piscine@rs1.tcs.tulane.edu   <->   ude.enalut.sct.1sr@enicsip ^
      \-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=(*)=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-/
Newsgroups: alt.music.progressive
From: gershbei@alexia.lis.uiuc.edu (Michael Gershbein)
Subject: Re: Art of Noise (first album)
Organization: University of Illinois at Urbana
Date: Sat, 12 Dec 1992 21:34:51 GMT

In <1992Dec11.085249.19825@rs6000.cmp.ilstu.edu> ejhupper@rs6000.cmp.ilstu.edu 
(Eric Huppertz) writes:


>What was the song the Art of Noise did somewhere in the neighborhood
>of 1983, where the video had them going around in circles attacking
>a piano with chainsaws and a little girl with make-up on saying "Hey"?

>-e.
>-- 
> _|_|    _|_|  _|  _|_|_|      Eric J. Huppertz     ejhupper@ilstu.edu
>_|_|_|  _|         _|          =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
>_|      _|     _|  _|          "Don't you have anything better to do?"
> _|_|   _|     _|  _|_|_|      "Yeah--but I ain't doin' it right now."

"Close to the Edit" from Who's Afraid of...  Directed by Zbigneiw something or
other (he did a similar Yoko Ono video)
Mike Gershbein
Newsgroups: alt.music.progressive
From: kbibb@maui.qualcomm.com (Ken Bibb)
Subject: Re: Twelfth Night
Organization: Qualcomm, Inc., San Diego, CA
Date: Sat, 19 Dec 1992 04:00:09 GMT

In <1992Dec18.210811.27453@trentu.ca> hhillman@TrentU.CA (teapot) writes:

>Does anyone know what Twelfth Night has been up to lately. I saw them many 
>times in the early 1980's. _Fact & Fiction_ was a fantastic album as was 
>the live _Live and Let Live_. I know Geoff mann left and was replaced by 
>Andy Sears who sang on _Art & Illusion_. 
>Where are they now????

Sears was also on _XII_.  There was a recent compilation, _Collector's
Item_ which is really good.

Besides Geoff Mann's Eh Band, I think a couple of the band members
went off to Cinema which recently released an album.

-- 
Ken Bibb                "he heard the snow falling faintly through the
kbibb@qualcomm.com	 universe and faintly falling, like the descent of
jester@crash.cts.com     their last end, upon all the living and the dead."
				--"The Dead", James Joyce
From: ding@sizzlean.berkeley.edu (Howard Ding)
Newsgroups: alt.music.progressive
Subject: Re: Who mattered in Yes
Date: 11 Dec 1992 18:44:31 GMT
Organization: U.C. Berkeley Math. Department.
NNTP-Posting-Host: sizzlean.berkeley.edu

In article <1992Dec11.132906.12307@cs.unca.edu> mcmahan@cs.unca.edu (Scott McMahan -- Genesis mailing list owner) writes:
>Ashley Edward Collins (moleface@next05cville.wam.umd.edu) wrote:
>: >      Are you sure that it was Kaye's decision for him to leave?  Bruford
>: > has said in interviews that Yes wanted to upgrade the skill of the
>: > musicians in the band.  Hence, they axed Peter Banks in favor of
>: > the more-skilled Steve Howe, and then axed Kaye in favor of Wakeman.
>: >      C. Perttunen   
>I don't think skill was the problem -- Kaye is classically trained,
>and he *did* knock himself out on the Yes Album. I think it must
>have been a large combination of things. I thought Yes
>wanted to upgrade the keyboard *equipment*, not the player (they didn't
>get Rick until the day before they went into the studio for fragile,
>so I don't think it mattered *who* the keyboard player was, all the
>songs were written!).
>Scott
In Yes:The Authorised Biograpy, two primary reasons are
given:
1) The rest of the group felt that Kaye didn't want to use a 
   lot of the new keyboard technology that was becoming 
   available, preferring the (Hammond?) organ primarily.
2) They were annoyed that Kaye consistently played in concerts
   with one of his hands sticking up in the air, and thus not
   on the keyboard (which of course he still does), and were
   looking for someone who would use both hands.

The feeling given by this book is that Squire was the main
motivating force behind getting rid of Kaye, although Anderson
did the hatchet work.

I'd just like to clarify that I am in no position to evaluate
the truth of these speculations; this is just the feeling that I 
got from reading the book.

Howard Ding
ding@math.berkeley.edu


Newsgroups: alt.music.progressive
From: kalang@cbnewsk.cb.att.com (kenneth.lang)
Subject: Re: Question about Curved Air
Organization: AT&T
Date: Wed, 16 Dec 1992 14:25:27 GMT

In article <KERS.92Dec15091829@cdollin.hpl.hp.com> kers@hplb.hpl.hp.com (Chris Dollin) writes:
>In article ... kalang@cbnewsk.cb.att.com (kenneth.lang) writes:
>
>   In article ... chrisley@oxford.ac.uk (Ronald L Chrisley) writes:
>   >Has the song "Everdance" ever appeared on a Curved Air album (if so,
>   >it's probably the same one as "Back Street Luv" appears on).
>   Yes. Everdance and Back Street Luv appear on:
>   Curved Air - Second Album,  released 1971. I have it on vinyl and its pretty
>   good. 
>
>``Pretty good''? I'd rank it as the definitive Air album. Checking someones


I must admit I haven't listened to it in quite some time. However, didn't they
release an album called Phantasmagoria or something like that which is 
considered by critics to be their best work ?



-- 
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
**    Ken Lang                                              AT&T          *
*"The dust blows forward and the dust blows back on the toads of the      *
* short forest and every newt in Idaho."- A sampling of Don Van Vliet & FZ*
Newsgroups: alt.music.progressive
From: malcolm@wrs.com (Malcolm Humes)
Subject: Re: Art Bears
Organization: Wind River Systems, Inc.
Date: Wed, 16 Dec 1992 18:11:21 GMT

rafem@gvlf7-e.gvl.unisys.com (Ralph Marrone) writes:

>I've never heard any of the Art Bears music and I was wondering 
>if their _Hopes and Fears_ CD on Wayside/Cuneiform is a good 
>introduction to their music?  All I know about this CD is that
>Fred Frith and Dagmar Krause are on it.  Opinions anyone?

Hopes and Fears was I think written and intended as a Henry Cow lp
but I think Hodgkinson didn't want to participate and Henry Cow fell
apart and Frith, Cutler and Krause went ahead and recorded the music
anyway. As such it's closer to Cow than the later Art bears stuff, which 
tends to rely more on studio manipultaions and improvisation. I think
Hopes and Fears is pretty good, and Dagmar's voice seems a little toned
down compared to In Praise of Learning - I think I find this release
a little more laid back than that and a bit less driving and intense
as some of the chaos on Winter Songs. Which maybe makes it a bit more
pleasant to listen to. If you like the Cow stuff with Dagmar you'd 
probably enjoy this. If you've never heard Dagmar's voice (it's too 
much for some friend's of mine to handle) then this is probably a 
good place to start.  

  - Malcolm 
Newsgroups: alt.music.progressive
From: kbibb@maui.qualcomm.com (Ken Bibb)
Subject: Re: Peter Hammill & VDGG
Keywords: The thin one, VDGG
Organization: Qualcomm, Inc., San Diego, CA
Date: Sat, 12 Dec 1992 19:45:54 GMT

In <3495@accucx.cc.ruu.nl> schmitt@accucx.cc.ruu.nl (M.J.M.Schmitt.) writes:

>Hi there folks on the net,

>This is a plea to send all the information you possibly have on Peter Hammill   and Van der Graaf Generator (VDGG). I Mean material like interviews, Reviews etc. Particularly I'm looking for things about the early VDGG (that's 1969-1978) and especially people who might have seen them live in that period.
>Also I would be interested in getting a copy of the two books PH wrote. One is called Angels, KIllers, Refugees. The title from the other one has escaped my mind.

I would suggest subscribing to ph7-request@bnf.com (this is the Peter
Hammill/VdGG mailing list).  To subscribe, send a message with:

subscribe PH7 M.J.M.Schmitt

as the only text in the message.  If you have problems subscribing, send
email to ph7-owner@bnf.com

Enjoy!

-- 
Ken Bibb                "he heard the snow falling faintly through the
kbibb@qualcomm.com	 universe and faintly falling, like the descent of
jester@crash.cts.com     their last end, upon all the living and the dead."
				--"The Dead", James Joyce

Newsgroups: alt.music.progressive
From: piscine@rs1.tcs.tulane.edu (Mike Taylor)
Subject: Re: Question for all
Nntp-Posting-Host-[nntpd-17925]: rs1.tcs.tulane.edu
Organization: Tulane Museum of Natural History
Date: Fri, 18 Dec 1992 13:25:44 GMT

Thus quoth the Raven ...

|> Motto for the day: Progressive listeners should be progressive
|> thinkers!! Listen to everything and anything with an open mind!
|
|Who says we don't?  Just because we may not like something doesn't mean we
|haven't listened with an open mind.

JF> Can we make this the motto for the day instead?

You betcha!  =8)  If I were to have a "pet-peeve," this would be it.  I've been told a few times that I haven't listened with an open mind when I didn't like something.  

I may not have the widest tastes, but my classical collection runs from Baroque (Bach, Haydn, Handel, etc), through Gliere, Bartok, Elgar, into Stravinsky and Kronos Quartet.  Jazz (not as varied) runs from Davis (his entire career), Coltrane, three of the Marsalises (Marsali? =8), Coleman, the whole fusion scene, and is currently expanding into the British jazz arena.  And the progressive rock covers symphonic, space, chamber music from hell, psych, and a whole bunch more.  Then there's the standard blues

-rock, such as Vaughn, Clapton, Allman, ZZ Top, etc.  A lot of space in there for a "closed mind."


Mike

      /-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=(*)=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-\
      ^ Mike Taylor                  <->                  rolyaT ekiM ^
      ^ piscine@rs1.tcs.tulane.edu   <->   ude.enalut.sct.1sr@enicsip ^
      \-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=(*)=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-/
From: borella@cs.ucdavis.edu (Mike Borella)
Newsgroups: alt.music.progressive
Subject: The Melodically Challenged
Date: 11 Dec 1992 17:16:10 -0600
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu


>Steve Monroe (v035550@stortek.com) wrote:
>: But, I think that I would take issue with your "random notes" comment.
>: I have recordings of everything that Emerson has done.  I honestly don't
>: know where you get this: which tune? which recording?
>I've listened to In Concert and a King Biscuit show.
>It's just the impression I get.

Emerson's playing is fairly structured in ELP.  Listen to the Nice
live stuff to hear Emerson's improvising and general weirdness.

>: Tony Banks restrains himself because he is incapable of doing otherwise.
>: He simply does not posess the keyboard prowess to be "excessive."
>That isn't true at all -- listen to the Lamb some time. Or any Genesis
>record. If that doesn't convince you, listen to someone *else* try
>to do the Lamb. (Like on Gabriel's first solo tour -- that was
>*terrible*)
>Then you'll see how good he is!

The more I listen to Genesis the less I like Banks.  He's competant
but if they had a more firey keysman I'd probably appreciate their
recordings more.  

>But then I like Tony Kaye's playing, too, so what do I know? :)

I'm biased against Banks.  :-)

For people who can't listen to Emerson, I'd suggest keep trying.  Took
me quite a while to get into ELP, but I'm glad I did.  I wouldn't
start with the live stuff either.

But why do we bother?  Neither Banks nor Emerson has done anything
mentionable in the last 10 years.  If you want to hear a modern
keyboardist who blows away the last 15 years of Yes/Genesis/ELP music, try
Kurt Rongey's Book in Hand.  It was recorded in 1991 and is musically
uncompromising but pretty accessible, even for people like Scott. :-)

-Mike
From: martino@wpi.WPI.EDU (Robert Paul Martino Jr)
Newsgroups: alt.music.progressive
Subject: Song listing from Tull flute solo book
Date: 16 Dec 1992 17:59:45 GMT
Organization: Worcester Polytechnic Institute
Distribution: world
NNTP-Posting-Host: wpi.wpi.edu

OK, here's the soong listing for the book "Flute solos created by Ian
Anderson of Jethro Tull", published by either Cherry Lane Music, Co.
or Crysalis Music Group:

Baker St. Muse- Crash Barrier Waltzer
Big Dipper
Bouree
Bungle in the Jungle
The Chequered Dlag (Dead or Alive)
Cross Eyed Mary
Cup of Wonder
Fire at Midnight
From Later
Living in the Past
Look into the Sun
My God
Nothing is Easy
Passion Play Edit
Thick as a Brick edit
The Third Hooray
The Whistler
The Witch's Promise

As I said before, each of these flute "solos" consists of the sung
melody line plus all the actual flute parts of each song, with
chord progressions above the staff.  

My goal is to learn the entire flute solo section from My God (which
was actually what I said when I first saw the music for it)!

Rob
  

-- 
Rob Martino                          |     (clever or particularly funny
martino@wpi.wpi.edu                  |      philosophical quote here)
Worcester, Massachusetts USA         | 
Newsgroups: alt.music.progressive
From: mandel@dms.agames.com (Glenn Mandelkern)
Subject: ELP Anthology
Organization: Atari Games Corp.
Distribution: alt.music.progressive
Date: Sat, 19 Dec 1992 02:26:08 GMT


I am hoping someone out can help me obtain a copy of one of the
only three music book titles that Emerson, Lake & Palmer put out.
(They put out ELP, ELP Anthology and Tarkus)
 
This book contained the ENTIRE sheet music for the following ELP songs:
	1.  Pirates					(WORKS VOL. 1)
	2.  Still You Turn Me On			(BRAIN SALAD SURGERY)
	3.  Lucky Man					(ELP)
	4.  Memoirs from an Officer and a Gentleman 	(LOVE BEACH)
		(all 4 parts)
	5.  The Fugue (from The Endless Enigma)		(TRILOGY)
	(and maybe one or two more)

The book was printed on light beige pages in a black binder and 
it sold for only $7.95.  I used to own it, but I am convinced that I 
lost it in my move from Florida to California three years ago.
It is incredible -- oddly enough, all chords, solos and synth parts are
written out except for Keith's renowned Lucky Man finale.

If anyone could tell me where I could get one (preferrably in the 
SF Bay Area, Florida or New York) please let me know.  If you have a copy  
and would like to sell it, I would be very appreciative.  Lastly, 
I would be willing to pay for a xeroxed copy (it seems this book has  
been out of print for some time).


Thanks in advance!
-------------------------------------------------------------------------------
Newsgroups: alt.music.progressive
From: buzzsaw@bluemoon.use.com (Patrick Buzby)
Subject: Hatfield and the North question
Organization: Blue Moon BBS ((614) 868-998[024])
Date: Tue, 15 Dec 92 21:05:21 EST

     I just bought H and the N's "Rotters Club" on CD.  GREAT album- the 
sort of thing that takes a few listens to really understand.
     Anyway, does anyone know when and where the bonus tracks on the CD 
were recorded?  The last two ("Oh, Len's Nature" and "Lying And Gracing") 
sound like live recordings, but there is no information in the liner notes 
about this.  Thanks for any assistance, and if there are any more obscure 
groups in this vein to check out (I'm familiar with National Health, Henry 
Cow, etc.) please let me know.
^s

     Pat Buzby           "Fried ice cream is a reality!"-George Clinton
     Grove City, OH      "Music is the best."-Frank Zappa
Newsgroups: alt.music.progressive
From: gvh@metrosoft.com (Gordon Van Huizen)
Subject: Re: King Crimson Newbie
Reply-To: gvh@metrosoft.com (Gordon Van Huizen)
Organization: Metrosoft
Date: Sat, 12 Dec 1992 19:36:52 GMT

In article <724001850.20895@minster.york.ac.uk>  
kelly@minster.york.ac.uk writes:
> `In the Court...' defined the early Crimson sound, which
> was followed by two albums which, while still good, are
> only really echoes of the first. 

I would say that "In The Wake of Poseidon" echoes "In the
Court..." (but is still a pretty decent LP). I wouldn't
say that "Lizard" is related much at all to those two LP's
or anything else Crimson did. Although some of the
melotron orchestrations provide a link, this album has a
kind of wacky insanity found nowhere else. It's a
brilliantly strange LP but I have to be in the right mood
for it - that's for sure. 

Gordon
-- 
----------------------------------------------------------------
Gordon Van Huizen           vox: 619.488.9411  fax: 619.488.3045
Metrosoft                   gvh@metrosoft.com [NeXTmail welcome]
----------------------------------------------------------------
Newsgroups: alt.music.progressive
From: akoskine@kruuna.Helsinki.FI (Aaro J Koskinen)
Subject: Re: Steve Hillage: Guitar-Centered Albums?
Organization: University of Helsinki
	<malcolm.724363628@wrs.com> <!6+r7fm@lynx.unm.edu>
Date: Tue, 15 Dec 1992 18:28:22 GMT

lazlo@triton.unm.edu (Lazlo Nibble) writes:

>   > Based on Lazlo's tastes and leanings towards dance music I'd also
>   > suggest GREEN, which is a bit funky at times and very nicely produced. 

>   Really, Malc, you make it sound like I probably wouldn't like any music
>   that doesn't have a drum machine in it, which I assure you isn't the case.
>   Why just the other day, I bought this great CD by a band called
>   Pink...uhm...Floyd, I think, called "Far Side Of The Moon".  I think it's

BTW, Hillage's GREEN is produced by Pink Floyd's Nick Mason. He even
plays drums on one track...

--
Aaro Koskinen (akoskine@kruuna.helsinki.fi)
From: faulkner@acsu.buffalo.edu (Shane P Faulkner)
Newsgroups: alt.music.progressive
Subject: Dream Theater: Pull Me Under video
Date: 14 Dec 92 16:38:06 GMT
Organization: UB

Just saw the Dream Theater video "Pull Me Under" on videotape (it was broadcast
on Sunday Morning on MTV - 1:30 AM during the Headbangers Ball).

The concept/imagery is very interesting, but the live footage is poor IMO.  
All you can really see are shadows and a half ton of flying hair.  There was
also a fair amount of posing going on, mostly by the singer, James Labrie.

I haven't seen these guys live _yet_ (this coming Saturday night in Rochester
NY will be my first DT concert), but I really hope it's not a posing festival.
They are much too talented for that.  Stick to the music guys, the rock world
is already chock-full of pretty boys.

//////////////////  Rush - Marillion - Kim Mitchell  ////////////////////
/ Shane P. Faulkner         |  Boys and Girls together                  /
/ University At Buffalo     |  Mistake conceit for pride                /
/ V127L2QZ@UBVMS.BITNET     |  Ambition for illusion                    /
/ faulkner@acsu.buffalo.edu |  Dreams for self-delusion   - Neil Peart  /
/////////////////////////////////////////////////////////////////////////
Newsgroups: alt.music.progressive
From: gvh@metrosoft.com (Gordon Van Huizen)
Subject: Re: NEW ELP Live CD in Japan
Reply-To: gvh@metrosoft.com (Gordon Van Huizen)
Organization: Metrosoft
Distribution: alt
Date: Sat, 19 Dec 1992 20:29:11 GMT

In article <SHIO.92Dec18234758@kogwy.cc.keio.ac.jp> shio@cc.keio.ac.jp  
(Atsushi Shionozaki) writes:
>
>  6. Creole Dance                          3:21
>

Yessssss!!!

Gordon
-- 
----------------------------------------------------------------
Gordon Van Huizen           vox: 619.488.9411  fax: 619.488.3045
Metrosoft                   gvh@metrosoft.com [NeXTmail welcome]
----------------------------------------------------------------
Xref: sparky alt.music.progressive:4488 rec.music.cd:8472
From: steiner@bakerst.rutgers.edu (Dave Steiner)
Newsgroups: alt.music.progressive,rec.music.cd
Subject: Gentle Giant CDs
Date: 18 Dec 92 07:39:16 GMT
Followup-To: alt.music.progressive
Organization: Rutgers Univ., New Brunswick, N.J.
Cc: steiner


For those of you who haven't picked up the European CDs of _In A Glass
House_ and _The Power and the Glory_ you might want to hold off.  In
the latest ICE newsletter it's mentioned that they are due out in the
US sometime in December on Renaissance Records.  Looks like the same
special cover on IAGH and the extra song on TPatG but for the cheaper
US price.

ds
-- 

Dave Steiner
arpa: Steiner@BakerSt.Rutgers.Edu or Steiner@Rutgers.Edu
uucp: ...{backbone site}!rutgers!bakerst.rutgers.edu!steiner
Newsgroups: alt.music.progressive
From: rafem@gvlf7-e.gvl.unisys.com (Ralph Marrone)
Subject:  Art Bears
Organization: Unisys Defense Systems, Great Valley Labs, Paoli, Pa
Date: Wed, 16 Dec 1992 12:02:54 GMT

I've never heard any of the Art Bears music and I was wondering 
if their _Hopes and Fears_ CD on Wayside/Cuneiform is a good 
introduction to their music?  All I know about this CD is that
Fred Frith and Dagmar Krause are on it.  Opinions anyone?



Thanks in adance,


Ralph Marrone

Newsgroups: alt.music.progressive
From: malcolm@wrs.com (Malcolm Humes)
Subject: Re: Steve Hillage: Guitar-Centered Albums?
Organization: Wind River Systems, Inc.
Date: Tue, 15 Dec 1992 19:36:53 GMT

bobn@hawkwind.central.Sun.COM (Bob Netherton) writes:

>A number of folks have given a thumbs up to Kahn: Space Shanty.  It has
>both Hillage and Dave Stewart.  It hails from about 1972, which would
>place it at about the interesting point in Egg (when they developed a
>little emotion).  If my copy would arrive, I would give it a review.

I find this one a little weak, though I love Dave Stewart and Hillage
much. I think it's a little past Egg's time, or just about.

Per Peter Frame's Soft Machine and Canterbury tree, the chronology was 
something like:

URIEL - featuring Hillage/Stewart/Campbell/Brooks  12/67 - 7/68
Hillage split for University of Kent at Canterbury, and teh other three
continue without him as EGG. 

EGG -  7/68 - 5/72   Stewart/Campbell/Brooks
Egg released their first lp in 1970 and 2nd in 1971. The third EGG
lp from 1974, CIVIL SURFACE, is really a Stewart project that turns into
a pseudo-Egg reunion. 

ARZACHEL - 1969? 
Supposedly right around when EGG got their first recording contract someone
else offered $$ for a Uriel reunion lp. But the Egg folks were contractually
unable to use their names at the time so they released the "Uriel" lp as
a band named ARZACHEL, with no info on the participating musicians listed
on the lp. 

KHAN #1  - 4/71 - 6/72  Stewart/Hillage/Greenwood/Peachy/Henningham
Hillage returned to London, formed a band, and released Space Shanty
in 5/72. Henningham and Greenwood left in 6/72.   

KHAN #2 - 6/72 - 10/72    Stewart/Hillage/Peachy/Smith 
The band continued with a new bass player then folded due to lack of 
financial success. Dave Stewart went on to start Hatfield and the North.
Hillage joined with Kevin Ayers for 11/72 - 12/72 then lands in Gong in
12/72 and starts a solo career after that.

 - Malcolm