HDTenEightyP/NetNews huggingface dataset:
Newsgroups: bit.listserv.allmusic
Date:         Thu, 13 Aug 1992 09:57:00 EST
From:         gmgettie@THAMA1.APGEA.ARMY.MIL
Subject:      re: WHERE y'ALL AT
X-To:         allmusic@auvm.american.edu

>I've not got any mail from allmusic when it does come around would
>somone explain to me why the "net-gods" or those who think they are
>keep complaining about one line post....etc. I relativly new to this
>so if i'm not following proper procedures please let me know and tell
>me why they're not proper, and i'll make adjustments i surely do not
>ever want to cause anyone problems Unles of course it's all in fun.
>thanks L. watkins (king of the one-line)

When you send a one-line message like: "thanks" your latest and shortest
one-liner, you send to nearly 200 or so people on this list. These people, some
of whom do not have enough disk space for the ALLMUSIC traffic and some are on
several lists and receive 100+ messages a day, have to read your one-line
message. When someone (like you) frequently does this, people (like me) get
pissed off. It is also common courtesy to include the text you are responding
to (see above, most people use >'s). If you don't do this, some people
won't have a clue as to what you are talking about. Once again (as I have
already stated) if you are making several replies in a short period of time,
bunch up your replies and put them in one message.

This is a serious discussion list. The fact that you have never been flamed
amazes me. I assure you, they were not as nice to me. Well, I guess Rick sorta
flamed ya.

Seeya,
Gary...geesh does this make me the new netiquette monitor...I hope not
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Date:         Wed, 19 Aug 1992 08:45:46 EDT
From:         Gary Hanley <ghanley@DG-WEBO.WEBO.DG.COM>
Subject:      Re: Leonard's questions
X-To:         ALLMUSIC@AMERICAN.EDU
              at Aug 18, 92 2:55 pm

I have to reply to this:

>what two musicians (past or present) would you like have had to have the
>opportunity to see/hear perform/jam together?

	I know it might ultimately end up sounding like a battle of the
keyboard vituosos, but I really would like to see Rick Wakeman and Keith
Emerson on stage together. That would definately be interesting. Hell,
maybe they could cut a record, with Tony Levin on bass and Bill Bruford
on drums, maybe call it, KBD!

--
Regards,
    Gary Hanley
<ghanley@dg-webo.webo.dg.com>
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Date:         Mon, 17 Aug 1992 19:21:31 EDT
From:         elray pute <PATS@BROWNVM.BITNET>
Subject:      Re: thuffering thoughth

hey - how the heck old is Johnny Mathis anyhow?! Wasn't he making rekkids
for Columbia in, like, 1953? I thought that he'd be qualified for a
pruneface, but I saw what appeared to be JM's mortal flesh in a TV mail-
order ad, and he looked like he coulda been 36. If this was a result of
surgery, it wasn't Gregory Peck's doctor that did it. Real clean job. The
choppers aren't his, but his face bears none of the scars that ordinarily
accompany a life. MAybe it's just good hygiene and no breeding -
                                         pat
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Date:         Fri, 21 Aug 1992 12:33:00 CDT
From:         S_YECK@TWU.BITNET
Subject:      RE: tangerine dream

Well, may I suggest that you go out and try to find some other albums of
Tangerine Dream?!

They can be found just about anywhere and are either under "New Age"
"Electronics" or "Rock".

May I suggest:  Underwater Sunlight--it's the greatest yet (and Jerome Froese
is NOT on this one as far as I know).

Good luck and enjoy!

Meshel
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Date:         Thu, 13 Aug 1992 09:42:45 EDT
From:         Rick <MMLRICK@UBVM.BITNET>
Subject:      John Cage died

Shocking news:

     On NPR Morning Edition today there was an announcement that John Cage
died last night of a sudden stroke. He would have been 80 on Sept. 5. Do
something indeterminable today in his memory -- I feel kinda sad today.

Rick
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Date:         Wed, 19 Aug 1992 15:06:51 KST
From:         DMetcalf%IC-LOG@WALKER-LTT.ARMY.MIL
Subject:      HIGHER
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X-cc:         dmetcalf@Walker-LTT.Army.Mil

Sonia sed (in response to Lee's comments):

>You're definitely right that musical theory finally
>becomes internalized and that what seems to be just "happening" naturally is
 >in fact a very complex, high-powered event where the "higher mind" (a term I
>prefer to the SUB-conscious) takes over and we willingly (gratefully) follow.

I like your term MUCH better, Sonia... however, I don't necessarily that we
always follow willingly or gratefully... sometimes, even when it's "happening"
our following of those leadings is 'forced' and never becomes integrated into
what we are doing... at least, that's been the case for me!

ZZAJ


>But maybe--who am I to speak for the likes of Cage and
>ZZAJ but here I go--artists interested in exploring the random are in fact
>looking for "universal" mind, are trying to be receptive to new realms in new
>ways, are renouncing traditional forms of control and are hoping the great Tao
>Re Mi (ouch... I saw a local band this morning on my way to work, I mean its
>name on a sign: ouchcube)... will take over and exert its OWN "control."


Yer doin' pretty gol-durned well in speaking for the likes of Cage/ZZAJ... the
real problem in all this is finding the right "zone"... the point where WE are
no longer LOOKING for anything... the 'universal mind' is looking for US...
THAT'S when 'it' happens, I believe!  Doesn't happen every day, that's for
sure!

Then, another LEONARDQUEST:


>do you believe the use of drugs enchance or detract from one's musical
>ability. Musician mag had an article on this subject asking the artists
>the same question i expected hypocritical answers like just say no, but
>instead almost every one said pot enchanced their ability and their
>imagination was "less-restricted" what do you think. Coul Jimi have
>done it straight.....Jimi could have done it with his hands tied IMHO
>They all said cocaine was a definte detraction plus most other drugs

The drugs (& use thereof) do not (CAN not, IMHO) plus/minus yer ability...
they can ENHANCE/DETRACT from your 'capability' to use what talent(s)
you've developed; no matter how swacked ya' get (& ZZAJ knows a bit
whereof he speaks in this arena), yer ABILITY ain't gonna' get no better'n
it already IS... so, even if ya' get the most psychedelic IDEAS (pot), or
the fastest fingers (krank) or the mellowest mind (smack) - if yer ability
wasn't up to the idea when you STARTED, it won't be much better while yer
doin' it...  & this ain't no flame on those who DO use drugs; like I sed,
many I know have (some still do)!

ROTCOD ZZAJ
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Return-Path: crispen <@ada3.ca.boeing.com:crispen@efftoo>
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Date:         Fri, 14 Aug 1992 10:49:05 CDT
From:         crispen <crispen@EFFTOO.BOEING.COM>
Subject:      re: thunk
X-To:         ALLMUSIC@ada3.ca.boeing.com

Hiya, Sonya

>P.P.S. Will someone PLEASE explain to me the difference between metal and hard
>rock?

Sure.  Your average bar band plays hard rock.  Your average band on
MTV's Headbanger's Ball plays metal.  Clear?  I didn't think so.
Let's start over.

Like, it's a matter of attitude, dude.  Metal is a, uh... like not a
fashion but a way of life.  It's like we're saying to society....

Let's start again.  Some characteristics of metal:

	(a) Guitar and drum hero(e)s
	(b) Use of 7/4 time in some song sometime during career
	(c) Leather.  Lots and lots of leather.
	(d) Tattoos.
	(e) Longer hair than hard rockers (but is Ted Nugent metal
	    or hard rock?)
	(f) The Official Metal Guitar Pose -- I don't have to describe
	    it; you know what I'm talking about.
	(g) Integrity (sometimes) -- would rather make their music
	    than get played by radio (many exceptions exist).
	(h) As a corrolary, make less money than hard rockers (generally)
	(i) Chunking (chunk chunk chunk chunk) rhythm guitars

Now a quiz, to see if you've mastered the principles.

	(a) Why is Soundgarden in the Metal bin of my record store?
	(b) Why is Aerosmith not in the Metal bin of my record store?
	(c) Why is Ministry in the Alternative bin?
	(d) Why is Enya not in the Metal bin?

Good luck.  Show all your work.

Bob
crispen@foxy.boeing.com
Newsgroups: bit.listserv.allmusic
From: jrussell@unlinfo.unl.edu (john russell)
Subject: Re: tangerine dream
Organization: University of Nebraska - Lincoln
Date: Fri, 21 Aug 1992 14:33:54 GMT

S_YECK@TWU.BITNET writes:

>I would like to know if anyone has ever heard of the band Tangerine  Dream?
>They are an electronics band from Germany (no lyrics, with the exception of
>their older stuff) and have been around since the 1970's.  Some people think
>that their music is terrible just because it is mostly instrumental, but I
>truly enjoy it myself.

>Tangerine Dream has also done MANY soundtracks.  You may not know it, but they
>have done the music scores to: "Firestarter", "Risky Business", "Legend", "Dead
>Solid Perfect", "Miracle Mile", "Rainbow Drive" and quite many more than just
>those.

>Their newest album is called "Rockoon" and it is just Edgar Froese and his son
>Jerome Froese, doing the music.  It has a rockish sound to it, and is quite
>enjoyable.

>I'd like to hear some of your opinions about this band, if you've ever heard of
>them--or just about electronic music in general.  It can be good or bad--I'm
>open to any kind of opinion--I've been on both sides.

>Send me a message at S_YECK@TWU.


>Meshel Yeck

Yes, indeed. I've picked up quite a few of their albums along the way.
One of them, I think it's _Force_Majeure_, sounds an awful lot like 
parts of the _Risky_Business_ soundtrack but hey, that's their
prerogative.

BTW, I thought they were Dutch (?)

jr

Newsgroups: bit.listserv.allmusic
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: cage is dead
Organization: Educational Computing Network
Date: Thu, 13 Aug 1992 13:15:38 GMT

Composer John Cage died yesterday, Aug 12, in New York.  He would have
been 80 in about 3 weeks.   Cage had a profound impact on music.  He is
known for his early prepared piano pieces, in which objects were placed
inside the piano to change the tone, making it sound like a variety of
percussion instruments and Asian gongs.  He then wrote many pieces using
chance operations, and was a collaborator with choreographer Merce
Cunningham.  He also wrote 4'33", in which the performer sits at the
piano for 4 minutes and 33 seconds and plays nothing.  For the past
year, he had been travelling all around the world and taking part of
events marking his 80th birthday.  But he ends up dying a few weeks short of
it.

Jeff
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Date:         Wed, 19 Aug 1992 16:26:00 EST
From:         gmgettie@THAMA1.APGEA.ARMY.MIL
Subject:      Re: Thoughts on Prince
X-To:         allmusic@auvm.american.edu

>I admire Warner  for the freedom they allowed Prince in his early
>years (and now even more since he owns the Paisley Park Label). I
>wonder  what kinds  of  musical growth  other  artists would have
>experienced under the same terms...

I don't know about the rest of you, but I can't take anyone's music serious
who masquerades around with pants on that have the ass cheeks cut out.

BTW, OMC stands for "Ouch!!!, My Crotch"


Seeya,
Gary
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Date:         Fri, 14 Aug 1992 08:50:11 EDT
From:         Sonia Kovitz <skovitz@MAGNUS.ACS.OHIO-STATE.EDU>
Subject:      re: thunk
X-To:         ALLMUSIC@AMERICAN.EDU
              "AISARMSTRONG%IST%VMI@IST.VMI.EDU" at Aug 14, 92 8:10 am

> had a Achy Breaky Heart at one time or someone you was once in love with got
> married and you said that It Could Have Been Me.  This is what Billy Rae Cyru
s
> is all about.  This is what Country Music is all about.
>
 Wait, wait, you forgot something.  The THUNK THUNK THUNK THUNK THUNK THUNK
beat.  Yesterday somebody was talking about country and metal turning into
country-metal... That would be REAL easy because they both go THUNK THUNK THUNK
THUNK THUNK THUNK THUNK

Leonard asked about what band we'd like to play in (in fantasy-land, i.e. we'd
be GOOD enough): I'd be in Cream or The Who.  (they never went THUNK THUNK)
Newsgroups: bit.listserv.allmusic
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: Help me create a FAQ file
Organization: Educational Computing Network
Date: Thu, 20 Aug 1992 20:45:14 GMT

In article <ALLMUSIC%92082015572119@AUVM.AMERICAN.EDU> TZJ101@URIACC.BITNET (Michael Lehnertz (Drummer)) writes:
>   Oh stop. Stop it now. Stop.
>
>   The three M's were like moron, music-less and mixed up.
>
>                                            - Mike -



You will never beat me.  Never.

Jeff
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Date:         Mon, 17 Aug 1992 13:29:20 EDT
From:         Sonia Kovitz <skovitz@MAGNUS.ACS.OHIO-STATE.EDU>
Subject:      Re: weasels cafe and santana
X-To:         ALLMUSIC@AMERICAN.EDU
              "weasels ripped my dress" at Aug 17, 92 10:52 am

>  Oyster Band Phish Santana Luna Negra.
.
> - Carol

>
I can't stand it any longer.  Tell us how weasels ripped your dress.

Also please describe a bohdan.

Sonia
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Date:         Fri, 21 Aug 1992 12:04:11 EDT
From:         Rick <MMLRICK@UBVM.BITNET>
Subject:      Re: Help me create a FAQ file
              21 Aug 1992 13:27:32 GMT from <ujwb@UXA.ECN.BGU.EDU>

On Fri, 21 Aug 1992 13:27:32 GMT Jeff Beer said:
>
>OMC:   Joe Henderson is in Chicago this week.  With Al Foster.
>       Drum God Extraordinary.   The Last Great Drummer to Play With
>       Miles.  Amazing how soft he plays, considering what he did
>       with Miles.  Shows his incredible flexibility and inventiveness.

Hey Jeff -- I think I heard that Al Foster (my agreements about his abilities)
got busted in Japan this summer for heroin possession. Do you know if that's
true, and if so, wha' happened? Or was that another rumor dreamed by the same
person who said that Zappa was dead?

Just sayin' no to just say no campaigns,
Rick
>
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Date:         Tue, 18 Aug 1992 10:22:00 GMT
From:         "OUT,
              OUT - YOU'LL NOT FEEL THE FALL-OUT..." <OLIVOTTO@ITNCISCA.BITNET>
Subject:      Re: Quiz Answers (DO I WIN, DO I WIN?!?!?!)

- Drummer - says:

>   Frank Zappa. The Beatles too. God, they could have used a drummer that
>   could keep time. I'd be richer than hell also.

        There is a wonderful book about the Beatles (don't know the English
title, but the translation from Italian is "Beatles - Eight Years at Abbey
Road") which describes every possible session, recording, jamming etc. that
the Beatles did between 1962 and 1970. The author took the time to listen to
*all* of the Beatles' tapes from start to end, and he insists that Ringo was
the one who made less mistakes. He claims that he loses time or makes a major
mistake only 3-4 times in ALL the tapes, those who weren't actually used in
their records included.
        I don't want to claim that Ringo played like Billy Cobham of course,
but he was an honest drummer and what he really could do was keep time, IMHO.
If you listen to some live stuff of the early Stones you may realize that
Charlie Watts, even with a jazz background, had several problems keeping the
band running. There is a reason, I think, why Ron Wood said that the Stones'
metronome is Keith: Charlie follows him, and Bill follows Charlie "so we're
never really keeping time -- this is the key to understand the Stones' sound".
        Just a thought, and no flames :)...

        Ciao, Marco
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Date:         Thu, 20 Aug 1992 14:54:46 KST
From:         DMetcalf%IC-LOG@WALKER-LTT.ARMY.MIL
Subject:      THEORY & OTHER STUPH
X-To:         allmusic%auvm.american.edu@vm1.nodak.edu
X-cc:         dmetcalf@Walker-LTT.Army.Mil

weasels ripped my dress (Carol) sed:


>How far back are you willing to go?  Not just this life-time, but previous
>lives as well??

Well, not wanting to be accused o' spouting piles o' "Kosmick Debris" that
freindFrank lectured on long ago, I'll shy away from any lengthy discourse
on that... suffice it to say that I "have" been a dog (at times) along
the way... (watchin' th' tribal dances & sacrifical ams, while I nod on
me' bone)

AND,

>My improvisations are restricted to comedic references and acts between the
 >sheets

Th' older I get in (this) improvijazzation, th' more I kin' 'ppreciate th'
comedic... as to th' other acts (& to crudely paraphrase Leonard) 'sheets
are 'appenin'... my only problem (as I approach 50) is they're restricted
to one-act plays...

AND,

>But having a playful disposition can, perhaps, over-ride all that...

Agree agin... anyone who approaches improv "so" seriously, will be bitter
in the end, & MANY won't even know that (wot' they consider to be) their
PRIME moment was not much better than the 'hole in the watermelon'...


Then Sonia contributed:

>Maybe jazz and blues teach you how to "play" (in all the senses of this word)
when that is ALL that is keeping you alive.  So there is a lot to learn from
this music is all I'm saying, and the only way to learn it is, as Russ said,
to stay "on the edge."

Yeah, yeah, yeah... th' closer ya' are to the 'edge', the closer you'll be to
that 'universal wotever' searchin' YOU out ta' impart some of it's dynamic in
yer interpretations... improvisationally, that is!

Then, from SEB:

Hey dick,
>      I got this package to send to you but I can't do it through the
>US forces mail so I'll send it direct, only one question, if you'll
>pardon my ignorance, is North Korea or South Korea?


Seb, that must be one "L" uvva package, if you can't mail it thru US Forces...
but, in the event that's true, it's South Korea!

Then Walter Keller contribed:

>When I do I very often have no idea how I made up what I did, but again I
 >think it's the internalization of all those years of playing - you have to
 >play with your eyes closed if you're gonna get anywhere new sometimes.

Hear, hear, Walter... re: 'no idea how I made up what I did'... I agree that
it's the training that made it happen, but there does seem to be some
'wonderment' for me, after I've (been lucky enough to) come up with a
particularly good piece/phrase!

AND,

>Better than the Billy Rae/B. Raitt stuff, huh??

YA' got THAT right, friend!!!

ROTCOD ZZAJ
Newsgroups: bit.listserv.allmusic
From: nancyl@osiris.cso.uiuc.edu (Nancy Lellenberg Bentrup)
Subject: ENYA again, or I do have a sense of humor.
Organization: University of Illinois at Urbana
Date: Fri, 14 Aug 1992 15:59:23 GMT


Bob, 
I guess I just wanted some info on someone, not a long diatribe on why
my musical tastes are inferior, whether you were serious or not.

I submit that my use of the newsgroup is different than yours.  I
am reading as an information source, and really dont want to spend the time 
going back and forth with someone on my tastes vs yours.  Please dont
flame me for this; it is just my preference.

I DO have a sense of humor and I did realize you perhaps wanted a response
ridiculing your tastes.  I did get a mail message from someone else
suggesting various tactics I could use to "get you back."

I apologize if I came across badly. 
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Date:         Thu, 13 Aug 1992 09:07:27 PDT
From:         Mike Masuda <MASUDA@SJSUVM1.BITNET>
Subject:      Re: Bambi Kovitz Meets Peter Godzilla

Marco,

It may be interesting to note the difference in timbre that Peter Gabriel's
and Phil Collins' voices have.  Pete's voice is an acquired taste, because
it is very unusual voice.  Phil's voice is very clean and straightforward
in comparison.  Pete has an "old man unable to clear his voice" throat
at times and a "screaming banshee" voice at other times.  The melodic
"habits" are also different.  Granted they both have about the same range,
the attack and feel of each is quite different.  I prefer Pete's voice,
because of the emotion he carries with it.  Sometimes it seems like Phil
is just singing to hit the notes.

Maybe Phil needs a dose of working with Kate Bush!

(speaking of which, what's she been up to lately?)

 3
M
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Date:         Fri, 14 Aug 1992 12:33:13 EDT
From:         Sonia Kovitz <skovitz@MAGNUS.ACS.OHIO-STATE.EDU>
Subject:      more thunk funk
X-To:         allmusic@american.edu

I'll try again...   (previous messages returned)

I had asked lee whether HIGHWAY TO HELL  counts as metal, because if so, count
me as a metal freak (attn: all seriousmeisters on the net, I'm serious)

I had also told bob: I think your post on Enya and the creeping CD mange was
one of the best posts yesterday and I even saved it to read again (going thunk
thunk under my breath).

Finally, I had sent out an all-points query: somebody tell me the difference
between hard rock and metal!

Now something new, in case this makes it out, re: bassists: I heard the Paul
Butterfield band about a year before he died, and the bassist in that band was
unforgettable (except for his name)... anybody know who that was and what
happened to him? kind of a heavy-set guy, ambled out on stage like he was in
his bedroom, then proceeded to play smoking lead-bass the likes of which you
don't
often get to see...
                  Sonia
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