HDTenEightyP/NetNews huggingface dataset:
From: U33963@UICVM.BITNET (Little Inquisitor)
Newsgroups: bit.listserv.allmusic
Subject: Re: Bootlegs
Date: 10 Nov 92 00:47:27 GMT
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Comments:     Resent-From: Little Inquisitor <U33963@UICVM>
Comments:     Originally-From: "Mr. Scott Hannon" <hannon@umbc5.umbc.edu>

More grist for the mill.
                        Renato "Who's written on smuggling in Spain"
----------------------------Original message----------------------------
Charles Hofstaedter <charlesh@stedwards.edu> writes:
>Regarding Bootlegs...
>
>The record companies claim that the potential market for these off offerings
>is too small to justify the investment.  They are probably right for their
>calculations.  I do not believe that any of these offerings would sell 100,000
>copies as they need.
>...

Of course it depends how they try and sell them. Look at _Crash Landing_.
It sold very well. Then again, the investment of time/work/money to make
it was large. And it angered a lot of fans [not me too much...I like it].
Even _Midnight Lightning_ sold fairly well [but less than CL].

I think the rule of thumb 100,000 figure is for a typical bands album.
I would think for recordings that already exist, and a band that won't
be getting paid, etc, this figure might be too large WRT Hendrix albums.
If they released the studio and live recordings without doing a lot
of editting, re-recording, etc, then the production costs would fall
substantially, perhaps to the point where they could break even with
only 20,000 copies. Live concerts certainly should be cheap...all they
need is mixing. They could even avoid that for some stuff where only
soundboard [or even audience!] recordings exist and I wouldn't complain.
That's basically what they did with _Radio One_ and _Stages: 1967_.
For studio stuff, there are alternate mixes they could release with
basically no work.

Also, to increase their profit margin, they might try direct marketing.
If they set up their own little Hendrix rarities record company, and only
sold the recordings by mail-order, then even if they only sold 5,000
copies at $15 each they would probably still break even [the manufacturing
cost is only about $1-2]. And this would also help prevent lower quality
Hendrix material from appearing in the record stores.

I really don't expect much from the estate. Its set up primarily to provide
income [ie make a profit], not service the fans. I don't see this as being
likely to change. Unless they see a good profit in a project, I don't think
they have much interest.

Scott.
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From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: [Insert catchy phrase here]
Organization: Educational Computing Network
Date: Sat, 7 Nov 1992 00:34:17 GMT

In article <ALLMUSIC%92110613590295@AUVM.AMERICAN.EDU> "What a pumpkin!" <CV01@SWTEXAS.BITNET> writes:
>>P.P.S. Demonic Chuckotronic: my teacher had listened to the Sharrock sampler
>>and his first words about it were: "Inspiring" --he really loved the stuff.  He
>>said, "That guy plays from the heart to the ear."  I think we've got another
>>convert.
>
>   "From the heart to the ear" -- I can't think of a better way of putting
>that, and I think it applies equally well to your practice session you
>described above.  External pressures may have removed some of the obstacles
>that normally fall in that path.
>   P.S. -- Good work on the conversion, Fellow Minion of Sharrock.  :*)

So what's the score here? ;)  Sharrock's way ahead.

>to Sharrock's playing in a jazz quartet setting.  (BTW, I've heard Sharrock
>talk about doing a recording of Coltrane tunes when the time is right --
>now wouldn't that be "the shit"!! (with apologies to Da Beer  ;*))

Hey, Sharrock is on Wayne Shorter's Supernova.  That is pretty
burnin'.

Sharrock on Coltrane, I hope he can get Elvin and Charnette again.  Of
course, if you have Trane's music, you _have_ to get Elvin.  Elvin and
Charnette worked very good together.  It probably would be similar to
ATA, because most of those heads could have easily been written by Trane.

Unless Sharrock has Giant Steps in mind..

>>I can safely say that _Ask The Ages_ is the only album I own where a guy
>>makes a Saxaphone sound like a pig screaming in heat.
>
>   Heh, I guess you haven't heard Peter Brotzmann, Albert Ayler or John
>Zorn yet, huh?  They make Pharoah sound like a pansy.  ;*)

Then there is Anthony Braxton, Evan Parker, Steve Lacy.  The Rova
Saxophone Quartet...
That is pretty normal saxophone technique for jazz players today.

Jeff
From: USTS060@RUST1.DPO.UAB.EDU (Dave)
Newsgroups: bit.listserv.allmusic
Subject: Re: Idiocy incarnate
Date: 6 Nov 92 19:43:54 GMT
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Scott "Indignant Unitarian" Hammer eloquently stated:

> I make no claims to being a Biblical Scholar; after all I am a UU.  But even
    A very well written and thorough account of the bible quote in
question and an excellent response to that quote has been deleted....
>
> So, Daron, LW, and anyone else of this theological bent, I really don't care
> what you believe.  I would, however, be grateful if you would quit claiming
> that you have the right to apply _your_ interpretation of Scripture to _me_,
> or to anyone else.

    Hallelujah!  Amen, Brother!
======================================================================
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 15:45:13 EST
From:         "Michael Lehnertz (Drummer)" <TZJ101@URIACC.URI.EDU>
Subject:      Re: Homsexuals

   "He may be homosexual, but he sure can sing..."

                                     - Someone From Allmusic Past



                                - Drummer -
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Date:         Tue, 10 Nov 1992 19:14:33 -0500
From:         "The Chrome-Plated Megaphone of Destiny"
              <ALEVIN@RCNVMS.RCN.MASS.EDU>
Subject:      Re: Peter Gabriel Revisited

From: Ilia <CC29%IONA.BITNET@AUVM.AMERICAN.EDU>
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?
>          Ilia.

Yep, that's on his first solo album (the one with the car).

-Adam
From: ST402711@BROWNVM.BITNET (Tim Johnson)
Newsgroups: bit.listserv.allmusic
Subject: Re: one for the beer
Date: 6 Nov 92 01:44:55 GMT
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>Ah-ha!  Do you know who was playing the piano, and who was playing
>harpsichord?
>Jeff

  Kenneth Gilbert on Harpsichord, a performance I've
been perfectly content with ... until now.  I don't
know the pianist - I didn't actually hear the whole
piece....  [Tim prepares to reveal an embarrassing
secret.  Too bad Libby ain't here, she could watch
me blush.] ... it was played by ... Karl Haas on his
show.
  Really, I wasn't listening.  I was on the phone
(long distance) but when the music started, I stopped,
put the phone down (my dime, no less) listened to it
play through, and then resumed the conversation.  Very
good, but I have no idea who was playing.  It sounded
like an older performance, but I cannot be sure of that.

                           -Tim
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Date:         Wed, 4 Nov 1992 16:19:20 EST
From:         Scott Hammer <SCOTH@WMVM1.CC.WM.EDU>
Subject:      Re: Peter + Wolf ^= Moose + Squirrel
              1 Nov 1992 11:36:38 -0500 from <mjferzig@MIDWAY.UCHICAGO.EDU>

On Sun, 1 Nov 1992 11:36:38 -0500 <mjferzig@MIDWAY.UCHICAGO.EDU> said:
>>Actually, I have some problems with these.  In this day and age, it should be
>>relatively easy to measure what affect a piece has on an audience, especially
>a
>>performed piece.  Whether that tells you anything useful or informative is a
>>different matter.  As for intentionalism, I'll give it up cheerfully when we
>>chuck all the criticism that talks about whether an author "succeeded" or
>>"failed" at one thing or another.
>
>Scott-
>Funny you should mention that...I did a Rhetorical Criticism speech for
>competition last year on Simon and Garfunkel's "Seven O'Clock News/Silent
>Night" and that very topic was a key point. Do any of y'all know the song?
>Any words of wisdom on it? Whadya think?
>
Rhetorical Criticism, eh?  Would that have been with Prof. Vasilew?  Is he
still there at Binghamton?  Were you, by chance, a Rhetoric major?  Many
questions!

Re: 7 o'Clock News/Silent Night -- If I remember correctly that's were
S & G sing "Silent Night" in competition with a Vietnam War-era news broad-
cast.  I can see where you might classify the piece as topical; you'd have
to have some knowledge of the period to "get it."  I'm not sure how the
intentional/affective debate comes into criticism of this piece, though.
Am I being obtuse?

-Scott "Confused" Hammer
 College of William and Mary
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Date:         Mon, 9 Nov 1992 22:40:00 EST
From:         ZUFQEZA@IUP.BITNET
Subject:      Re: Idiocy incarnate

i may not have recieved the first letter on homosexuals, but i would like to
say that homosexuality is very natural-- there are same-sex pairings in nature
and the wildlife.  besides, if you love someone, does it matter what sex they
are?

                       LIFE IS LIKE A MUSICAL INSTRUMENT,
                           WHAT YOU GET OUT OF IT
                         DEPENDS ON HOW YOU PLAY IT.

""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""
  Mary Bradley                     |\               133 Mack Hall
  Tri-Halls Council                |  \             Box 97
  President                        |\               Indiana, PA 15705
                                   |  \
  Music Education                  |                Internet:
  Major                         OOO|                ZUFQEZA@oak.grove.iup.edu
                                OOO

""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""
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Date:         Thu, 5 Nov 1992 10:54:23 CST
From:         Paul Heroy <HEROY@LSUVM.BITNET>
Subject:      Re: Stevie Ray Vaughan

On Wed, 4 Nov 1992 13:37:13 CST Little Inquisitor said:
>----------------------------Original message----------------------------
>Hi all!
>
>   November 4th, 1992 update to the Stevie Ray Vaughan list.

Is this from a listserv-type list? I can't find a SRV mailing list in any of
the usual 'List of lists' places - if it's out there, could you post the
address?

Thanks,
Paul Heroy
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Date:         Fri, 6 Nov 1992 22:34:37 +0100
From:         Roberto Figus <MC0751@MCLINK.IT>
Subject:      Italian Is Musical? Sure!

At first I must apologize for me answering so late, but I receive the
Digests three or four alltogether about one time a week...
Add the fact that I have not much free time due to my studies and hobbies
and you've got the stuff!

Anyhow, let's go!


>        But the real point is that NONE of those operas are really sung in I-
>talian! I mean, I can't understand even the 30% of the words, because vowels
>and pronounciation are so stretched and forced that they really end up making
>another language...

Well, Marco is right! I began listening to operas just a few years ago,
after a life passed thinking and saying it was terrific to hear (I began
with _Das Rheinegold_ by Wagner: 3 CDs in German language equivalents to
4 hours of music all listened without pause!) but now I love it.


>        I think the most musical language (of those languages I've heard, of
>course) is English. Absolutely. English people do not realise, at times, but
>they really have a singing attitude when they talk. I'll never forget the

Here I don't completely agree with you, because I think it depends from
situation to situation. It's true that English language sounds musical
to our ears, but maybe it's due to we used to listen English songs.
I know a lot of girls who said me that listening to me speaking my own
language was like hearing me singing. And I'm not Apollo (-:


>        One of the most striking evidences of the "singing" attitude of En-
>glish-spoken people is contained in Steve Reich's "Different Trains". The
>whole record is made of short samples of speech, with the Kronos Quartet
>(strings) playing *perfectly along*. In "pure" Italian, this would be a chal-
>lenge.
>        I'd be glad to hear what Robertik has to say about this... :)

Oho! I own that record, too, and I love it! Well, I think it has been a
true challenge for Reich also (-: but I think it's possible (and not too
difficult, theorically speaking) even with Italian. I'm sure.

Ciao

===> Robertik
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Date:         Wed, 4 Nov 1992 13:50:00 EST
From:         gmgettie@THAMA1.APGEA.ARMY.MIL
Subject:      Rik Emmett (was re: Heavy Metal)

>>I have been told that Triumph is due for a new release. In fact, it's already
>>been released in Canada. The name of the album is _Edge Of Excess_. Triumph
>>is >now Rik Emmett-less :-( and has a new guitarist. His name is Phil X. He
>>has >played with Aldo Nova. > >...but then, I don't know if I would call
>>Triumph metal and they are certainly >not a big band ('cept for me).

>Oh oh oh!! (Raises hand excitedly.) Me too! They were one of my favorite bands
>in high school, and I don't know why they didn't have a bigger following. Gil
>Moore was a pretty so-so singer, but Rik was terrific, and a good guitarist.
>Triumph without Rik is just not Triumph, IMHO. Have you heard Rik's solo
>album?

I agree with everything you said. Yes, I have Rik's first solo album
_Absolutely_. It is fair to so-so, some good guitar work though, and the
ballads are pretty good - I picked one of them as my wedding song last year.

I am currently waiting for Rik's 2nd solo album, _Ipso Facto_. It has not been
released in the United States. I got news from the Rik Emmett Fan Club that I
could order the CD directly from the record company, so I did. If you are
interested, I can check the address and post it later.

BTW, Gil Moore will be doing all the lead vocals for the new Triumph.

Seeya,
Gary
"The media tells it like it is, without a doubt, but for a rating point or
 two they'll sell you short and sell you out."
- Rik Emmett

Thank goodness this country finally woke up!
From: MASUDA@SJSUVM1.BITNET (Mike masuda)
Newsgroups: bit.listserv.allmusic
Subject: What I got this weekend (as far as cds)
Date: 9 Nov 92 19:39:36 GMT
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Okay, with the opinions of the allmusic netters, I
went out and bout the following albums:

Shadowy Men on a Shadowy Planet--both albums.  This music is so
  refreshing compared to the stuff out now.  Back to basic guitar
  (Fender Jaguar), bass and drums.  No vocals, but the music is
  really fun to listen to.  Nothing fancy, no expletives, no
  satanic backmasking, no preference bashing, just good clean music.

Neil Young's _Harvest Moon_ :  This is great kickback music and slow
  dance music.  Not too hick, not too pop--just Neil Young doing his
  stuff.  Good stuff at that.

Cocteau Twins _Tiny Dynamite/Echoes on a Shallow Bay_ :  I bought this
  for my sister, but I find this album really ethereal and soothing.
  It's a rare album, but I like their stuff--it's out of this world.
  Literally.

BTW, does anyone out there knows a song that has the refrain
"sailing on a sunny (or Sunday) afternoon" in high pitched harmony, kinda
like Neil Young?

While we're on the subject, there's this other tune that goes:
"Those were the days, my friend   we thought they'd never end...."
sung by a female folky singer,
that I would like to know WHO did it.
Really catchy melody from (I guess) the early 70s.

Thanks for any help!
Mike Masuda.
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Newsgroups: bit.listserv.allmusic
Date:         Thu, 5 Nov 1992 14:25:00 CDT
From:         G_SWANK@TWU.BITNET

I said that I like heavy metal guitar but not the squealy whiney singers.

Then HE said
>What would constitute the ideal vocal accompanyment then?
and also
>I also have a sneaking fondness for the Alice Cooper/Lemmy Kilminster
>gargle sound.

So I say:
Me too!!! I like the lowdown gravelly growley vocalists like Lemmy. It's just th
e
high pitched squealers that make me flinch.  I don't really know all their
names...but bands like Poison, or the guy that used to be w/ Van Halen...or
Axl Rose (lately). The difference between the guys you mentioned (Balin,
Rogers, Plant) and these people is the ability to convey a range of emotion
even if its painful emotion....rather than just physical discomfort. They all
remind me Ned Beatty in "Deliverance"
It seems to me that I've heard some female metal singers that I liked but I
can't think of who they are just now (except for all the ex-Runaways).

I've read about Glen Branca before...was he ever in the Swans?  He sounds
really interesting. What album would you recommend as an introduction to his
music?

All these replies to the little fag-bashing metalboy put me in mind of the
opening line of one of my favorite albums lately, *Lunapark* by Luna:

    You can never give/ the finger to the blind.

Sigh,
Sal "sorry I skipped the subject line"
From: CELSO@BRUERJ.BITNET (Celso Soares)
Newsgroups: bit.listserv.allmusic
Subject: I must say goodbye.
Date: 6 Nov 92 23:01:25 GMT
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    Please ,
             remove me from ALLMUSIC.
                               Thanks.
                                      Celso Soares
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Date:         Mon, 9 Nov 1992 14:31:01 EST
From:         Ken Koester <MAINT2@ERS.BITNET>
Subject:      Re: ROCK AND ROLL
              9 Nov 1992 09:26:49 -0500 from <mjferzig@MIDWAY.UC HICAGO.EDU>

On Mon, 9 Nov 1992 09:26:49 -0500 <mjferzig@MIDWAY.UCHICAGO.EDU> said:
>Actually, I was referring to the cave-folk. My music prof for "History of
>Music: ancient to 1640" was the one who told me music with the voice came
>first. If you think about it, it's real logical. I can imagine thta people
>would fashion instruments before they could sing...
>
Yes, I'm just pointing out that we don't know a whole heck of a lot about
early music but that as far back as we know about, we have instruments &
that contemporaries would probably think us silly billies for bothering to
make much of a distinction.

>. . . . I agree that madrigals are great - although I don't like
>French Chanson as much, they are a close second. I tie the Italian and
>English for first! Which are your favorites?
>
Easy.  Morley's canzonets, Gibbons' "The Silver Swan", Weelkes' "Hark All Ye
Lovely Saints", Byrd's "Browning", anything by de Lasso, Certon, or Sermisy.
East and Campion.  Oh heck--anything by Morley.  "It was a Lover and His Lass"
Bunches of other broken consort stuff.  Isaac.  Des Prez.  If you are a
recorder player, you gotta love that stuff, you see.  Nearly as much fun
is Burgundian music from, say 1410-1480.
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Date:         Fri, 13 Nov 1992 19:51:48 KST
From:         DMetcalf%IC-LOG@WALKER-LTT.ARMY.MIL
Subject:      RETEST

STILL havin' trouble with this pesky HOST, people!  So, one MORE try!  Many
folks are tellin' me that I'm getting thru, but say that the addresses seem
to be bunged up!  Please, SOMEONE let me know if this TEST makes it thru w/o
failure!

P.S.  For Marco, have you got Henry Schneider's e-mail address (current), &
hopefully his host number as well!  THANKS in advance!

THE ROTCOD
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Date:         Wed, 11 Nov 1992 18:03:52 EST
From:         RTURNBUL@TOROVM1.VNET.IBM.COM
Subject:      Deep Purple

Mike interrogated:

> What are some of your faves from Deep Purple?

Well, both _Machine Head_ and _In Rock_ are what I would call "classic" hard
rock albums. "Space Truckin'" and "Child In Time" would be my picks from those
two...From the early years, I liked "Hush" and "Kentucky Woman" (they did a
very strange cover of The Beatles' "Help!" if I remember) and even liked a few
of their David Coverdale-era songs (especially "Stormbringer").

While we're talking about Ritchie Blackmore, I think Rainbow's _Rising_ album
(uh, 1977?) is one of the better hard rock albums period. Put it right up
there with _Led Zeppelin II_ and _Back In Black_. Not necessarily any great
guitar playing on it, but I thought it really worked as a whole...

Bob T
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Date:         Wed, 11 Nov 1992 09:27:32 CST
From:         "Leonard Watkins" <ISTS024@UABDPO.BITNET>
Subject:      Re: name that tune

On Wed, 11 Nov 1992 10:22:00 EST <MCINTYRE@MSUPA> said:

>I'm sure you'll get lots of answers on this one: Mary Hopkins is the
>singer, the song is "Those Were The Days", and the album is _Postcard_,
>recently released on CD, the label is Apple.

Damn all this time i thought it was Edith and Archie Bunker.....L.W.
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Date:         Wed, 11 Nov 1992 17:23:32 CET
From:         SWELTON@ESOC.BITNET
Subject:      Re: Errmmm...CBMSTW

>
>  'Fashings' (carnival) start today here in southern Germany. However,
>it doesn't get into full swing until shortly before Easter. But, to
>velebrate the fact here's a little quizz - who wrote and who recorded
>the following song?

Go to K"oln for this. It starts at 11:00 on the 11th day of the 11th month and
lasts until next february when all the pubs and clubs are open for 4 days
(well they are here). The end part is in fact an old religious fertility
rite which has slowly become bastardised over the years. Women dress up a bit
"tarty" and if men are wearing a tie and they cut it off with a pair of
scissors then you have to do "It" with them. It comes from the old days when
a woman was allowed to cuckold her husband with no fear of recrimantions.
Can White Men Sing The Blues is by....um..it's on the tip of my tongue...

Seb
From: crispen@EFFTOO.BOEING.COM (crispen)
Newsgroups: bit.listserv.allmusic
Subject: Re: Metal appose, all rules to death who
Date: 5 Nov 92 16:37:35 GMT
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Boy, go out of town for a couple of weeks and things get out of
control.

(1) What do you mean there's a new Bob, or that somebody else is
the Real Bob?  The *real* Bob is (ahem) moi.

(2) What's this about showing a yellow card to Marsha about
legos, Hosko?  Legos ARE music.

(3) What's this hip/unhip thing about Fleetwood Mac versus Hello
Dolly?  Fleetwood Mac ARE a lounge band.

Sheesh!  Turn your back for a minute on you kids...  Now go straighten
up your rooms.
+-------------------------------+--------------------------------------+
| Rev. Bob "Mom" Crispen        | APPOSE RULES. THE WHO ARE DEATH Y'ALL|
| crispen@foxy.boeing.com       |                                      |
+-------------------------------+--------------------------------------+
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