HDTenEightyP/NetNews huggingface dataset:
From: john@spss.com (John Przyborowski)
Subject: Re: FEELIES
Organization: SPSS Inc.
Date: Thu, 12 Nov 1992 16:32:58 GMT

The Feelies are notorious for disappearing from the music scene whenever
they begin to get too much attention.  For instance, in the early '80s they
released their second album "The Good Earth", to rave reviews, on the verge 
of being signed by a major label you would think they'd go for it, huh? Nope.

Instead, they dissolved, took day jobs, and didn't record or play for 3 years.
They then regrouped, recorded "Only Life" and "Time for a Witness", and began
to get that attention again.  Hence, they scurry away from th espotlight 
again.  Stan Demesky, the *drummer* from the Feelies, is in Luna2.  The guitar
player is from Galaxie 500.  The bass player an ex-member of the Clean.

The Feelies will probably regroup again.

john
SPSS
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Date:         Wed, 11 Nov 1992 22:27:39 -0500
From:         mjferzig@MIDWAY.UCHICAGO.EDU
Subject:      Re: What Makes It This or That

>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?
>Michael Morse

I agree - i like music in general. However, when talking to people on a net
like this, it helps to be able to describe what you are talking about in
somewhat know terms. I may not know much about who good blues performers
are, but I know blues when I hear it. We all have pretty much the same
basic ideas about what's what...so it's easier to communicate. I will
defend my own favorite label, which is relatively easy to define -

a cappella - singing without accompaniment of melodic instruments.

It really helps when you're hunting through record stores trying to look
for something to arrange for your group!!!

Marsha
From: MASUDA@SJSUVM1.BITNET (MIke Masuda)
Newsgroups: bit.listserv.allmusic
Subject: Fret buzz from Hell
Date: 6 Nov 92 03:34:58 GMT
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Comments:     Resent-From: MIke Masuda <MASUDA@SJSUVM1>
Comments:     Originally-From: Raymond Keller <rkeller@EIS.CALSTATE.EDU>
Comments:     Warning -- original Sender: tag was ALLMUSIC@AUVM

Raymond sez:
>Can anyone help me, please?

Raymond asks about a Takamine guitar with buzzing frets.

If it has no truss rod adjustment capability and if you
look straight down the fingerboard from the bridge and
see a bit of warpage, twist, or irregular fret placement,
take it back for a replacement.  There is little you can do
about these things.  If there is a truss rod, try adjusting it
a little at a time in either direction until the buzzing
disappears (don't go too far, I WARN YOU).
If it is a minor fret buzz, you might try sanding the
frets down a little bit with some steel wool.
If it requires more than just a little sanding, don't start
sanding it--take it back for another guitar.
The strings they have on the guitar
should be adequate to tell whether or not it is a
good guitar, but if you are picky, get a new set of strings, put them on,
stretch them out, and test the guitar again.  Good luck.
You might try a lighter/heavier guage string set, but that's
up to you.

Mike Masuda.

P.S.:  Be a pain in the neck, because that's how you can get the best
for your money.  My recording professor went through a dozen
pairs of speakers at Radio Shack until he found a really good set.
It turns out Radio Shack buys the outdated technology stuff
(like the rights to the schematics for a microphone or a speaker)
and produces them in bulk--one out of a couple dozen are actually
good enough to be called high quality merchandise.  And they
are cheaper than department store prices--the only drawback is you have to
really drill the people there at Radio Shack to get a good pair of
speakers, microphones, etc.  And over here, Radio Shack people
are not the friendliest or the most sociable people in the world.
So my point is this--if you can get a good guitar by checking out
a reasonable number of them, by all means, do so.
Otherwise you'll regret it later on.

Mike Masuda
    Fret buzz from Hell                                                     
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Date:         Wed, 4 Nov 1992 22:53:15 -0500
From:         "The Chrome-Plated Megaphone of Destiny"
              <ALEVIN@RCNVMS.RCN.MASS.EDU>
Subject:      Moose & Cow are the Public Enemy

From: mjferzig@MIDWAY.UCHICAGO.EDU
Subject: RE: Moose calls for the touring impaired

>Marsha "Why are all men taken, gay, hung up on physical appearance or just
>plain assholes?????" Ferziger

Just plain assholes? Nah...We come in a variety of flavors. 8) 8) 8)

From: MIKE <VANVMIKE%OSHKOSHW.BitNet@pucc.PRINCETON.EDU>
Subject: RE: 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.
>
>Corny?  Perhaps.
>
>Factual?  I think so.
>
>Mike

Oh boy. You left me so much to pick at!

A) "expected moral standards" - ahhh... Please define. If you can come up with
a definition for this phrase (and supply a complete list of these standards)
which everyone agrees too, I'll eat my whole CD collection. Might as well
define "god" too while you're at it.

B) Since you seem to know so much about Public Enemy's morals, why don't you
define them too.

C) Bonus points: Tell us how you became such a close friend of the band so that
you could get close enough to engage in a deep philosophical conversation which
left you an expert on their moral views.

Oh by the way. I don't like Public Enemy either. I just don't agree with your
statements.

From: "Michael H. Bloom" <MHB%MITVMA.BitNet@pucc.PRINCETON.EDU>
Subject: I like smokin' lightning

>gets to choose what you hear-- I swear I heard someone play Henry Cow licks.

GROAN! Please tell me that was an unintentional pun.

>vocal range tops out at F# above middle C. I also have a sneaking fondness
>for the Alice Cooper/Lemmy Kilminster gargle sound.

For some reason whenever I hear Alice Cooper's voice, I'm reminded of Big Bird.
Notice how you never see Alice and Big Bird in public together. Mere
coincidence? I think not.

>Lowell George used a Sears 11/16 socket, the long one. My fingers are a bit
>smaller. If you're small enough, the doodad you use to unseat spark plugs
>would be ideal.

My own favorite is a Duracell AA battery. I wedge it between my index and
middle finger. NOTE: If you can't find a Duracell, Kodak's batteries make a
good substitute. Other brands don't work as well, as most others have a
plastic laminate coating which doesn't sustain as well.

-Adam
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Date:         Thu, 12 Nov 1992 22:02:00 EST
From:         Ryche-r <KTUCKER@GMUVAX.BITNET>
Subject:      Unsubscribe

Please unsubscribe me from this mailing list.
Thank You,
Ryche-r
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Date:         Thu, 12 Nov 1992 07:20:21 CST
From:         "Leonard Watkins" <ISTS024@UABDPO.BITNET>
Subject:      Re: What Makes It This or That

On Wed, 11 Nov 1992 19:39:58 EST <MMORSE@YORKVM1> said:
>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?

Even though i asked the question, i couldn't agree more and it's really going
that way because the 'charts' crossover, you'll find country on the pop and
soul on the pop.......etc....................L.W.
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Date:         Thu, 5 Nov 1992 14:39:05 CST
Comments:     Resent-From: Little Inquisitor <U33963@UICVM>
Comments:     Originally-From: "Mr. Scott Hannon" <hannon@umbc4.umbc.edu>
From:         Little Inquisitor <U33963@UICVM.BITNET>
Subject: Re: dig.rem.?

Allmusicdom:  If you want me to stop sending this stuff, just tell me.  I'm doi
ng it for all you Hendrixians out there.  I also find that there's a lot of per
tinent info in these posts.  Then again, it's your call.  I don't want to take
up bandwidth unnecessarily.
                            Renato
----------------------------Original message----------------------------

Stuart Troutman <stuart@apollo.hp.com> writes:
>In regard to all of these Hendrix albums that have been "digitally remastered"
>for cd release.....How do they sound different? I haven't heard any of them on
>cd, and I grew up with the original vinyl releases, so I'm skeptical. Can any-
>one who knows these albums in BOTH formats comment on the differences?

They were only remastered, not remixed, so they sound almost the same.
The older CDs were, I think, made using the LP masters. The problem with
them was that they apparently didn't always use the original masters, but
2nd generation copies, and the tape hiss and clarity were a bit worse than
it should have been. They may not have been correctly equalized either.

The newer "RE-1" [look for it on the CD near the hole] CDs were remastered
with the CD in mind: correct equalization; using the original masters or
the best copy they could obtain; no compression or limiting for the sake
of having the music sound good on an average record player; and "No-Noise"
signal processing [which basically removes some of the tape hiss by making
a guess as to what is noise and what is music].

For all but a few songs, I quite prefer the remasters.

Scott.
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Date:         Fri, 13 Nov 1992 09:45:16 PST
From:         Jim Grubb <JIMG@UCSFHC.BITNET>
Subject:      Re: interesting Pete Townshend quote....

On Fri, 13 Nov 1992 01:03:00 CST SOUND CAN WASH CLOTHES said:
>Back to the windmill-man, I heard that Rykodisc is releasing Townsend's
>first solo album "Who Came First" for the first time on CD, with 6 bonus
>tracks no less. I haven't heard any solo-Pete that hasn't been pretty damn
>good, but this album came out in the early 70's long before he went solo.
>Anybody ever heard it? Is it any good?
>
Ah yes, I remember it well. It was '72. I was a big Townsend fan back then.
It has been years since I've heard it and if my turntable (for those of you
born recently, that is a device that plays those vinyl disks you see now and
then) wasn't screwed up, I'd make you a tape. There are 2 songs that stick
out after all the years; Pure and Easy and Sheraton Gibson. It is a real
change from Who's Next. It is mostly accoustic and soft. I liked it but
don't think I would recommend it after all these years. I think the best
solo Townsend work that I've heard is 2 cuts from the Other Policemen's
Ball. He does a great version of Pinball Wizard and  Won't Get Fooled
Again; just him and an accoustic guitar.
JimG
"Sitting at the Sheraton Gibson playing my Gibson
 and boy do I want to go home" P. Townsend
Xref: sparky bit.listserv.allmusic:12891 rec.music.misc:26953 alt.rock-n-roll:17811
From: TAG2@psuvm.psu.edu (Thomas A. Gryn)
Newsgroups: bit.listserv.allmusic,rec.music.misc,alt.rock-n-roll
Subject: New Chris de Burgh album?
Date: 6 Nov 92 01:37:09 GMT
Organization: Penn State University

I called an import CD distributor yesterday, asking about any new Chris de
Burgh albums (new= post- "Live from Dublin"). He repeated a list of the
current CdeB albums, and I heard one that seems new, by the name of "Power
of Ten". Can anyone tell me if this is a new album, or a 'collection of hits'?
Being in the States, I get hardly any info on CdeB, so any help that net.folk
(espec. in England) can give would be MUCH appreciated. Thanks!

Tom Gryn...........................................tag2@psuvm.psu.edu
"Searching for quality, having to have the very best.
   Now scrounging for quantity, never havin' time to do the test..."
                               - Neil Young, "No More"
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Date:         Wed, 11 Nov 1992 11:16:52 CST
From:         "Leonard Watkins" <ISTS024@UABDPO.BITNET>
Subject:      What Makes It This or That

What do you think makes a particualr song a Blues, Heavy Metal, Hard rock
or just plain Rock. It can't be the Chord progression, It can't be the
distortion level, It can't be the beat. What is it that set's them apart.
What's the difference between Blues & Soul.........L.W.

BONUS POINTS..Why does a Quarter and Dime have rough edges and a Penny and
Nickel have smooth edges.....It's worrying me to death........L.W.
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Date:         Fri, 6 Nov 1992 08:06:03 EST
From:         DARON MCNAB <IDPM@SNYCENVM.BITNET>
Subject:      RE: Nice Mouth!
              5 Nov 1992 16:05:27 -0500 from <R_GELINAS@UNHH.UNH.EDU>

Geee,  I'm glad you can read a dictionary.
From: TEICHROE@NET2.EOS.UOGUELPH.CA (Dave Teichroeb)
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Subject: Unsubscribe
Date: 12 Nov 92 18:48:03 GMT
Organization: School of Engineering
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Please unsubscribe me from this list

ThanxDave Teichroeb
University of Guelph
Guelph, Ontario, Canada
N1G-2W1
Ph:(519)824-4120 ext. 6198
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Date:         Thu, 12 Nov 1992 00:05:00 EST
From:         LAURAL@MIDD.BITNET
Subject:      Re: Madrigals...

        Marsha-
        Hey.  I'll definitely trade a cappela tapes with ya!  you've got quite a
    collection.  I'd love to get my hands on the MIT and/ or the Tufts groups.
   Ourmen's group, the Dissapated Eight, is coming out with a new CD sometime th
   is
year, so ya might want to wait for that.  Otherwise, I can get you a good copy
of their 1990 CD.  Can get you a copy of the Decibelles 1990 at F&M College.
I've really only got three songs of the U. Delaware, but they're pretty rockin'
and I can dub them onto the end of something else.  Lemme know what I can do
for ya.  If ya still want to trade, my snail mail address is:

Laura LeClair
MCBOX4115
MIDDLEBURY, VT 05753

        Does anybody have any tapes of Yale U. a cappella groups?  There are too
   many groups there to name, but all the ones I ever saw were great.  Red Hot a
   nd Blue was one of the Men's groups.  I'd love to get my hands on some of the
   ir
recordings!

Laura L
From: BEHR5606@SNYPLAVA.BITNET
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Date: 12 Nov 92 18:28:00 GMT
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Date:         Thu, 5 Nov 1992 10:22:15 CST
From:         "Leonard Watkins" <ISTS024@UABDPO.BITNET>
Subject:      Ear Trouble

I know some of you accomplished muscians can help me here, i have trouble
"picking out" songs, even though i've been playing forever i got into
improvisation and i'm very good at that, but i have trouble picking
out songs, i can cop the main riff in most cases but the changes give
me problems i really believe i'm close to being tone deaf, occasionally
i can pick them out but not usually and it's about to make me give up playing
Is there any advice (besides quit the run-on sentences) that some of you
might can give me...I'm getting frustrated and just about ready to give it
up (i doubt it though). My guess would be the more i do it the eaisier
it'll get, i can reconize some just by listening without the guitar
especially E's and A's. Is there a method you use that maight help me
..............L.W.
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Date:         Tue, 10 Nov 1992 18:33:25 EST
From:         RTURNBUL@TOROVM1.VNET.IBM.COM
Subject:      What Mike got last weekend...

>>I don't listen to metal as much anymore, because it
>>seems like it is a rehashing of old themes and ideas done long ago
>>by some band in the 60s or the 70s.  The last metal album I got was
>>Ozzy's "Diary of a Madman", which is a classic.

>Mike, let me suggest some of the grunge bands.  If Soundgarden
>doesn't get your blood pumping again, maybe you have to face it that
>you're becoming o*d (chronologically gifted).

Try the _Singles_ soundtrack. It's not "heavy metal", but it's a good example
of some of today's better hard rock. Has a Soundgarden song called "Birth
Ritual" that will sneak up on you without you knowing it. Others include
Alice in Chains, Screaming Trees (one of my fave albums of the year) and two
new ones by Pearl Jam.

Bob T
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Date:         Tue, 10 Nov 1992 08:23:19 EST
From:         Sonia Kovitz <skovitz@MAGNUS.ACS.OHIO-STATE.EDU>
Subject:      RE: ROTCOD
              Marshall" at Nov 9, 92 6:54 pm

>
> > Hey all youse---order I.N.#7 from the ROTCOD if you want to be cooler than
> > cool.
>
> Qu'est-que c'est ROTCOD?
>

Hey Chris, you forgot the last "que"!!!  Watch out or your degree will be
revoked along with the Rev's phony Rotcod of Divinity now that he has publicly
confessed to never having read Ulysses.

ROTCOD ZZAJ = well, read it sdrawkcab and then you'll know.

It seems he's been really busy over there on the underside of the earth because
he hasn't been posting lately (HEY ZZAJ, WHERE ARE YOU? WHAT ARE YOU? EXPLAIN
YOURSELF TO THIS GENTLEMAN)...  ZZAJ is a fabulous wild keyboard man who has
lots of exciting tapes for sale and also publishes Improvijazzation Nation, a
newsletter devoted to improv (and rotten poetry: some of my own is going to
appear and I'm already drenched in embarrassment, oi vey).  Send him a private
e-mail at: DMetcalf%IC-LOG@WALKER-LTT.Army.Mil.  You WON'T regret it.

Little Wing: I think the Skid Row cover that is on the air waves is TOTALLY
PATHETIC and I almost fall out of the car everytime it comes on.

Carol, tell us more about the charming creature of the amphibious variety: did
you purchase a studly young carp to take home with you?

Your Tilted Kilt tape arrived and it is .... (damn, I am suffering a paucity of
adjectives... it's easy to talk about things when they're lousy but when
they're great, just WHAT do you say?  I've over-used fabulous, inspiring,
thrilling.... Anyway, it is .... WONDERFUL ..oh brother, I need a new
thesaurus--my old one has been squeezed dry).  That Celtic stuff really
stirs up this Old Testament soul.  I think I used to be a druid.

   So the Bloomdodo-bird DOES actually exist?  I thought he was some sort
of hyper-brain-cell-ectoplasm that crystallized over a keyboard on the eastern
seaboard.

Sonia "Hey Hey Let's Hear It For Joaquin Des Pres"
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From: IMAGING.CLUB@OFFICE.WANG.COM ("Imaging Club")
Subject: Longy Opens Massachusetts German Opera Festival
Organization: Mail to News Gateway at Wang Labs
Date: Thu, 5 Nov 1992 16:00:36 GMT

CAMBRIDGE, MASS.--November 5, 1992--The Longy School of Music
opened its "Evening of German Opera" festival last night with
strong performances by the 32 member Longy Opera Company, directed
by renowned soprano Donna Roll, and Music Directors Thomas Enman
and Lisa Harer de Calvo.  It was an altogether wonderful evening.

The full ensemble opened the evening's successful performance with the
Entrance of the Nobles from Tannhauser and closed it with another
exciting Wagner selection from Lohengrin.  The ensemble performs with
full opera dress, involving changes between scenes.

Other highlights included performances by mezzo-soprano Dianna Daly
in Mozart's Magic Flute and Flotow's Martha.  Soprano Ana Lorenz
sang well in her Magic Flute lead role, hitting those high notes.
Another experienced Longy mezzo-soprano,  Elisabeth Borg, was
impressive in the role of Octavian in Der Rosenkavalier, along
with her Magic Flute role.

The audience especially enjoyed Mississippi soprano Kim Griffing
and Martha Ebel in their roles from Wagner's seldom performed work
Die Feen, involving lots of mysterious dancing with black capes to
accompany their singing.

The Longy German Opera festival continues through Saturday.
Performances start at 8:00 pm in the Longy concert hall,
27 Garden Street in Cambridge.  Longy is located diagonally
across the green from the Harvard Square T-stop, a few
minutes walk.  Tickets are five dollars.

Michael.Willett@OFFICE.Wang.com
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Date:         Wed, 4 Nov 1992 15:59:46 EST
From:         Scott Hammer <SCOTH@WMVM1.CC.WM.EDU>
Subject:      Just Folkin' Around

MHB writes, in response to my query about what he means by "folk music:"

>It just hacked me off that the term "folk" was being used in a way almost
>diametrically opposite its dictionary meaning. Kinda like how "alternative"
>means "exactly what all my friends and half the college kids in the world
>also listen to."

Well, again, I see what you mean.  However, most of this music is:

o  Very non-commercial (at least I don't hear it on the radio)
o  Mostly produced on acoustic instruments
o  Often publicized and distributed outside normal commercial channels
   (Concerts publicized by word-of-mouth; recordings sold at concerts or
    through the mail)

Sounds like folk music to me.  My guess is that you're objecting to the
"singer/songwriter" part, which I can understand.  Many of these new songs
are very much in the folk tradition, however, and, besides, we've got to
generate new material somehow.  We can't *just* play "Shady Grove," and
"Billy in the Low Ground," and "Soldier's Joy" forever, can we?

BTW, there are plenty of folks out there playing reasonably straight
traditional music, too (though they tend not to be discussed on the folk_music
list, which, I guess, was your original point).

-Scott "Aging/Balding Folkie" Hammer
 College of William and Mary
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Date:         Tue, 10 Nov 1992 09:57:34 CST
From:         Little Inquisitor <U33963@UICVM.BITNET>
Subject:      Obscene profits

Next time you plunk your money on he counter for a CD remember these facts. Acc
ording to a story entitled "$ 16.98 Scam?" in the Chicago Sun-Times (Nov. 8), b
y Jim DeRogatis, this is where the money goes:

                   $ 2.25 Manufacturing    (14%)
                     1.20 Marketing        (7%)
                     2.65 Artist/songwriting
                          royalty          (15%)
                     5.09 Retailer         (30%)
                     5.69 Major label profit (34%)
                   _________
                  $ 16.98

This is all based on industry sources and publications.  BTW, the cost of "manu
facture" is quite interesting:

                   Booklet:  .20
                   Disc:     .85
                   Tray:     .05
                   Inlay:    .10
                   Jewel box .35
                   Long box  .50
                   Shrink wrap
                    & misc.  .30
                            _____
                           $2.35

Have a nice day,

Renato
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Date:         Sat, 7 Nov 1992 21:14:00 EST
From:         LAURAL@MIDD.BITNET
Subject:      Re: Shawn Colvin - Live and on the air

        Hey!  Shawn Colvin Live is amazing!  I saw her when she opened for
the Richard Thompson Band at the Flynn Theatre in Burlington VT 2 summers ago.
Played all her new stuff, and old Steve Earl tunes.  Such a sweet performer.
Catch her if you can!!  (I won't since her tour is skipping N. New England. 8-(

Laura L.
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