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Love-Hounds Digest			Wednesday, May 14, 1986, 23:07 EDT

Today's Topics:

		     Madonna's Wazzoo / Moody Blues
			 Butthole Surfers redux
			  Message from Sussex
			   French interview 2
			    New Love-Hound?
			Thanks, and a comment...

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Date: 10 May 86 11:34:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: Madonna's Wazzoo / Moody Blues
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>


I was subjected to sitting through the first half of the top 20 countdown last
night on MTV.  While watching I made several observations.  First, Madonna is,
in my opinion, becomming one of the least attractive female performers doing
commercial music today.  I don't know about her new look, but I wouldn't
want to go near her Wazzoo for fear of transmission of the severe acne problem
she is obviously having.  Sean looks happy, she looks wretched.  Maybe he's
wearing her out.  At any rate, if she maintains her present appearance she
should probably change her name to something like Benzoila.  Secondly, it is
hard to believe that the Moody Blues still sound the same as they did in
1968.  What's really amazing is the fact that Hayward and Lodge look older
than the president.  Eventually, one would expect that androgens will catch
up with Lodge's larynx, and his voice will change.  

'Gerbiling - The paws that refreshes'  [This is an example of sick humor]

John

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Date:     Sat, 10 May 86 13:21:50 EDT
From: Brutal Econo <hofmann@AMSAA.ARPA>
Subject:  Butthole Surfers redux


Item:  The Butthole Surfers, 80 minute video from Touch and Go Records.

Recorded:  Late Febuary, Early March 1985 at TRAXX in DEtroit.

Summary:  Fascinating!  Worth the dollars ($24 PPD to be exact).

. This is a band that puts _ALOT_ of "professional, serious" bands to
  ever-loving shame.

. This is a band that it's trendy to like, not because of their music
  but because of the antics of their front man and his acidic and bent
  vision.

. FACT:  Forget the antics, the Buttholes play the most intense acid
  rock (and by "acid rock" I don't neccesarily mean 60's retread, merely
  the state of "acid rock" today) ever heard to this day and anyone
  who disagrees can eat Gibby's shorts (Gib being the vocal psychotic
  who sings most of their songs).

. The songs here are rejoined by shots of the band in a hotel bed (like
  John and Yoko) doing the best parody of band interviews ever seen and
  even improvising a song on the spot ending with a roistorious "Blow the
  Man Down" chorus.  Has to be seen to be believed.

. How to describe the music?  Here's what I've jotted down after watching this:

	"a strange (I mean STRANGE) assortment of non-influences, anti-
	 influences strung together by spontaneous musical experiments
	 both hilarious and terrifying as well as human beat-box blats,
	 on-stage industriotronicstapetricks, beat generation pointers
	 by the dozen, a real live Sousaphone players, Jesus Christ,
	 nudity, two inhumanly savage African style drummers, a guitarist
	 that acts like Robin did when he was captured by Catwoman and
	 put on drugs all fronted by this hardcore Zippy The Pinhead, who
	 just 70 years ago would have gone no further then either becoming
	 the village idiot or a solitary confinement case"

.  Last jam of the edited version puts the 80's Grateful Dead to shame.

.  Believe it or not, this isn't a vanity video.  Gibby and the others
   come off somewhat sad, pathetic and moronic.  Touch and Go didn't
   pull any punches.

.  This video comes with a clear, one-sided 5 inch plastic (not flexi)
   disk of "American Women" (remember Grand Funk?) done live.

.  If you wait long enough after the credits, my version had a nude version
   of "I shot the pope" wherein Gibby had his PJ's stolen by a bunch of
   skins.  This looks to be an older incarnation of the band and reeks of
   bootleg quality.  I figure it was stuck on long after the credits to
   divert any PMRC attention (not that it won't get any) away from it.  It's
   kind of sad to see an audience take the guys clothes away.  He apparently
   didn't appreciate it but kept on playing anyway.  Talk about "On with the
   Show" and all.

.  This is also the best line-up they've ever had.  Since then they've
   lost the girl drummer and the bassist (who seemed to have the second
   strongest personality of the group).

.  All their "hits" are included as well as very, very raw versions of
   To Parter and Mexican Caravan which showed up on the EP of last year,
   "Cream Corn ..."

.  Great introduction to the rock band of the 80's.


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Date:    Sat, 10 May 86 11:14 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: Message from Sussex

The message printed below was sent directly to
me from Sussex, England (aren't these computers
amazing?!) by Hugh Maher, one of our star
American KT fans. He says he hasn't yet figured
out how to send to Love-Hounds. He gave me the
following ID #, for those who know what it means
and want to write to him:

ssud3%uk.ac.sussex.vax2@ucl-cs.arpa

I was particularly interested in your posting because
of the CD information. I have a sony D-5 compact player
which I bought about a year and a half ago, once I knew
I was going to be coming over here to study for a year.
I really wanted to get one right away, but wanted one
that I could use in the U.S., but then also bring over
here for a year and be able to plug into the wall sockets.
The D-7 at the time was the only portable player, and
I needed a portable player (i.e. runs on 9-V direct current)
to be able to do this. I was actually visiting Berkeley
over the Easter break, and I bought one of the new sony
D-7's which is really great. (I'm going to sell my
D-5 over here, since the CD player prices are about twice
what they are back home)(In fact, the CD's themselves are
also about twice as much! Lots of Value added taxes and stuff)

Anyway, that wasn't the whole point of writing! You mentioned
that all the Hounds of Love CD's were Japanese made, which
is true. However, there were two Japanese pressings, which
are very different (at least if you are sort of picky...)
The first one was sort of a "Rush job" by EMI, who wanted
a simultaneous release in Europe and the UK of the album
and the CD. So I think they ordered it pressed long before
the album was pressed. The reason I'm sure of this is because
I saw several Japanese second pressings of HoL (presumably
for domestic Japanese release - i.e. later), which are
different in that:
1) They exactly resemble the album artwork, e.g. the "Kate
   Bush" and "Hounds of Love" calligraphy is off-center,
   whereas on the original pressing, they are lined up,
   and in black print. (they are pink on the Japanese CD)

   (In fact, I saw a "proof" of the original artwork for
    the album, which exactly matches the original Jap CD.
    I guess they decided to revise the artwork after the
    orig. CD had been pressed.)

2) The quote on the back is credited as to "The Holy Grail"
   on the original CD, but is correctly replaced with
   "The Coming of Arthur" on the Japanese 2nd pressing.

3) The actual label on the CD is totally different, with
   the standardized "toshiba-emi" layout and print, rather
   than the UK calligraphy.

4) The song titles on the back of the JapCD are in different
   colors - I think the 1st side is printed in black, and
   the second in gold or something.

4) The tone colors used in the photos are lighter in the Jap
   ones, and more light pink, rather than purple.


There are probably more differences, depending upon how picky
there are probably more differences, depending upon how picky
you want to be! I could probably get you one if you are interested.

I've never seen the U.S. cover photo on a CD yet. Maybe when
they open the Capitol-Emi plants in the US and Canada? Are they
open yet? There's supposed to be one in England (at Swindon)
operating now, but I havn't noticed anything yet, such as
CD's of The Dreaming and Never Forever.



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Date:    Sat, 10 May 86 12:23 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: French interview 2

French KT interview, PART TWO:

Y.B.: The impression your album leaves, ten minutes after
      listening to it, is this profusion of voices and percussion.
K.B.: That's very interesting. The voices are of capital
      importance for me. They allow me to express the story of
      the song in different degrees. I care very deeply about
      my lyrics. What bothers me is what you just said on the
      subject of percussion...
Y.B.: If I could use only one word to describe your music, it
      would be: psycho-analytic.
K.B.: There's another fascinating observation.
      I'm certain that everyone who writes, all artists, are
      very analytical. Often, that's what expresses their
      most destructive side. Tony Hancock {Goon Squad comedian
      very popular in the early 60s} is a perfect example: he
      was a remarkable actor, who ended up by examining himself,
      criticizing himself so much that he destroyed himself. It's
      something that exists in each one of us, but which one must
      succeed in mastering, otherwise one risks going mad. When
      writing, every time, one is really obliged to analyse the
      things one is talking about. That's the essence of the
      creative process.
Y.B.: Often you do not hesitate in crossing the limits of
      hysteria. "Running Up That Hill", and even more,
      "Hounds of Love", are two good examples.
K.B.: In "Hounds of Love" there's an energy of despair, yes.
      It's about someone terrified, who is searching for a way
      to escape something. My voice, and the entire production,
      are directed towards the expression of that terror.
Y.B.: Could you clarify "Running Up That Hill" a bit more than
      the lyrics do?
K.B.: A man and a woman love each other enormously, so much
      so that the power of their love is the source of their
      problems. Briefly, if they could make a pact with God
      to exchange their roles, the man becoming the woman and
      the woman the man, they would understand each other
      better and would resolve their differences.
Y.B.: From a first listening, one gets the idea that it's with
      God that want to switch roles...
K.B.: There are several people who have heard something of that
      sort. THERE's a good reason for doing this interview, if
      one needed one. Tell them that I would never dare imagine
      such an exchange.
Y.B.: "Cloudbursting" {sic}, the second English single, is also
      tricky, for those who haven't done the same reading as you.
K.B.: It's a song with a very American inspiration, which draws
      its subject from "A Book of Dreams" by Peter Reich. The
      book was written as if by a child who was telling of his
      strange and unique relationship with his father. They lived
      in a place called Organon, where the father, a respected
      psycho-analyst, had some very advanced theories on Vital
      Energy; furthermore, he owned a rain-making machine, the
      Cloudbuster. His son and he loved to use it to make it rain.
      Unfortunately, the father is imprisoned because of his
      ideas. In fact, in America, in that period, it was safer
      not to stick out. The drama: the father dies in prison. From
      that point on, his son becomes unable to put up with an
      orthodox lifestyle, to adapt himself. The song evokes the
      days of happiness when the little boy was making it rain
      with his father.
Y.B.: Dreams form an important part of your preoccupations, at
      first glance.
K.B.: It's that there exists only a very fine barrier between
      them and reality.
Y.B.: With this difference, that your dreams rarely make the
      headlines of newspapers!
K.B.: It doesn't go that far, you're right. But dreams are
      essential to humanity.
Y.B.: That's what the whole second side of Hounds of Love
      talks about?
K.B.: More the struggle brought about by the need to stay
      awake, when it would be so easy to fall asleep. It's
      the story of someone who is in the sea, at night, and
      the experiences through which they pass in order to
      emerge a better person by morning. I'm making a long
      story short.
END OF PART TWO

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Date:    Sat, 10 May 86 12:28 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: New Love-Hound?

Has anyone tried to contact Stephen Rabjohn from Canada,
who was listed in the latest KBC Newsletter Pen Pals
section as wanting to try communicating by computer?
I'd try myself, only I don't know the first thing about
how to link up with his computer. He "would like to
contact anyone out there on a VM/SP or MVS computer
system, and his ID is ACPS0984@RYERSON.

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From: ma3166ay <think!harvard!cmcl2!lanl!unmvax!unmc.cc!ma3166ay>
Date: Wed, 7 May 86 19:47:42 mdt
Subject: Thanks, and a comment...

Many thanks to all for the quick replies on what Kate has out on CD.  I
saw the "original cover" version of TKI at a CD shop here in town the other
day and am debating getting it for completeness' sake, but that would
totally blow my "impoverished student" excuse for not owning a turntable,
wouldn't it?  :-)

Now a quick comment on the current "Organon" debate . . . before I heard all
the tidbits about Orgone and so forth, it was my impression that "Organon"
was merely the song's narrator's "childish" mispronounciation of "Oregon".
The only backup I have for this theory is the copy of "The Oregon Times"
that appears in the CBusting video, but I stick to my theory until I hear
different from an authoritative source, of which there can be but one in this
debate . . .

.rne.

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Ernie Longmire    {{ purdue cmcl2 ihnp4 } !lanl ucbvax } !unmvax!unmc!ma3166ay
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-- 
It's like a jungle sometimes, it makes me wonder how I keep from goin' under.

Greg Skinner (gregbo)
{decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds
gds@eddie.mit.edu