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Love-Hounds Digest			Monday, May 19, 1986, 22:18 EDT


Topics:

			   Re: Jane Siberry!
		   More Kate Rescending / Jaques Brel
			    Coupla notes...
	      U.S. vs British music, *Plus* music requests
		       Anglo|Amero/philia|phoiba
			 Message to "the Gidge"
			     Siouxsie, etc.
				 Hi RNG

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Return-Path: EMAILDEV%UKACRL.BITNET@WISCVM.ARPA
Via:      UK.AC.SUSX.VAX2; 13 MAY 86 13:18:27 BST
Date:     13-MAY-1986 13:01:27
From: SSUD3%UK.AC.SUSSEX.VAX2@AC.UK



Thanks to Andrew Marvick and Doug Alan, I think
I've figured out how to post messages to "Love-Hounds"
directly from England. If anyone has any specific information
they would like me to report from this end of things, please
let me know, by mailing to:

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

I could provide up to date chart positions, or new
articles to watch out for, or live appearances,
or whatever.

The first bit of news that I havn't noticed yet on the net
is regarding the new Kate Bush cover of Muriel Hogan's
"Agent Orange Song."  I just happened to notice this in
the latest (May '86) edition of "PULSE!" magazine, put out
by Tower records (which just opened up a store in London).

It is an article on "Country Joe's TAPE TALK: an `Audio Magazine'
looking for a global audience"  Here are a couple of exerpts:


"`What We're presenting here,' Joe says, `Is an incredibly
diverse kind of music to a very, very sophisticated
audience of global music. When you pick up TAPE TALK,
you are liable to hear anything from African Root music
to hard core punk to Italian rock 'n' roll to Celtic
Harp music'

"A typical TAPE TALK side starts with an introduction by
the person that compiled that side. TAPE TALK 4, for example,
has Holly Near introducing "Women's Music," followed by
six cuts selected by her. On the flip, Country Joe introduces
"Music of Vietnam Veterans," followed by 7 cuts of his choosing.
"Agent Orange Song," by Muriel Hogan, is about being killed
by the chemical and not even knowing it at the time.
But it's Kate Bush's fragile acappella interpretation that
brings home the meaning with a brutal irony no human being
with one good ear could misunderstand."


The article then goes on to say that these tapes are of
very limited quantity, and will probably be very hard
to find in record stores. They are distributed through
California Record Distributors on the West Coast.
Country Joe McDonald, who puts them out, can be reached
at:

Tape Talk
Box 3316
San Francisco, CA. 94119


I havn't heard this song yet, and would be very interested
to hear is someone gets hold of one of these tapes.

Hugh



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From: Jeff Dalton <jeff%aiva.edinburgh.ac.uk@Cs.Ucl.AC.UK>
Date: Fri, 9 May 86 15:55:53 -0100
Subject: Re: Jane Siberry!

Suddenly, I want these records even though I don't know
anything about them.  What is this stuff like?  How easy
is it to find?


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Date: 13 May 86 11:11:00 PST
From: "ROSSI J.A." <rossi@nusc.ARPA>
Subject: More Kate Rescending / Jaques Brel
Reply-To: "ROSSI J.A." <rossi@nusc.ARPA>


A further apology, Since Sunday, I have acquired Never Forever, also.  I have
listened to Lionheart about 3 times, and I am growing quite fond of it.  It
unclear to me how a 12 year old can convincingly come up with some of the
sensual sexuality expressed in some of the lyrics, but if that is the case
Kate must have been, quite the date in high school (i.e., this is not a slang
comment concerning the possibilities of her past, but a sincere statement
arising from the lack of intellectual facilitation in high school).  Concerning
Never ForEver, I saw mention of the Fairlight in the credits.  I have listened
to it less (haven't owned it long enough) than Lionheart, but after about 1 1/2
listenings, I thinl it is going to get a lot of play in my car on the way
to work (Yea, its a 70 VW Bus, but I splurged on the audio).
A thank you to Joe Turner who even aparently can spell Jaques Brel's name
correctly, for answering Doug's question.  Actually, I believe that Doug would
probably like the French versions of any of the early Brel material, language
nonwithstanding.  My only real contact with Brel's music was from getting to
listen to the French stuff, while Pascal's dad, Jaques Languirand, was putting
a French CBC special together in 76.  I think that the majority of LH readers,
not caught in a rut of listening only to one type of music might find it
interesting to listen to.  I wouldn't recommend purchasing it, but this is
the kind of stuff that most libraries have in their, 'seldom-played' collectionsso the listening would be free.

Well, today I continue my quest to find an LP of The Dreaming, and I guess
I might as well pick up The Kick Inside, while I'm at it.

John
------

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Date: Tue, 13 May 86 09:21:27 edt
From: Joe Turner <cutter%umass-boston.csnet@CSNET-RELAY.ARPA>
Subject: Coupla notes...

Anyone know when the domestic "Jazz Butcher" elpee is coming out?

Saw the video for "Sledgehammer". Brilliant.

Good bands/Bad bands: I listen to what I consider good music. So do you.
End of topic.

I finally heard "Godstar", from Psychic TV. What IS this?

Finally this week, the "We've Got a Fuzzbox and We're Gonna Use it" ep has
hit number one.... go for it, ladies!

"U2 did nothing of interest this week. Again."
                         - New Musical Express, 5/10


				Save your parity bits for big cash prizes!
						Joe

----------------------------------------------------------
PAPER: Joe Turner, 329 Ward Street, Newton Centre MA 02159
SOUND WAVES: (617)/969-5993
CSNET: cutter@umass-boston.csnet
ARPA : umb!cutter@csnet-relay.arpa
UUCP : {decvax,ima,linus,sri-unix}!cca!ringwld!cutter
----------------------------------------------------------


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Subject: U.S. vs British music, *Plus* music requests
Date: Tue, 13 May 86 11:47:31 -0800
From: J. Peter Alfke <alfke@cit-vax>

Yahhhh!

Here I am, just out of the shower and dressed, hair dripping into the sleep
in my eyes, I read my mail and *wham*

"Hey!  You got net.music in my love-hounds!!!!"

If the debate doesn't cool off a bit verrry soon, I hope friend Doug will
put on his honorary brown-shirt (given free to all moderators) and squelch
it.  'Nuff said for now.

My position?  I have always seemed to favor British groups, from my "prog"
period (Genesis, Floyd, Yes...) up to now (today I read my mail to Cabaret
Voltaire and am replying with Joy Division playing).  Dunno why.  I do get
very sick very easily of he-man attitudes, and these turn up a lot more
often in American music.

It might also be that more interesting things get into the top 40 in Britain
than in the U.S. (much much smaller sample size, so more volatile, and small
groups don't get overlooked as easily), and so people or radio stations who
keep up with the British scene can find interesting music more easily --
finding alternative U.S. music requires some digging.

My current problem: There are no really good record stations I can pick up
from here in Pasadena.  The best I can manage is KROQ (trendy nu-wav). I
should be able to get KSPC from Pomona, a college station playing college-
station music, but my receiver just won't.

--SO--

Can people reccommend good obscure new music (esp. American) for me to
search out?  I can find the stuff easily enough, thanks to Poo Bah records,
but I just don't know what to buy.

Warning:  I have a low tolerance for thrash -- "Never Mind the Bollocks",
early X and Dead Kennedys are enough for me thank you.

I also get sick easily of people screaming in a big room while a portable
tape recorder picks up the instruments.  That is: I liked Big Black's "Lungs",
but "Racer X" left me totally cold, as does anything by Jim Foetus.  I do
like Throbbing Gristle, however ...

Anyhow, I'd really appreciate seeing some descriptions of various bands'
sounds and albums.  I'm especially intrigued by the following:
	* Butthole Surfers   (always assumed they were hardcore!)
	* Meat Puppets
	* Executive Slacks (other than "You Can't Smile...", which I have)
...and any of the other names people have been tossing around.

Are there any great American synth bands, other than Executive Slacks?

						--Peter Alfke
						  alfke@csvax.caltech.edu
PS: In response to someone's query: The
    new Smiths album should be out in
    two weeks.  Yum!

PPS: What rhymes with "innocence"?

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Date: Tue, 13 May 86 15:00:49 EST
From: hsut@ec.purdue.edu (Bill Hsu)


Mini-reviews time again!!

Disclaimer: These are just things I picked up recently. It's pure coincidence
	    that 1) most of these are American bands 
	         2) most of these bands are not hardcore
	    so they just happen to be relevant to recent discussion. See,
	    it's synchronicity again...



ART BEARS	THE WORLD AS IT IS TODAY

	This is biting political music, quite unlike the static, 
frozen-in-time quality of the Winter Songs album. Much more jazz-tinged than
Winter Songs, with some gloriously satirical fake operatic arias and atonal
mini-jams, just so you don't forget who you're listening to. Great stuff;
if you don't like venomous political lyrics, just listen to the great
playing. (The album has a beautifully detailed B&W cover, and comes with a 
neat booklet with lyrics and drawings.)


SONIC YOUTH	CONFUSION IS SEX

	I thought Bad Moon Rising was better, but that's like saying
The Dreaming is better than Hounds of Love. CIS is an earlier album,
and has the trademark Sonic Youth jangling guitar noise, but the music
and lyrics are simpler and less atmospheric than Bad Moon Rising. Some
good songs nevertheless.


CHRISTIAN MARCLAY	RECORD WITHOUT A COVER

	I found this somewhat less interesting than expected. Marclay
plays records: he cuts them up, glues them together, scratches them,
makes collages, etc. The album (there's only one side) starts quietly,
then builds to a zany collection of musical fragments. There are some
hilarious moments. His performances must be something to watch...


NEGATIVLAND	NEGATIVLAND

	More collage music. There are 20 short tracks, peppered with
found speech, radio broadcasts, industrial noise, etc. I really enjoyed
the warped music on Side 1, from the fake carnival anouncement ("Welcome
to Negativland...") to the acoustic-folk stuff with industrial noise.
Side 2 is more disjoint, with more noise and speech and fewer instruments.
There are some truly haunting post-holocaust soundscapes, tho.


CHRIS D./DIVINE HORSEMEN	TIME STANDS STILL

	Raw, mostly acoustic street folk. Chris D. screeches his lyrics
of degradation and despair to sparse instrumental backing, mostly
acoustic guitar and wailing violin. This is what Robyn Hitchcock might
have done instead of I Often Dream of Trains if he had lived on the
streets.


	Most of these albums can be ordered from New Music Distribution
Service (mail me a note if you need the address). Your local Tower
Records probably won't carry them...

					

					Bill Hsu


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Date: Tue, 13 May 86 15:18:16 edt
From: Bob Krajewski <lmi-angel!rpk>
Subject: Anglo|Amero/philia|phoiba

Boy, you guys really touched a sensitive nerve there.  A few observations:

. Look at things from a musical history point of view.  It is clear that
  the most vigorous forms of music on the worldwide scene all heavily borrow
  from American sources.  In other words: no blues, no America, no nothing.
  The United States has blues, gospel, jazz, r&b, rock and roll, funk,
  country, and many strange hybrids thereof (like big-band country
  ``cowboy'' jazz, the proto-funk/reggae r&b of New Orleans [well, that's
  what I hear in Allen Toussaint productions], and so on).  Ironically, most
  people in the US who don't really ``live'' with these kinds of music don't
  realise what their heritage is.  On the other hand, the rest of the world
  (especially Europe, and again especially England) does realise this.

. Since Americans in general are so ignorant of their musical heritage, many
  of them don't realise what possibilities lie in the music.  On the other
  hand, the British come from a different context, change things, and then
  sell it back to America in a new light.  The rhythms and styles are still
  there, but now the music works as ``pop'' rather than just ``folk'' music.
  Thus, the success of the Beatles, Stones, Eric Clapton, Culture Club, the
  Smiths, JAMC, etc.  And of course, you've got people like Hendrix and the
  Stray Cats (now don't laugh just because there's a conjunction between
  them) who had to England first to get support.  Not to mention many jazz,
  funk, and soul people.  Hip hop is just as big in Manchester and
  Birmingham (England) as it is over here.  On the other hand, all those 60s
  punk/pysche groups in the 'burbs of the USA were trying (at first) to
  sound the like Stones and the Yardbirds, who themselves loved American
  music. 

. To make things a little more relevant, take the sound of records.  It has
  been said that the English don't like music, but love the racket it
  makes.  It is somewhat true that these days (ever since about '79 or so)
  British indie and pop stuff tends sound ``interesting,'' or affected, or
  textural, or stylish.  American stuff is more straightforward, and
  usually the studio sound itself isn't interesting (just guitars, guitars,
  guitars); most US bands have one mode and stick to it.

. The Emperor Has No Clothes: (anti-flame)

  . Synths are evil.
  . These American bands rely on songwriting and sincerity, not gimmicks.
  . The ``roots'' concept is valid.
  . The ``roots'' stuff you're hearing is really covers all the diversity
    of American music.
  . Pop is evil.
  . The studio is evil.
  . Amateurism is cool.
  . Beer-drinkin' music is honest.
  . Synth-poppers aren't rockists.
  . Loud guitars are always rad.
  . Jangle bands are less ``sound'' oriented than synth-crap.

So what do I like ?  Here are recent faves (in no particular order)

Art of Noise, the Bodeans (US group), Kate Bush (or else I'd be kicked off),
Can (getting into the back catalogue of the truly rhythmic and
``progressive'' German group), Husker Du, Bill Frisell & Vernon Reid, the
Residents, Big Stick, Volcano Suns, Birdsongs of the Mesozoic, Sam Cooke,
Scott Johnson, Pandoras, Elvis Costello, P/Funk, James Brown (30 Golden Hits
is domestic, remastered, and cheap, GET IT NOW, it's both ``roots'' [haha]
and RAD), Christmas, Dumptruck, O-Postive, Soul Asylum, Butthole Surfers,
Thomas Dolby, Throwing Muses, David Sylvain, Tom Waits, Hoodoo Gurus, Toure
Kunda, Love & Rockets, Camper Von Beethoven, and a cast of thousands.

Cool American Producer: T-Bone Burnett.

Cool Region: New Zealand.

Hoffman Bullseye Review: Big Audio Dynamite.

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Return-Path: <umcp-cs!jhunix!jhunix!ins_aset>
Date:     Tue, 13 May 86 14:46:02 EDT
From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV>
Subject:  Message to "the Gidge"

Gidget, if you're looking for true devotion to Roxy Music, you
need look no further.  Why, this right hand now typing has actually
*touched* the hand of Bryan Ferry.  And you can bet I never wanted
to wash it again.  I have everything by them, all 7"s and 12"s and
LPs (except for the first 5 singles).  If you care to discuss this
obsession further, we'd better keep it off love-hounds, so e-mail
to me at the below address.
        
*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-
Sue Trowbridge

"HOODLUMS FROM ANOTHER WORLD ON A RAY-GUN RAMPAGE!"
	-"Teenagers from Outer Space," 1959

arpa  : ins_aset%jhunix.BITNET@WISCVM.WISC.EDU
uucp  : ...{ihnp4!whuxcc | seismo!umcp-cs | allegra!hopkins} jhunix!ins_aset
(or)  : ...decvax!decuac!aplvax!aplcen!jhunix!ins_aset

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Return-Path: <umcp-cs!jhunix!jhunix!ins_aset>
Date:     Tue, 13 May 86 14:39:09 EDT
From: Susanne E Trowbridge <umcp-cs!jhunix!ins_aset@seismo.CSS.GOV>
Subject:  Siouxsie, etc.

Well, I saw Siouxsie and the Banshees for the first time last
night.  They played the Warner Theatre in DC to kick off their
two-month US tour, promoting their new LP "Tinderbox."

I had great seats, thanks to the friendly folks at Warner Bros.
Records (we rockcrits get so many freebies it almost makes up for
the abuse), so I didn't have to do battle with the Siouxsie-clones
by the stage.  I also had a good view of Siouxsie's bald spot
(that's what you get for teasing your hair that way for 10
years, I guess...)

Ah yes, the music!  They did all the songs from "Tinderbox," and
lots of oldies, like "Israel," "Spellbound," "Nightshift," 
"Christine," and "Bring Me The Head of the Preacher Man."  The
playing was first-rate, Siouxsie has an amazing stage presence
and voice, and there was plenty of neat lighting.  Go see
Sioux if she passes through your neighborhood.

******************************************************************

Travesty -- At Tower Records yesterday, all their monitors were
showing the video of "Wuthering Heights," but the sound-system
was blasting the Long Ryders!!!  Phooey!

I thought I would add a bit of personal KB-history.  Right after
"Never For Ever" came out, my best friend at the time heard a bit
of Kate and rushed out and bought all three albums.  Hoping to
convert me, he bought them for me too.  Needless to say, I was
converted.  We anxiously awaited the release of "The Dreaming,"
and we both loved it right away.  I think I may have a review of
it somewhere that I wrote when it came out.  That would be funny,
I'm sure.  

-Sue

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From: COBLEY A (on DUNDEE DEC-10) <A.Cobley%dundee.ac.uk@Cs.Ucl.AC.UK>
Date:        Wednesday, 14-May-86 10:03:05-BST
Subject:     Hi RNG

--------


	will some one please tell me (either over list or by mail)
	what Hi rng music is and what it stands for 

	thanks
	love and peace
	andy c

cobley%dundee.micro%dundee@ucl-cs


--------

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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