🚀 go-pugleaf

Love-Hounds Digest			Wednesday, June 11, 1986,

Topics:

				  Uzi
		Please Don't Let Me Be Misunderstood...
		 that isn't what *I* meant (and wimps)
			ONLY THE FOOLS BLEW IT!

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Date: Sun, 8 Jun 86 21:57:30 EDT
From: nessus (Doug Alan)
Subject: Uzi

Those recently-defunct demi-gods of the Boston music scene, Uzi have
an EP coming out next week on Homestead Records.  Buy or get shot!

			-Doug

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Date: Mon, 9 Jun 86 14:28:51 edt
From: Bob Krajewski <lmi-angel!rpk>
Subject: Please Don't Let Me Be Misunderstood...

A few EVOL-Hounds ago, earle@smeagol sez...

  The land outside that somewhere is the land reserved for your vitriol and
  spiteful hate; whether it be Hofmann's land of Art Rock Suffering ArTestes 
  and Synth Trendioids and most things English; or Peter Alfke's land of
  HardBore No Thank You; or Bob Krajewski's land of English You Ripped Us Off
  Bands; etc. etc. AD NAUSEUM.

When I was expounding on the vitality of 'murrican music, I wasn't trying to
be parochial.  Perhaps I should have made stronger my implication that the
stuff can be good (in other ways) when it's recontextualized by our friends
overseas.

Hoffboy was the one who implied that the Limeys ``stole'' ``our'' music.
The example he gave was Malcolm McClaren and the hip-hop thing.  But given
the dominant patterns of radio and music propagation (even in our
enlightened times), I don't think you were going to hear any scratching on the
radio unless a white person brought it to England, which, let's face it, has
a bigger influence on the hip white audience here does than anybody from
Tommy Boy records.  So McLaren's shameless.  Big deal.  I think that music
benefits from blending and clashing; the purists can call it stealing but
then they won't have anybody new to dance or gab with...

I don't like pigeonholing either.  If you're on this list, that should be
true for all of you.  OK, here's what's in my recently purchased pile:

  Celibate Rifles: ``Sometimes'' 7"; Big Stick: 7" EP; Kate Bush:
  ``Dreamtime'' 7"; The Special AKA: ``The Boiler'' 7"; A Certain Ratio: To
  Each... LP; Camper Van Beethoven: II & III LP; George Clinton: R&B
  Skeletons in the Closet LP; Elvis Costello: King of America LP;
  Dissidenten/Lem Chaleb: Sahara Elektrik LP; The Fall: Wonderful and
  Frightening World... LP; Peter Gabriel: Sledgehammer 12"; Janet Jackson:
  Control LP; Pogues: Poguetry in Motion EP; Woodentops: Well, Well, Well LP,
  Cramps: A Date with Elvis LP; Prince & et. al: Parade LP.

I hope the only pattern you see there is good taste (chuckle).

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Date:     Mon, 9 Jun 86 15:13:03 EDT
From: Lester Bang's Orphan <hofmann@AMSAA.ARPA>
Subject:  that isn't what *I* meant (and wimps)

>Hoffboy was the one who implied that the Limeys ``stole'' ``our'' music.

Hell if I did!  Well, there *was* the Ramones and, oh, wait, yeah, The
New York Dolls and going back further Muddy Waters and Phil and Don, oh
sh*t... THEY didn't steal it - we GAVE it to them.  Oh well, I'm not
complaining as to what they did.  No one will probably believe this but
I was really trying to stir up a hornets nest and did somewhat half-assedly.
Apologies never BUT it is true that I don't listen to much "English" music
(i.e. Music originating with people who are English...) except of course
for Part 1 (Pictures of Pain) and Conflict UK and oh, yeah, that Heresy
thingie flexi and oh sh*t, the Fall... Damn! Down the Rabbit Hole again
I go.  

(and that's Hofboyy damnit - change my name and STILL everyone screws it up!)

But I guess I meant to say is that I don't like the droners too much and
that's personal taste and I don't mean to insult anyone's personal taste
anymore ... if there's anything I've learned in the last coupla days/weeks
is that this is a worthless exercise benefitting no one (Don't TAKE THAT
as an APOLOGY!  though!  NEVER!!!) 

I read an opinion that the best English group is the Scientists and they're
from Australia ... hmmmmm....

>I don't like pigeonholing either.  If you're on this list, that should be
>true for all of you.  OK, here's what's in my recently purchased pile:

But WE ALL DO IT... so you have to ACCEPT it, right?

  >Big Stick: 7" EP

Bitte - ein Addresse!  and cost!  (please mail to me personally at, well,
you know the address...)  And oh yeah - what do YOU think of this, poisanally?

  >Janet Jackson:
>  Control LP;

And how do you find this "gem"?  I'm curious that's all (and I won't
fricasse you for your poisonal tastes)...


{ Oh yeah, while I'm here - congrats to Alfke for his Bonzo posting
  in net.musak - hey, dude, youse ain't a wimp afterall - 'cept for
  that funny shirt you're wearing... but I'll get you to admit 
  sooner or later that EVERYTHING is post-modern ... }



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Date:    Mon, 09 Jun 86 20:41 PDT
From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU
Subject: ONLY THE FOOLS BLEW IT!

STOP PRESS:

"Agent Orange Song" came today.
This is the recording of a song
about the Viet Nam war written by Muriel
Hogan, which is included in a tape
of Viet Nam veterans' music compiled
by Country Joe McDonald, entitled
"Tape Talk #4". Tower Records' "Pulse!"
Magazine mentioned as an outstanding
cut the a cappella rendition of
"Agent Orange Song" by Kate Bush.

The song is sung by Kate Wolf
(American post-hippie folk-singer).

There went $8.50 down the drain,
along with all of IED0DXM's expectations.



Doug thought L-Hs might appreciate the following
bit about The Ninth Wave, taken from a letter
from IED to Break-Through. It's an interpretation
of one of the teensy-weensy details in the recording.
What similar contributions can the L-Hs make in response?

>Frank brings up another extremely interesting point about
>the barely audible details in "Watching You Without Me", on
>which I think I can shed some light. At the very beginning,
>two male voices can be heard speaking. After many fruitless
>listenings, it suddenly hit me what was going on. If you
>count along with the beat from the very first down-beat of
>the recording, voicing only the first beat of each bar (that is,
>voicing ONE {two-three-four} TWO {two-three-four}, etc.) up to
>eight -- the length of the rhythmic introduction of the song --
>you will then have the solution. Almost immediately you'll hear
>one musician ask "What's that?" He means, "What bar is that?"
>Then, at bar four, that same musician calls out "four" -- but
>he calls it out on the third, rather than the first beat of that
>bar. Another musician then confirms the beat, on the FIRST beat
>of bar five. Following this, you can hear them counting out the
>first beats of bars six, seven and eight in unison. This was
>probably recorded quite early on in the rehearsals, and probably
>at the original "demo" stage of recording. However, knowing Kate's
>perfectionism, and the classic character of this exchange,
>it's just possible that it was actually a staged re-recording
>of an incident similar to many that must have occurred during the
>original demo stages of the recording.

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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