I was just visiting my sister in NY and i bought Dog on Wheels at Other
Music! It is really good, but no where near as good as Sinister. I like Dog
on Wheels the best, and then String Bean Jean. They only had Dog on Wheels
and Sinister, though. I thought I would have to decide between 3, 6, 9, lazy
Line Painter jane, and Dog on Wheels. Oh well. I'm happy!
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In a message dated 97-11-11 06:57:12 EST, it was written:
<< I heard a conversation in a CD shop recently to the effect that a radio
station in Danbury CT, USA had a vinyl copy of Tigermilk -- when this woman
went in to tape it, it was missing from where it had been the week before.
So we can assume there is a person of dubious honesty with a copy somewhere
in Connecticut. >>
this is true of a number of stations -- my alma mater also had the exact same
theft over the summer. at least i got to tape and play it over the air prior
to my departure....
honestly i think this attempt to locate copies of this record by nitpicking
is giving me a headache. not that the obsession is unjustifiable...
dina.
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Andrew wrote:
> no, that was alistair
> and paul both of whom belong to the list's old people
> brigade so you should take what they say with a pinch of
> salt if you're one of the youngsters. the older people here,
> as i've pointed out before, have strange(r) tastes in music.
> i have big theories about this but someone's already had a
> go at me for mentioning it so i'll keep them to myself. and
> yeah, listening to things more is always helpful.
>
>
And I say:
No, no, please tell us what your theory is! I guess I qualify as
middle aged in this list's terms (being three years or so short of the
duke's venerable tally (dotage? no...), but I guess I qualify as one of
the strange(r) musical tastes lot. For example, my record buying at the
weekend consisted of reggae (a roots compilation and some early 80s King
Tubby dancehall 10"compilation), country music (an album of scratchy
bluegrassy stuff by The Country Gentlemen and the See For Miles
compilation called Open Country) and hip-hop (the new-ish Latyrx EP).
Maybe that doesn'y qualify as strange by this list's standards.
The fellow in the shop certainly gave me a funny look.
Tim
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end
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In reference to my last email......
I don't want to dig a hole for myself....
i do feel that a lot of what i said was harsh and looking back i
recognise this. The reason i sent 'that' mail to the list was because
i was fed up of reading through masses of mail (not just B+S) and
finding little of interest. Ok it was a bad day but i recognise that
like some have commented i should have got ready with my delete button.
I do feel however that some form of 'header' identifying mail content
would be useful. Any ideas anyone?
I don't just want pure B+S facts(i know that would be painful) but i'm
sure some can agree that a lot of the mail is not always for them and
this is why i mention maybe the use of headers.
Further apologies, don't want to offend but i had a shitty day and
shouldn't have taken it out on the list.
Rich
Oh and by the way i have nothing against Manchester or the North. The
question 'Why Manchester?' could have simply been 'Why not Liverpool?
or Why not Carlisle? I was just curious.
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Blimey! There I was going along to Salon online magazine
(www.salonmagazine.com) for my weekly fix of Camille Paglia's advice
column, when who should I come across raving about our favourite pop-kids,
but Nick Hornby! I've attached the full piece for the benefit of those of
you without browsers... it's a bit long, and he takes a while to get around
to B&S, but it's a lovely review. I might even read one of his books now..
Gosh, but Britain's got loud all of a
sudden. You can hardly hear yourself think
at the
moment, amidst the sounds of crashing and
banging and
weeping and wailing and self-proclamation
and
accusation and electric guitars. The noise
started on
May 1st, when Tony Blair was elected Prime
Minister:
Blair's landslide victory changed the
national mood
literally overnight. The raucous
celebrations lasted well
into the summer, and even Britain's
notoriously
conservative national press -- somewhat
perversely,
given how much work they had put in to
preserve John
Major's exhausted, deeply unpopular and
increasingly
sleazy party -- started tapping its toes
discreetly in the
corner, like moms and dads at the end of
rock'n'roll
films. Blair's approval rating shot
through the roof, and
Britain suddenly discovered that, contrary
to all our
suspicions, we were a young country,
brimful of talent
and vision and energy. Those of us who had
got used to
the idea that we were an awful, senile
country, full of
reactionary old farts who hadn't read a
novel in 30 years
and who still disapproved of the length of
Ringo's hair,
couldn't take the pace. By July, I felt
like I wanted to
stop partying and go and have a sit-down.
But there was no let-up. Our cricket and
football teams
began the summer by winning handsomely and
unexpectedly, victories for which Tony
Blair seemed
obscurely responsible -- something to do
with young
people being better than old people at
sports,
presumably. The Oasis album came out
amidst a great
deal of ear-splitting ballyhoo, and Noel
Gallagher was
one of the first to be invited to 10
Downing Street for
one of Blair's occasional artsy parties,
another indication
of fundamental change: The only rock 'n'
roller that the
previous administration had been able to
invite to
parties was Andew Lloyd Webber. (Lloyd
Webber,
incidentally, made vague threats about
leaving the
country in the event of a Labour victory,
a threat that
may well have been responsible for the
size of Blair's
majority, but scandalously he never went
anywhere, as
far as we know.) And then, of course,
there was the
Diana thing, about which there is only one
observation I
wish to make here: Whatever else it was or
wasn't, it was
certainly loud. Sometimes you get the
impression that
we have turned ourselves into one huge
braying mob,
bursting with nervous energy and
Adrenalin, looking for
an excuse to make even more noise than we
are already
making. Recently, as another Salon
correspondent
noted, it was poor Louise Woodward who got
the
treatment.
I've been listening to Belle and
Sebastian, a ramshackle,
cute and only occasionally fey folk-pop
band who have
spent the summer releasing four-track EPs
with quirky
names and classy sleeves: "Dog On Wheels,"
"Lazy
Line-Painter Jane," "3, 6, 9 Seconds of
Light." Belle and
Sebastian have not, as far as I am aware,
described
themselves as "the best fooking (sic) band
in the world,"
unlike the rest of their peers, and nor
should they: A
recent sold-out show I saw in London was a
shambles,
and to this member of the audience an
irritating, as
opposed to adorable, shambles. One of the
support acts
was a rambling and very drunk poet, and
the boys and
girls themselves took their own sweet time
tuning up
and messing about between each number. It
took a good
five minutes before they deigned to play
anything at all.
But quirkiness is a much rarer commodity
in this new,
brash Britain than it was. We used to be
rather good at it
-- generally, we took the view that if we
couldn't
compete with the Yanks properly, then we'd
refuse to
play the game by acting daft. This new
Brit feistiness,
however, has meant that everyone wants a
shot at the
mainstream: Self-confidence is in, and
self-deprecating
charm is out -- almost. Luckily, Belle and
Sebastian
have charm in glorious abundance, and "A
Century of
Elvis," the last track on the new "Lazy
Line-Painter
Jane" EP, is surely the most charmed
you'll be all year.
"A Century of Elvis" is in effect a short
story, spoken in
broad Scottish over a gorgeous, aching,
jingle-jangle
guitar and a couple of tootling organ
notes; the story is
about a period in the narrator's life when
Elvis -- the
very famous one -- visited him in his flat
every evening.
It's one of those rare pieces of work that
you love partly
because you have no idea where it came
from: I haven't
heard much recently that describes Elvis
poking around
a post office van, apparently
contemplating whether to
drive it away. It's the accumulation of
detail that makes
the track -- there's actually some
deceptively fine
writing going on here, although the band
probably
wouldn't thank me for pointing it out. In
one passage the
narrator wonders whether it was Elvis'
love for squirrels
that attracted him to their particular
leafy suburb;
another concerns the great man's impassive
consumption of a video entitled the 'The
E-Files," about
unlikely Presley sightings. You end up
smiling at the
simple joy taken in picking up an idea and
running with
it -- if you can make anything out in the
mix, which is,
needless to say, pretty crappy. Oh, and if
you love the
tune but get tired of the story, the
jingle-jangle is
recycled for "A Century of Fakers," the
song that kicks
off "3, 6, 9 Seconds of Light."
Maybe you have to be living here to
appreciate just how
welcome this kind of egoless homecooked
whimsy is at
the moment, but if you've heard the Oasis
album, or seen
the mass Disteria on TV, you can probably
guess. Me,
I'm going to sit the New Britain out with
a couple of
Belle and Sebastian EPs and a good book;
it won't be
long before we turn back into ourselves
again.
----------------------------------------------------------------------------
----------------------
The Poetry Society Website
http://www.poetrysoc.com
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While Engineering for London Calling, British music radio show on WMBR Cambridge, one of the pledgers from West Newton MA said he picked up a copy in London last December. Doesn't know shit about when it was released though. Was trying to explain to me how they released it four years ago.
Matt
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I have heard, through the grapevine, that the boy from Holiday who is playing solo does a cover of "Get Me Away From Here, I'm Dying." My friend, JimB and I think that's scandalous, that singing the line "nobody writes them like they used to/so it might as well be me" is somehow wrong.
Maybe that's just my feelings about Holiday (sleep-ING) shining through.
Paige
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I saw him perform the song last winter at The Fez in New York opening up
for either The Divine Comedy, Momus, or the Magnetic Fields- I can't
remember exactly. It was before IYFS came out domestically on the Enclave,
so I think only a few knew the orginial B&S version. It was nowhere near
as good as the b&s version, but it was so nice just to hear the song at a
show.
(Embedded
image moved prosella @ grovestocktn.com
to file: 11/14/97 09:29 AM
PIC24158.PCX)
Please respond to prosella(a)grovestocktn.com
To: sinister(a)majordomo.net
cc: (bcc: Angelina DeGiovanni/New_York/V2 Music)
Subject: Sinister: People covering B&S
I have heard, through the grapevine, that the boy from Holiday who is
playing solo does a cover of "Get Me Away From Here, I'm Dying." My
friend, JimB and I think that's scandalous, that singing the line "nobody
writes them like they used to/so it might as well be me" is somehow wrong.
Maybe that's just my feelings about Holiday (sleep-ING) shining through.
Paige
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. We're all happy bunnies humming happy bunny tunes. Aren't we?
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> the duke wrote:
> what i do mind is people who will only endlessly
> consume the facts of belle and sebastian, that are
> concerned with hearing only about product and what
> songs they played at such and such a show and what
> did stuart say between songs? all interesting
> stuff, perhaps (but only perhaps), but for me,
> what REALLY makes me smile and gush about the
> appeal of belle and sebastian is the way in which
> people are here openly displaying to us something
> of THEIR lives, of the ways in which this Pop has
> touched them, moved them, informed and deformed
> the ways in which their moments pass.
>
[HopkinsT]
It's pop's great unsolved paradox. Those amongst us whose lives
are tied up and turned inside out by pop, who love it for itself and for
what it does on a personal level and who use it as some kind of abstract
yardstick to judge what's right and wrong in the wider world (and there
are those of us who do), those amongst us know the power of pop.
But we also know that we are consumers and customers, that pop
is there as a part of, and because of (and also in spite of) what makes
the world such a crap place so much of the time. That pop can turn us
against what it draws us into. And that it tells us what it's doing.
I'm not saying pop can replace politics. Plainly it can't. But
my politics are, and have always been, informed by pop. By the rush of
freedom and expression which I felt when I was sixteen and which even
now Belle and Sebastian give me...
>In a pub once Tim suggested that all Great Pop is
written from the perspective of being 16. Not
that all Great Pop was ABOUT being 16, but rather
that it encompassed a certain sense of excitement
and tremulous anticipation that the IDEA of being
16 conjures in us.
[HopkinsT]
Ah, the pub conversation, the highest form of discourse known to
humanity, eh duke?
One of my hobbies has long been to draw up definitions of what
is pop and what is rock. This is one of my favourites. If it doesn't
address (in some way) the matter of being, feeling, sixteen, it ain't
pop. It's something else. Rock, often, but not always.
Because pop opens for us such a sense of possibility, such an
opportuntiy for re-inventing and re-understanding ourselves, and sixteen
is (arbitrarily) an age when those possibilities are (should be?) there
in our lives, before we get tied down too far into personal history and
so on.
At sixteen, I felt life whistling along at an amazing pace,
wanted to catch it in my hands just for a moment, like you want to catch
a popsong, when shit's proper.
Excuse me, enough confessionals. Anyone travelling further than
me to see a game of football this weekend? I'm going 300-350 miles for
Exeter vs Northampton.
Yep, duke, some early Wolfhounds records were sleeved by the
Meerkats (and 'Cruelty' had another cute big-eared beastie on it, didn't
it?), and very lovely they were.
Cheerio all who've had the endurance to get this far.
Tim
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Eeyore wrote:
>> Talking of swapping, I have a (the?) Bis record which I can't seem to get
>> rid of in a profitable way. Anyone got anything to offer in return?
Rod Begbie wrote:
>Which one? AFAIK, the "rare" Transmissions On A Teen-C Tip is fairly easy
>to come by. I got mine for three quid. And it's shite. The version of
>Kill Yr Boyfriend has Manda Rin trying to sing, instead of just squeaking
>like she normally does.
I dunno! Just the proper album of Bis (there is only one, isn't there?),
I've forgotten what it's called. I've listened to it, what, maybe three
times? But I guess if you've got all that stuff you've already got it. Ne'er
mind.
Oh, and I once saw Manda and Sci-Fi Steve stuffing themselves in a Dutch
chippy across the road from the venue where they had played the first night
of a two-night festival. All they did that second night was sit in that
chippy and eat..... no wonder Manda's so chubby!
Eeyore
"the more you ignore me, the closer I get..."
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