> Hi, zornies. I was taking a look in Downtown Gallery and found a =
Haino=B4s
> cd called "More than This", label:Avant 074, where he plays music of =
the
> argentinian composer/guitarrist Oscar Alem=E1n. Does anybody knows =
this
> cd?... comments?=20
>=20
> Thanks in advance=20
>=20
> Gustavo=20
>=20
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Date: Tue, 29 Feb 2000 07:41:18 -0500
From: "Caleb T. Deupree" <cdeupree@erinet.com>
Subject: RE: Haino Keiji
At 09:02 AM 2/29/00 -0300, Linares Hugo wrote:
>Regarding Keiji Haino:
>
>What title do you recommend to begin with?
>All information provided will be welcome.
I just picked up the new 2cd Fushitsusha on Paratactile, I Saw It.... My
previous exposure was one of the live 2cd sets on PSF (15/16), and the
studio Allegorical Misunderstanding on Avant. The new one is great,
excellent recording, very intense, not a whole lot of vocals. I would not
recommend the Avant release as a starting point. The two live ones on PSF
are also typical starting point recommendations, but the sound on the new
one is better, IMO.
You may also wish to check out the unofficial Haino home page at
http://www.planetc.com/users/keffer/haino/index.html, which has reviews of
a number of Haino albums of all varieties (solo, studio, live, etc.).
- --
Caleb Deupree
cdeupree@erinet.com
It is pretty obvious that the debasement of the human mind caused by a
constant flow of fraudulent advertising is no trivial thing. There is more
than one way to conquer a country.
- -- Raymond Chandler
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Date: Tue, 29 Feb 2000 09:53:53 -0500 (EST)
From: Ken Waxman <cj649@freenet.toronto.on.ca>
Subject: Re: How did it happen?
"Sink The Bismark" was a hit track by Johnny Horton. Perhaps it could be
included (along with tunes by Merle Haggard, Lefty Frizell, Ernest Tubb,
Hank Snow etc.) in afuture Tzadik series release of Great Honky Music.
Eugene Chadborne would be the most logical first artist for this
anthology, maybe a suggestion of Tim Berne for "Okie From Muskagoee" and
Billy Bang doing "I'm Movin' On" may work.
The most appropriate people for "Sink The Bismark," of course would be
Peter Brotzmann and Peter Kowald.
Ken Waxman
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------------------------------
Date: Tue, 29 Feb 2000 09:55:23 -0500
From: wlt4@mindspring.com
Subject: Re: Re: How did it happen?
>plus, the Christgau '70s record guide turned me onto some great stuff >(Big Star, Modern Lovers, New York Dolls come to
Am I the only person to have my fwagile widdle mind warped by this? When I was first getting hooked on music I'd tried using the Rolling Stone Record Guide and had avoided things like Pere Ubu because David Marsh's review read (in its entirity unless my memory is slipping): "Anti-rock for anti-rockers. Boo." But my first accidental hearing of Pere Ubu in a record store left me stunned and shaking and forevermore dubious of Mr. Marsh. Of course having a record store that would play Pere Ubu may have been as big a bonus (the owner also turned me on to the Velvet Underground when you still had to buy British imports not to mention Richard Hell and the Nuggets comp which were cut-outs and.....).
LT
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Date: Tue, 29 Feb 2000 10:08:16 -0500 (EST)
From: Ken Waxman <cj649@freenet.toronto.on.ca>
Subject: Re: zappa
Since I'm a bit older than some of you.
I was attracted the The Mothers because I was coming from a free
jazz/blues rock background. After getting Freak Out, I saw The MOI in a
small Montreal club in 1967 and was impressed. (Also heard Zappa say
"this is he smallest stage we've played on since The Cafe A Go Go").
Later saw them and was impressed at a Man And His World Show, where my
interview with Zappa was an exercise in hostile surrealism.
Along the way I bought Absolutely Free and We're Only In It For The Money.
Disillusionment set in with Benny & The Jets (no that's not it, that was
the Elton John song --same difference) and Wesels Ripped My Flesh.
Finally I went along to Maple Leaf Gardens in the mid 1970s to see Zappa
& Co. with (could it have been) Bad Company (!?!) opening?
Zappa seemed to have turned into the gross-out frat boy he made fun of in
earlier years. Spent most of the concert talking to a rock crit who later
wrote about Jazz for a national magazine with no knowledge of the subject.
I still own Freak Out, Absolutely Free, We're Only... and Hot Rats.
Zappa was revolutionary for his time when it really did seem that music
was flowing together and the "labels were coming off of the bottles" --
little did we know how quickly they woulld be replaced with higher-priced
spreads.
Zappa had the guts to come out for the artist in an time of "anything
goes" ethic and (in Life magazine) made fun of hippies just as that
movement was finding its greatest popularity.
But once he opted for the easy root of lazy music and public approval, he
proved he was very much of his time.
Ken Waxman
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Date: Tue, 29 Feb 2000 09:19:23 -0600
From: "Robert A. Pleshar" <rpleshar@midway.uchicago.edu>
Subject: Re: How did it happen?
At 09:21 PM 2/28/00 -0500, Brian Olewnick wrote:
>...."The Sinking of the Bismark".
>While the former is fairly well known, the latter has mysteriously
>escaped revival and is representative of an odd sub-genre of
>militaristic pop which reached apotheosis, I suppose, with "The Ballad
>of the Green Berets". Scary to think how those two pieces may have laid
>the groundwork for future listening!
"Sink the Bismarck was the battle cry that shook the seven seas!"
I too must confess an early love of Johnny Horton (I think), that song
along with "The Battle of 1812" and "North to Alaska" received heavy play
on the turntable of my youth. I think Johnny Horton may be the most
influential, if not the creator, of the militaristic pop sub-genre.
Oh well,as long as I'm here I might as well toss in a story. As a young
lad, listened to my dad's records - Wes Montgomery, Phil Ochs, Hendrix,
Cream, Beach Boys(still one of my favorite bands after all these years),
Muddy Waters, etc. and my mom's records - the above mentioned Mr. Horton,
Elvis, Marty Robbins "El Paso", Johnny Cash, etc. Also, much C&W on WMAQ
after White Sox games ended.
In 2nd or 3rd grade I got a biography of Louis Armstrong which I loved and
asked my dad to get me some of his records which he did and the book and
his playing made me want to play trumpet. In 5th grade when the school band
was being assembled, all of the trumpet chairs were already assigned, so I
got the tuba and have been playing it off and on since. (currently on)
Bought records often from the cutout bin at the grocery store across the
street, some good most terrible.
Jr. High - much radio flipping, into fusion "My goals beyond" was cool,
Chicago and other horny rock-pop, Kiss. High school - new wave & punk
starting. College - everything I could lay my ears on at the wonderful
staton WRCT in Pittsburgh. That experience allowed me to hear tons of
things I never would have had the opportunity to hear otherwise.
Ralph
Robert Pleshar
Head, Serial Orders
University of Chicago Library
1100 E. 57th Street
Chicago, IL 60637
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Date: Tue, 29 Feb 2000 16:56:53 +0100
From: "john rust" <johnrust@blinx.de>
Subject: frisell / white CD trade (no zorn content)
Is there anyone willing to trade for Michael White/Bill Frisell "Motion
Pictures" CD (1997, Intuition)?..
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------------------------------
Date: Tue, 29 Feb 2000 11:15:31 -0500
From: Joseph Zitt <jzitt@metatronpress.com>
Subject: Re: Re: How did it happen?
On Tue, Feb 29, 2000 at 09:55:23AM -0500, wlt4@mindspring.com wrote:
> >plus, the Christgau '70s record guide turned me onto some great stuff >(Big Star, Modern Lovers, New York Dolls come to
>
>
> Am I the only person to have my fwagile widdle mind warped by this? When I was first getting hooked on music I'd tried using the Rolling Stone Record Guide and had avoided things like Pere Ubu because David Marsh's review read (in its entirity unless my memory is slipping): "Anti-rock for anti-rockers. Boo." But my first accidental hearing of Pere Ubu in a record store left me stunned and shaking and forevermore dubious of Mr. Marsh. Of course having a record store that would play Pere Ubu may have been as big a bonus (the owner also turned me on to the Velvet Underground when you still had to buy British imports not to mention Richard Hell and the Nuggets comp which were cut-outs and.....).
Both books were essential to my late-in-the-game discovery of rock.
With each, I found that stuff that they liked was usually worth seeking
out -- as was stuff that they really hated.
- --
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
