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ztt-digest          Friday, October 15 1999          Volume 02 : Number 140




----------------------------------------------------------------------

Date: Tue, 12 Oct 1999 19:19:33 -0500
From: Dave Cowen <[e-mail]>
Subject: Re: (ztt) AoN put the "a" in Chicago

At 03:35 PM 10/12/99 -0500, you wrote:
>
>Random thoughts, stream-of-consciousness "review" of AoN's live appearance
>at the Metro in Chicago on Monday, October 11th...
>
>First and foremost let me add my voice to those that think Paul's antics
>were over the top. I didn't come equipped with a grain of salt large enough
>to just laugh it off ("oh, that Paul..."). If he would've restricted the
>spoken bits more to where they're actually appropriate during songs and
>given up the whole prancing about with the hammer routine it could've worked
>quite well.

I don't know, I ended up rather liking the Paul thing.  If you ask me,
he's definitely on a Bill Drummond kick, what with the black firefighter
jacket and the ascerbic, bitter posturing.  Sure, he was pompous, and
watching him run around with a rubber mallet (or spanner) is rather silly,
but, well, that's part of the act.  I didn't find it embarassing, and in many
parts, I found him to be tremendously funny.

>I quite liked some of his commentary, and not just the Debussy/Baudelaire
>stuff. His little speech about "Beat Box" being "instrumental music ground
>zero" and how it had influenced every instrumental track-even those that
>came before it-was fun.

I particularly liked him, at the end, telling us that they were the
"faceless" Art of Noise and that we shouldn't tell anyone we've seen them
and that would blow the whole deal.  His "Imagine an actor saying the
following... imagine Leonardo DiCaprio as John Rambo saying the following..."
was rather good too.

Trevor ended up having the best line, though -- after an audience member
tried to impress the group by spouting off the Shakespearean verse from
Paranoimia, and then shouted out, by way of request, "Who's Afraid!"
Trevor looked at him in bemusement and said "We are," resulting in chuckles
from the front.

Anyway, I was front row center, looking up Paul's nostrils -- but more
commonly, being distracted by a videographer.  The entire show was taped
by two individuals with videocams -- we might see a live video in the future.
For those attending, or watching on a future video, yes, I was the fat guy in
the white shirt with long black hair.

>I think they're maybe varying the set list some from night to night, because
>they started out with the new track ("Something Is Missing?"), which was
>very cool.

Something is Missing sounded -great-.  In fact, the whole show sounded
surprisingly good -- the Metro's usually muddy sound system sparkled with
crisp highs and an occasional burst of ultra-low jaw-rattling bass.

>My vote would be to record and release it as a single with a new
>"Moments In Love" mix as the b-side that includes the uptempo changes they
>did live.

Did you notice Anne cueing the changes?  Those appeared to have been
genuinely done live.

>Hearing Anne play the piano parts, new and old, live and occasionally
>improvise some was worth the admission price alone.

I wanted her to improvise more.  And I'm sorry, after seeing her in person,
yes, I'm officially in love with Anne.  Her smile could light up the room.
Anyway, the whole group cooked, at least for the first 2/3rds or so.

Ahh, but all wasn't well.  Peter Gunn, as you mentioned, was (at first)
a catastrophe.  An absolute disaster.  Everyone was completely off -- not
so much in tone, but in terms of sequences -- everyone was at a different
part of the song at the same time.  It just sounded like a big aimless
mush of Peter Gunn.  Everyone in the group seemed a bit downbeat after
that.  That's why I was so pleased when they came out for the -second-
encore,
Trevor announced that "this time they were going to get it right," Paul
parroted him, and the band rocked out the second time.  The second Peter Gunn
sounded great, and caused the evening to end on an upbeat note.  Well, almost
upbeat -- the crowd, including myself, clapped and stomped for what seemed
like 10 minutes after the second encore until they turned up the house
lights.  I only wish they would have played more (the set was around an hour
and a half).

>Amanda Boyd was pretty and cool and overall pretty cool. Not quite as
>energetic as I was led to believe from some earlier posts (her "dancing" was
>mainly limited to pogo-ing around, usually in time to the beat), but a
>great, versatile singer. Her theremin-like wailing on "Peter Gunn" has to be
>seen/heard to be believed.

Well, that wasn't all Amanda -- it looked like she was being routed through
the Novation, controlled by Anne.  Anne was being filtered through the
Novation during "Something is Missing" as well.  So, no, that theremin-like
wailing was -not- a natural phenomenon.  It -was- pretty creepy, though.

>I'm not sure that I "bought" Trevor's vocalizing on "Metaforce," especially
>since no other band members apart from the gearboys and Paul were present on
>stage and since the vocals were ultra-processed like those on the record.

He clearly was lip synching.  He screwed up fairly bad during one part,
chuckled (which could barely be heard -- the mike wasn't on), and continued.
If you weren't right in front you probably wouldn't notice, as he sort of
hunched over the mike to hide it.

>Made me think that maybe, just maybe, they were just playing a straight
>version of "Metaforce" w/Rakim's vocal removed.

I think they were just using one of Roni Size's remixes during Trevor's bit.

Anyway, it was fantastic.  To be able to get up close and personal with
AoN was a wonderful experience.  The tracks from Debussy rocked, and it was
great to see Lol, Trevor, Paul and Anne in the flesh.  As you said,
priceless.

Dave Cowen ([e-mail])


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------------------------------

Date: Tue, 12 Oct 1999 22:04:16 -0500
From: artisan2 <[e-mail]>
Subject: Re: (ztt) AON put the "A" in chicAgo

> I think they're maybe varying the set list some from night to night, because
> they started out with the new track ("Something Is Missing?"), which was
> very cool.
>

It was just the same as the list reported from the SF set. "Something Is
Missing" was the third song in queue.


> The acrimony between Paul and Anne bubbled up to the surface every so often.
> When he was introducing the band members (Trevor got the biggest cheer from
> the crowd, as well he should), Paul seemed to make a point of getting to
> Anne last. And then, when he did, he said "And last..." (this is where you
> would expect him to say "...but not least"), then repeated "and last...Anne
> Dudley"
>

I don't know about acrimony. After all, he did conclude his intro to the
show with "And 'A' is for Anne" whom got a pretty damn good cheer all
her own at that point.


> I'm not sure that I "bought" Trevor's vocalizing on "Metaforce," especially
> since no other band members apart from the gearboys and Paul were present on
> stage and since the vocals were ultra-processed like those on the record.
> Made me think that maybe, just maybe, they were just playing a straight
> version of "Metaforce" w/Rakim's vocal removed.
>
&

> He clearly was lip synching.  He screwed up fairly bad during one part,
> chuckled (which could barely be heard -- the mike wasn't on), and continued.
> If you weren't right in front you probably wouldn't notice, as he sort of
> hunched over the mike to hide it.
>
> I think they were just using one of Roni Size's remixes during Trevor's bit.
>

It was the beat from the "size of a metaphor" mix. And Trevor's lyrics
were live, the mike was on and I did notice it. He changed a bit of the
lyric pattern. He started with "make me every dynamic in the evening
air" and concluded with a Rakim line of "gotta be right there to inhale
the evening air". I think that it was because he started to play around
with it that he got tripped up. Now, I did notice, also, that Paul
started to attempt pulling off some of Rakim's rap, just for a line or
two. I think everybody else left the stage because there wasn't much for
them to do. There was too much for Anne to do on her own and Lol had no
guitar part to contribute and no keyboards to attempt helping Anne if
she were to stay out there. Plus I think they intended that to be
Trevor's moment. So instead they opted to run that special mix of
Metaforce from the duo in back with those beautiful G3 Powerbooks.


> Ahh, but all wasn't well.  Peter Gunn, as you mentioned, was (at first)
> a catastrophe.  An absolute disaster.  Everyone was completely off -- not
> so much in tone, but in terms of sequences -- everyone was at a different
> part of the song at the same time.  It just sounded like a big aimless
> mush of Peter Gunn.  Everyone in the group seemed a bit downbeat after
> that.  That's why I was so pleased when they came out for the -second-
> encore,
>

The first time was not botched, per se. You forget, Anne was the only
person there who was in on the original recording and assembly of that
song. It was their attempt at improvising. The point of their presence
(this time) has been to emphasize, fairly,  everyone's
contribution/participation in the songs. That's what caused part of
their original break-up: some didn't feel they were allowed to be equal
partners in the creative process.  They had to keep "Peter Gunn" as
close to the original as possible (for identification purposes) but
allow Trevor, Lol and Paul to insert their two cents. It did come out a
bit odd thought. Their second encore was almost a note for note recital
of how Anne and J.J. did it back in '86 on the "Visible Silence" tour.
That includes Amanda's bit with the microphone. I don't know how
downbeat they all looked. I have had that look before, myself. It is one
of "well, that wasn't exactly a smashing success...". It's what happens
when none of the musicians can quite come into step with one another and
it's showing. I think they recognized that they, just, didn't click on
that one. Incidentally, Anne commented, once, (a looong time ago) that
they would play into "Peter Gunn" during practices and warm-ups quite by
accident. On a related note, did anybody else notice that they were
using a uniquely reconstructed variant of Beat Box's drum pattern
instead of the original drums for "Peter Gunn"? I like the punch it had
better, but I miss the hi-hat sizzling on either side of the double hit
of the snare (which didn't happen as often in this version either).
Since Anne was the only one with keyboards they were also missing the
interplay of the "dumm dumm" vocal sample and the Mancini brass sample.
But at least she alternated between them.

    While I'm thinking of it, Paul's hammer was not a spanner. Spanner
is a British term for a wrench. Hence the caption "The Art Of Noise hold
a spanner" beneath a photo of a pair of right arms each clutching a
wrench (spanner) on an edition of "Who's Afraid?. I just kept having
this nagging image of him loosing his grip on hammer and watching it go
sailing into the audience. I kind of felt sorry for Paul; maybe
identified with him is more accurate. He kept getting visibly frustrated
when the audience didn't get what he was trying to convey. Like the
Leonardo Di Caprio bit. He was serious! Di Caprio, actually, played the
part of the gay lover of the poet he was referring to (I don't think it
was Baudelaire; it was someone else). The poor guy even said, "You
laugh; but he did." He, even went on to quote the line, "...and it is
raining in my heart." I don't think he had calculated on the audience
defaulting to Sylvester Stallone's Rambo instead of the one he meant.
What he hasn't understood, evidently, is that politics and philosophy
don't sell in American pop culture. It's afraid of it and those who
would offer it to you. That's why our pop culture is regarded as being
so juvenile (as Paul so astutely parodied); that's all that's left
possible/available.
    I personally loved Paul's contribution to the show. His words served
as a sort of binder to bring it all together for me. I can blow off his
careening, bounding, po-going, and hammer waving; because -hey- you
should see me try to dance. It was obvious to me that this meant a lot
to him. And I appreciate his effort.


> Anyway, I was front row center, looking up Paul's nostrils -- but more
> commonly, being distracted by a videographer.
>
Yeah, the blond was cute.

> For those attending, or watching on a future video, yes, I was the fat guy in
> the white shirt with long black hair.
>
That was you? I think I almost walked into you coming back with a couple
of drinks. Well, a belated hello, then. I was the guy in the black
slacks and vest with a purple iridescent dress shirt and glasses. Oh,
and curly ash blonde hair and a developing goatee (it's for my daughter
for Halloween). Some guy from Gothic Chicago(?) took my & my
girlfriend's picture for his publication.

    So was there any backstage access or did the band come out to mingle
later? I had to leave right after the show to get ready for the flight
back home this morning. We still missed it.

    Oh, and what the hell is the deal with all those goddamned painted
cows around downtown!?

- -- James S. Coward
    [e-mail]
  ------------------------------------------------------------------------

    "Idea is the most beatiful and threatening thing." -Paul Morley, the
art of noise




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------------------------------

Date: Tue, 12 Oct 1999 23:29:55 +0100
From: [e-mail] (Joerg Fitzner)
Subject: (ztt) Dreaming In Various Colours

Hello!

Finally managed to get hold of a copy of the new Art Of Noise
white-label 12" of 'Dreaming In Colour', which is going round
since a few weeks.

Nibble-style, this means:

  12": 1999 UK (ZTT: {ZTT 138TP}) [stamped w/l-promo]
        10:44  Art Of Noise via Brothers In Rhythm / Dreaming: Colour Red
         6:24  Brothers In Rhythm via Art Of Noise / Dreaming: Colour Silver

The A-side is a great typical BIR remix. The B-side is more like an ambient
mix, which I wouldn't have associated with BIR at all.

There's supposed to be copies with black stamps (on both labels) and other
copies with red/silver stamps (on the appropriate sides). My copy has red
stamps on both sides.

Many Greetings to all

  Joerg (dreaming of being in the USA right now)




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------------------------------

Date: Tue, 12 Oct 1999 23:29:55 +0100
From: [e-mail] (Joerg Fitzner)
Subject: (ztt) Dreaming In Various Colours

Hello!

Finally managed to get hold of a copy of the new Art Of Noise
white-label 12" of 'Dreaming In Colour', which is going round
since a few weeks.

Nibble-style, this means:

  12": 1999 UK (ZTT: {ZTT 138TP}) [stamped w/l-promo]
        10:44  Art Of Noise via Brothers In Rhythm / Dreaming: Colour Red
         6:24  Brothers In Rhythm via Art Of Noise / Dreaming: Colour Silver

The A-side is a great typical BIR remix. The B-side is more like an ambient
mix, which I wouldn't have associated with BIR at all.

There's supposed to be copies with black stamps (on both labels) and other
copies with red/silver stamps (on the appropriate sides). My copy has red
stamps on both sides.

Many Greetings to all

  Joerg (dreaming of being in the USA right now)




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# Send the command "info ztt" to [e-mail].
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------------------------------

Date: Wed, 13 Oct 1999 09:20:46 -0600
From: John Goelzer <[e-mail]>
Subject: (ztt) Date: Wed, 13 Oct 1999 10:19:34 -0500

> I particularly liked him, at the end, telling us that they were
> the "faceless" Art of Noise and that we shouldn't tell anyone
> we've seen them and that would blow the whole deal.  His
> "Imagine an actor saying the following... imagine Leonardo
> DiCaprio as John Rambo saying the following..." was rather
> good too.

As another lister already pointed out, Paul was in fact talking about French
poet Arthur Rimbaud, but I think this went over the head of 90% of the
audience. I can't say I'm familiar with whatever movie has DiCaprio playing
his boyfriend. While we're on the subject, it didn't bother me much, but a
friend I was with was driven up the wall by Paul's constant pop-culture
references, especially when inserted into the Debussy/Baudelaire monologues.

> Something is Missing sounded -great-.  In fact, the whole show
> sounded surprisingly good-the Metro's usually muddy sound
> system sparkled with crisp highs and an occasional burst of
> ultra-low jaw-rattling bass.

I find the Metro's sound to be generally good. And I love the layout/floor
plan there; there's hardly a bad "seat" in the house. It's my
second-favorite place to see a show in Chicago, after the Double Door. And I
saw the "show of my life" there: the Orb and Sun Electric.

Did you notice Anne cueing the changes?  Those appeared to have been
genuinely done live.
Yeah, and it wasn't just her obvious cues that tipped me off. I thought the
changes in the beat themselves were a little clumsy. But I loved the
"musical chairs" feel of the changes, as someone else called it...

> Well, that wasn't all Amanda-it looked like she was being routed
> through the Novation, controlled by Anne.  Anne was being filtered
> through the Novation during "Something is Missing" as well.  So, no,
> that theremin-like wailing was -not- a natural phenomenon.  It -was-
> pretty creepy, though.

I don't know why I'm disappointed to learn this. I'll get over it. The
audience sure loved the effect, though. And, yeah, I knew Anne's voice was
being processed with the Vocoder flavor. Very Kraftwerk. Vocoder: the third
sex.

> And Trevor's lyrics were live, the mike was on and I did notice it. He
> changed a bit of the lyric pattern. He started with "make me every dynamic
> in the evening air" and concluded with a Rakim line of "gotta be right
there
> to inhale the evening air". I think that it was because he started to play
> around with it that he got tripped up.

> He clearly was lip synching.  He screwed up fairly bad during one part,
> chuckled (which could barely be heard-the mike wasn't on), and continued.
> If you weren't right in front you probably wouldn't notice, as he sort of
> hunched over the mike to hide it.

> No, it was definitely Trev.  I was about 5 feet from him at that point,
and he
> screwed up... started a measure early, caught himself, laughed to Paul,
> and then began again.  It was live singing.

Hmmmm. Looks like this is something people going to later tour stops should
pay close attention to. I'd love to find out for sure that it was live. And
I never meant to imply that it was impossible for him to have been singing
those parts, just that from where I stood I didn't quite buy it. Sounds like
you guys were closer (but still don't agree). It was hard to tell from where
I was (back in the sweet spot by the soundboard - my fave place to camp out
at the Metro - even standing with your back to the soundboard, you're only
like 20-30 feet (?) from the front of the stage).

There's a feud between Anne and Paul?  I've never heard about that.
Paulseemed to be really wiped out that night.  When someone said to him
afterwards "I've been at work all day", he gave a really sober "So have I".
As for Peter Gunn, I'm not surprised if Paul resented them having it in the
set... Anne was the only current member involved with that piece at all.
Frankly, I was surprised that they had the rights to play it... everything
else they did was under ZTT label control.  But hey, if you've got a Grammy
award-winning song, you play it!

I don't know about acrimony. After all, he did conclude his intro to the
show with "And 'A' is for Anne" whom got a pretty damn good cheer all her
own at that point.


The first time was not botched, per se. You forget, Anne was the only person
there who was in on the original recording and assembly of that song. It was
their attempt at improvising. The point of their presence (this time) has
been to emphasize, fairly,  everyone's contribution/participation in the
songs. That's what caused part of their original break-up: some didn't feel
they were allowed to be equal partners in the creative process.  They had to
keep "Peter Gunn" as close to the original as possible (for identification
purposes) but allow Trevor, Lol and Paul to insert their two cents. It did
come out a bit odd thought. Their second encore was almost a note for note
recital of how Anne and J.J. did it back in '86 on the "Visible Silence"
tour.  That includes Amanda's bit with the microphone. I don't know how
downbeat they all looked. I have had that look before, myself. It is one of
"well, that wasn't exactly a smashing success...". It's what happens when
none of the musicians can quite come into step with one another and it's
showing. I think they recognized that they, just, didn't click on that one.
Incidentally, Anne commented, once, (a looong time ago) that they would play
into "Peter Gunn" during practices and warm-ups quite by accident. On a
related note, did anybody else notice that they were using a uniquely
reconstructed variant of Beat Box's drum pattern instead of the original
drums for "Peter Gunn"? I like the punch it had better, but I miss the
hi-hat sizzling on either side of the double hit of the snare (which didn't
happen as often in this version either).  Since Anne was the only one with
keyboards they were also missing the interplay of the "dumm dumm" vocal
sample and the Mancini brass sample.  But at least she alternated between
them.

While I'm thinking of it, Paul's hammer was not a spanner. Spanner is a
British term for a wrench. Hence the caption "The Art Of Noise hold a
spanner" beneath a photo of a pair of right arms each clutching a wrench
(spanner) on an edition of "Who's Afraid?. I just kept having this nagging
image of him loosing his grip on hammer and watching it go sailing into the
audience. I kind of felt sorry for Paul; maybe identified with him is more
accurate. He kept getting visibly frustrated when the audience didn't get
what he was trying to convey. Like the Leonardo Di Caprio bit. He was
serious! Di Caprio, actually, played the part of the gay lover of the poet
he was referring to (I don't think it was Baudelaire; it was someone else).
The poor guy even said, "You laugh; but he did." He, even went on to quote
the line, "...and it is raining in my heart." I don't think he had
calculated on the audience defaulting to Sylvester Stallone's Rambo instead
of the one he meant.  What he hasn't understood, evidently, is that politics
and philosophy don't sell in American pop culture. It's afraid of it and
those who would offer it to you. That's why our pop culture is regarded as
being so juvenile (as Paul so astutely parodied); that's all that's left
possible/available.
I personally loved Paul's contribution to the show. His words served as a
sort of binder to bring it all together for me. I can blow off his
careening, bounding, po-going, and hammer waving; because -hey- you should
see me try to dance. It was obvious to me that this meant a lot to him. And
I appreciate his effort.

Oh, and what the hell is the deal with all those goddamned painted cows
around downtown!?

That sound clip was from "Dallas"?  Anyone know what episode?





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------------------------------

Date: Wed, 13 Oct 1999 10:21:52 -0500
From: John Goelzer <[e-mail]>
Subject: (ztt) oops

I just accidentally sent a garbled/unfinished message to the lists. Sorry
'bout that. I'll finish it up quick-ish and send properly.

JG


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------------------------------

Date: Wed, 13 Oct 1999 10:47:42 -0500
From: John Goelzer <[e-mail]>
Subject: (ztt) Comments on the Comments (sent properly this time)

Sorry again about the fouled post earlier. Blame Microsoft. I do.

> His
> "Imagine an actor saying the following... imagine Leonardo
> DiCaprio as John Rambo saying the following..." was rather
> good too.

As another lister already pointed out, Paul was in fact talking about French
poet Arthur Rimbaud, but I think this went over the head of 90% of the
audience. I can't say I'm familiar with whatever movie has DiCaprio playing
his boyfriend. While we're on the subject, it didn't bother me much, but a
friend I was with was driven up the wall by Paul's constant pop-culture
references, especially when inserted into the Debussy/Baudelaire monologues.

> Something is Missing sounded -great-.  In fact, the whole show
> sounded surprisingly good-the Metro's usually muddy sound
> system sparkled with crisp highs and an occasional burst of
> ultra-low jaw-rattling bass.

I find the Metro's sound to be generally good. And I love the layout/floor
plan there; there's hardly a bad "seat" in the house. It's my
second-favorite place to see a show in Chicago, after the Double Door. And I
saw the "show of my life" there: the Orb and Sun Electric.

> Did you notice Anne cueing the changes?  Those appeared to have been
genuinely done live.

Yeah, and it wasn't just her obvious cues that tipped me off. I thought the
changes in the beat themselves were a little clumsy. But I loved the
"musical chairs" feel of the changes, as someone else called it...

> Well, that wasn't all Amanda-it looked like she was being routed
> through the Novation, controlled by Anne.  Anne was being filtered
> through the Novation during "Something is Missing" as well.  So, no,
> that theremin-like wailing was -not- a natural phenomenon.  It -was-
> pretty creepy, though.

I don't know why I'm disappointed to learn this. I'll get over it. The
audience sure loved the effect, though. And, yeah, I knew Anne's voice was
being processed with the Vocoder flavor. Very Kraftwerk. Vocoder: the third
sex.


> And Trevor's lyrics were live, the mike was on and I did notice it. He
> changed a bit of the lyric pattern. He started with "make me every dynamic
> in the evening air" and concluded with a Rakim line of "gotta be right
there
> to inhale the evening air". I think that it was because he started to play
> around with it that he got tripped up.

> He clearly was lip synching.  He screwed up fairly bad during one part,
> chuckled (which could barely be heard-the mike wasn't on), and continued.
> If you weren't right in front you probably wouldn't notice, as he sort of
> hunched over the mike to hide it.

> No, it was definitely Trev.  I was about 5 feet from him at that point,
and he
> screwed up... started a measure early, caught himself, laughed to Paul,
> and then began again.  It was live singing.

Hmmmm. Looks like this is something people going to later tour stops should
pay close attention to. I'd love to find out for sure that it was live. And
I never meant to imply that it was impossible for him to have been singing
those parts, just that from where I stood I didn't quite buy it. Sounds like
you guys were closer (but still can't agree). It was hard to tell from where
I was (back in the sweet spot by the soundboard - my fave place to camp out
at the Metro - even standing with your back to the soundboard, you're only
like 20-30 feet (?) from the front of the stage).

> There's a feud between Anne and Paul?  I've never heard about that.  Paul
> seemed to be really wiped out that night.  When someone said to him
afterwards
> "I've been at work all day", he gave a really sober "So have I".  As for
Peter Gunn,
> I'm not surprised if Paul resented them having it in the set... Anne was
the only
> current member involved with that piece at all.  Frankly, I was surprised
that
> they had the rights to play it... everything else they did was under ZTT
label
> control.  But hey, if you've got a Grammy award-winning song, you play it!

> I don't know about acrimony. After all, he did conclude his intro to the
show
> with "And 'A' is for Anne" whom got a pretty damn good cheer all her own
at
> that point.

> The first time was not botched, per se. You forget, Anne was the only
person
> there who was in on the original recording and assembly of that song. It
was
> their attempt at improvising. The point of their presence (this time) has
been to
> emphasize, fairly,  everyone's contribution/participation in the songs.
That's what
> caused part of their original break-up: some didn't feel they were allowed
to be
> equal partners in the creative process.  They had to keep "Peter Gunn" as
close
> to the original as possible (for identification purposes) but allow
Trevor, Lol and
> Paul to insert their two cents. It did come out a bit odd thought. Their
second
> encore was almost a note for note recital of how Anne and J.J. did it back
in '86
> on the "Visible Silence" tour.  That includes Amanda's bit with the
microphone.

The fact that Anne was the only AoNer onstage who had anything to do with
"Peter Gunn" was not lost on me, don't worry. When I refer to this "feud"
between Paul and Anne, I should be more specific. I think it's years-old
sour grapes over the whole AoN v.2 thing. I think Paul still kind of feels
the way he did when he wrote that essay inside "Daft" (he did write that,
didn't he? I know the name listed is something else (Otto Flake?)). And
someone who was at the first show said there were weird vibes floating
around during the greatest hits portion, so I was actively looking out for
signs of this. I still think the first "Peter Gunn" was an unintentional
mess and not an attempted improvisational jam session. And I still think
that Paul introducing Anne last and saying "and last..." without the "but
not least" was a dis. And while I appreciate the little AoN history recap,
it's a history that I (and most of us, I'm sure) am very familiar with as
far as what led to the split, who had beef with whom, etc. I don't think I
was imagining the weird vibes between Paul and Anne.

> While I'm thinking of it, Paul's hammer was not a spanner. Spanner is a
British
> term for a wrench. Hence the caption "The Art Of Noise hold a spanner"
beneath a
> photo of a pair of right arms each clutching a wrench (spanner) on an
edition of
> "Who's Afraid?.

Yes, thanks again for the "insight," but wasn't Paul actually also holding a
spanner/wrench at one point? Doesn't matter.

> I personally loved Paul's contribution to the show. His words served as a
sort of
> binder to bring it all together for me. I can blow off his careening,
bounding, po-going,
> and hammer waving; because -hey- you should see me try to dance. It was
obvious
> to me that this meant a lot to him. And I appreciate his effort.

Going back to my original comments, the last thing in the world I was trying
to say is "get him off the stage!" I'd rather have what I saw the other
night, goofiness and all, than no Paul at all. I just think he needs to work
a little on getting his "thing" down. And I hope he does, because he really
had his moments.

> That sound clip was from "Dallas"?  Anyone know what episode?

Not *from* Dallas, but a conversation *about* Dallas. I don't know whether
the conversation was from another show or movie or whatever, but the
dialogue between the two women started out with "did you see Dallas last
night?"

> Oh, and what the hell is the deal with all those goddamned painted cows
around downtown!?

It's some sort of Chicago-wide public art project, where they had several
artists paint the cows in their own unique style. Personally, I think it's
kinda cool. Depends largely on which of the cows you run across, though.
I've seen a printed map of where they all are; not sure if it's available
online or not.

When's the next show? I look forward to reading more reports/reviews.

JG


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------------------------------

Date: Wed, 13 Oct 1999 22:40:41 -0500
From: "Brian J. Pinkerton" <[e-mail]>
Subject: (ztt) Art of Noise '99 tour video?

There was a sign posted at the Chicago Art of Noise show that said the show
was being videotaped.  Maybe that's why they played "Peter Gunn" a second
time at the end of the encores after messing it up earlier in the show?



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------------------------------

Date: Thu, 14 Oct 1999 23:26:37 -0500
From: artisan2 <[e-mail]>
Subject: Re: (ztt) Art of Noise '99 tour video?

"Brian J. Pinkerton" wrote:

> There was a sign posted at the Chicago Art of Noise show that said the show
> was being videotaped.  Maybe that's why they played "Peter Gunn" a second
> time at the end of the encores after messing it up earlier in the show?

    Maybe... I still don't think it was as butchered as it has been made out
to be. Hey, does anyone know if they came out to greet the public at the
Metro? I wound up leaving right after their show was over.

- -- James S. Coward
    [e-mail]
  ------------------------------------------------------------------------

    "Due to the internal organisation of the musical work, the act of
listening to it immobilizes passing time; it catches and unfolds it as one
catches and enfolds a cloth flapping in the wind. It follows that by listening
to music, and while we are listening to it, we enter a kind of immortality."
- -The Art Of Noise




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------------------------------

Date: Fri, 15 Oct 1999 02:33:45 PDT
From: "Juno Jackson" <[e-mail]>
Subject: (ztt) A Word Of Thanks

Hey guys !!! :-)

How have you all been ?

Well, I've had a somewhat good week, although it got off to a REALLY shitty
start. So I apologize for the following bitching and moaning. ;-P

You see, I missed the Coachella Festival (out in California) last weekend.
Almost everyone who I've ever wanted to see live before was there, and two
of my friends who were supposed to go and give me ride both couldn't make it
!!!! ;-0

ART OF NOISE was also there; it has been a long-time dream of mine to see
them perform their magic up on stage. These latest gigs (a short, one-week
jaunt across the US) have basically served as their second  tour ever (the
first being in 1986). So you can only imagine how furiously enraged I was to
miss out on this ! It was basically the last big event of the year that I
could have participated in. Since I'm leaving for the military next month,
I'm going to be missing Thanksgiving, Christmas, and New Year's.

FUCK, FUCK, FUCK !!!!!

Anyways, I don't want to ramble on about shit all throughout this mail, so
I'll try to tie all of this together really quick.

Well, since I didn't have shit else to do last weekend, I started work on
some songs. And I'm happy to say that I have finished two tracks already. In
fact, I was just doing some mastering before writing this mail.

So I just wanted to say a GREAT BIG THANKS to everyone who pitched in their
two cents (or insert your other currency here ;-) and advice regarding all
of the questions regarding digital recording and computers.

For now, I've decided to save up for an Apple G4; although I've somewhat
managed somehow by the grace of God to tolerate PC's and Windows, I still
don't want to deal with any crap that may crop up in the future.

So now, I actually have another batch of questions to ask regarding
computers and recording. Here we go :

1) HARD DRIVES : Okay, I know everyone says to buy a SCSI, but wouldn't it
actually be faster and easier to buy a USB or Fire Wire drive ? And do you
really need to have two ? I mean, everyone says that it's easier to have two
so your audio won't be bogged down by your other apps, but is it totally
necessary ?

2) VIRTUAL PC SOFTWARE : I thought about buying this type of software in
order to run all of my good ol' Windows warez on my new G4. But is it really
effective ? Does anyone know how it runs ?

3) 16 or 24 BIT AUDIO : Does it really fucking matter ?

4) CAKEWALK PRO AUDIO 8 AND LOGIC PLATINUM 4.0 : If anyone has these
programs, can someone tell me how you import wave files into your tracks ?

Well, that's all that I can think of right now. I might work on a web site
to host my songs on, but I'm a bit weary about this since the songs aren't
copyrighted. So who knows. Anyways, sorry for the length of this mail, but I
needed a good place to vent. ;-P

So thanks for reading and God Bless you all.

Sincerely,

Josh ("NoiseWerker" ; "Juno")

______________________________________________________
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------------------------------

Date: Fri, 15 Oct 1999 06:13:02 -0400
From: [e-mail]
Subject: (ztt) Art of Noise Boston show

For a review of the AON show in Boston on Wednesday, check
out the following:

http://www.boston.com/dailyglobe2/288/living/Pop_synth_group_finds_soul_mate_in_
Debussy+.shtml


mike



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------------------------------

End of ztt-digest V2 #140
*************************