ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/ztt/archive/ztt.199910

Internet Message Format | 1999-10-30 | 90KB

From: artisan2 <[e-mail]>
Subject: Re: (ztt) AON on CNN.com
Date: 03 Oct 1999 11:48:32 -0500




Mark Wasiel wrote:

> > It's not the greatest but it's CNN at least!
>
> And there's a picture of Trevor, Paul, and Anne!  That's gotta be a first!  I
> was worried when seeing them in concert next week, I wouldn't be able to tell
> who is who.  (Hey am I the only one with tickets?  Sure has been *zero* tour
> info.)

    It's a damn site better than the sad excuse for an article I found in
FLAUNT.
    So which city are you going to be in to catch them?
-- 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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-------------------------------------------------------------------------------

From: "Mark Wasiel" <[e-mail]>
Subject: (ztt) ARt of Noise in SF?
Date: 07 Oct 1999 23:03:55 -0700


I hope someone went to the Art Of Noise show tonight in San Francisco?
Please let me know what I can expect at Coachella on Saturday.

BTW, Trevor Horn will be on Yahoo Chat at 5PM Western time tomorrow, Friday
the 8th.  Go to yahoo to find out!

Bye,
Mark W
http://home.pcmagic.net/markw
home of the new music machine



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

From: "Juno Jackson" <[e-mail]>
Subject: (ztt) Off-Topic : Composing With Computers
Date: 08 Oct 1999 03:34:20 PDT


Hey everyone !

This message is long and a bit technical, so I apologize if this post bores
some of you. If anyone can help with this and is an electronic musician
(Kevin Lux from the KW list; maybe you could help ?) I'd greatly appreciate
it !

Lately I've been considering what moves I should make with computers when I
will be upgrading my studio soon.

I already have a PC, but I hear from experts that in order to really have a
powerful digital audio workstation based around the PC, you have to do a lot
of system tweaking and get a really expensive computer.

Mainly a lot to do with DMA settings, buffer settings, and video cards.
There was one company called Sound Chaser that told me more about it and
basically said that there's really no way that you can get a cheap PC system
and expect it to do loads of tracks and 24-bit audio. They said that I
shouldn't buy anything besides a Pentium 2 at the very least because for
some reason K6's and Celerons can't handle audio that well.

I also know that in order to run a lot of real-time FX plug-ins, you need a
lot of memory. But how much is really enough ?

I really thought about getting an Apple G4 system because PC's have always
been giving me headaches since day one. I also know that a lot of people
like Boris Blank, Trevor Horn, and Orbital use Macs. I had this massive
system error a few weeks ago on my PC that caused me reinstall Windows and I
couldn't reconnect to the net for about three weeks.

But all of the good warez and cracks are mainly for PC only, and this is
another big factor in my decision (Radium and EVC forever !!!) ;-)

Another funny thing that I've been hearing about is this huge resurgence of
Amiga and Atari systems being used for composing. I know that these systems
are still really popular in Europe for recording. But aren't they mainly
just used for MIDI only ? I mean, there's really no way that you can do
digital audio on an Amiga or an Atari; am I right ?

Then I thought about using just regular good old hardware and take the silly
computing problems out of it by just getting a few regular sequencers and
some stand-alone hard disk recorders (particularly the Roland VS series
machines).

I know that this has been discussed a lot in magazines like Electronic
Musician and Keyboard, but somehow I always miss those issues ! ;-P


Any help would REALLY be appreciated !!!

Sincerely,

--NoiseWerker--

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

From: Cliff Tuel <[e-mail]>
Subject: Re: (ztt) ARt of Noise in SF?
Date: 08 Oct 1999 09:11:07 -0700


[e-mail] (Mark Wasiel) wrote:
> I hope someone went to the Art Of Noise show tonight in San Francisco?
> Please let me know what I can expect at Coachella on Saturday.

Expect an *incredible* show.  The lineup was Anne Dudley on keyboards, Trevor
Horn on upright bass, electric bass, and MIDI clarinet (EWI), Lol Creme on
guitars, and Paul Morley up front narrating, pontificating, and wildly prancing
around.  Also onstage was a soprano singer, and in back on a riser were two
twenty-something blokes manning the computers and effects (all the rhythms and
keyboards, other than Anne's parts, came from these two and their Macs).  The
set was mostly from Seduction, although we were also treated to a couple new
pieces, and a few classics: Moments in Love, a medley of Beat Box / Close (To
the Edit), and Peter Gunn.

The show was a ton of fun, and the band members were obviously having a blast
too.  Trevor in particular had this huge smile on his face most of the show.
Expect a lot of bass and bring your dancing shoes.  The whole thing was very
well-rehearsed, and you'd never know this was their first show in 13 years.  The
only let-down was the pathetic light show and the over-driven sound system, but
sound & lights generally don't tour with the bnads so this could probably be
blamed on the venue.  An amazing show.  Go see them if you can!

--
Cliff Tuel -- [e-mail]
NOTE NEW ADDESSS! (formerly [e-mail])




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

From: "Juno Jackson" <[e-mail]>
Subject: (ztt) Coachella Festival
Date: 08 Oct 1999 11:50:03 PDT


Hey guys,

I just got my money for the Coachella Festival for this weekend in Indio,
CA, but my friends aren't able to make it, (;-0) and I need a ride.

Is there anyone from the South Orange County area (California) that is going
to be headed out to Indio ?

If so, PLEASE MAIL ME !!!!

I MUST see Art of Noise and everyone else. This show is EXTREMELY important
to me as it will probably be the last big thing that I do before going off
to the military; I'll be missing all of the last holidays of the millennium
during basic training.

I know this is very short notice, but it's a bit of a last resort at the
moment.

Thank you all,

NoiseWerker

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


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

From: "jeffg" <[e-mail]>
Subject: (ztt) Art of Noise in San Francisco  (spoilers!!)
Date: 08 Oct 1999 16:40:12 -0700


hi all -

i'm a longtime fan of art of noise, and i was extremely happy to be able to
attend the AON show in san francisco last night.  i thought that this might
be an appropriate forum for telling other interested parties about their
show...

they played at a club owned by boz scaggs called "slim's".  the posted
occupancy is about 550 people, and i would estimate that it was close to
capacity last night for the AON show.  it has a nice sound system, and a
very intimate stage with few lights/effects.  the dj started spinning at 9
(eclectic worldbeat, house), and the band went on at 10:30.  lol creme's
setlist was taped to the floor before the show, and i wrote it down.  it was
exactly this:

out of this world
something is missing
born again
moments in love
"rapt" in the evening air
intoxicated - roni size
on being blue
unholy egotism
greatest hits medley
[jeff's note: they played 'peter gunn' here, but it wasn't on the setlist.]
il pleure
(false end)
la flute de pan
dream in colour

all of the intricate electronics and drum parts came from tape, with lol
creme playing rhythm guitar (far left), trevor horn playing a stand-up bass
and an electric bass (center left), two dj/engineer guys at mixing desks
(center rear), paul morley waving a hammer (center front), anne dudley
playing a kurzweill P88 and novation basstation (center right), and amanda
boyd singing operatic vocals (far right).

the sound mix was good, and the band really clicked, especially in the
slower tracks.  they mixed 'beat box' and 'close to the edit' into the same
track, called 'greatest hits medley' on the playlist.  several of the songs
were unfamiliar to me, and appeared to be techno/trance tunes with paul
morley taking a prominent role in them.  'something is missing' was a sort
of trance number with a kraftwerkian 'computer world' chorus: "email, fax,
telepresence, anonymity" kind of stuff.  in my opinion, the paul morley
vocal tracks did not sound like art of noise.  they were brash and monotone,
while (imho) traditional AON tunes tend to be richer and more melodic.  one
particular highlight for me was seeing trevor horn play the bass parts for
'beat box' and 'moments in love'.  he played both of them on an acoustic
stand-up bass, and he played it very lovingly.  the latter part of the 'MIL'
bassline (with the running 8th notes) was impeccably done, with trevor
concentrating hard, and the crowd in a trance.  they actually did the "now,
now" break (with the "army now" sample), and each member of the band said
"now" in different registers while the crowd all shouted "now, now".
several drunken fans near me kept screaming "we love you" to the band, and
they kept laughing and smiling at the crowd.

i must say that i don't believe paul morley provided a positive contribution
to their presentation.  he narrated the show (a la john hurt) and
continually bantered in a monotone, stream-of-consciousness mode during the
songs.  he was dressed in a big, high-collared, black frock, and he waved a
large black rubber mallet/hammer throughout the show.  he seemed to have
believed that an AON gig was an opportunity to do stadium-rock posturing,
and so he was leaping in the air with his legs splayed, adopting the
jesus-on-the-cross pose, running back and forth across the 10 meter stage,
and generally trying to look like pete townshend - - all while twirling and
waving a hammer.  *during 'moments in love', no less*!!  these histrionics
seemed to cool the enthusiasm of the crowd around me, as he very obviously
was making an ass of himself.  (it was so embarrassing that i had to avert
my eyes at times.)  since i was in the center, about 5 feet from the stage,
i could watch the 'personal dynamics' of the band, and it was clear that
there was some bad blood up there.  dudley, creme, and horn were constantly
exchanging glances after another bit of morley's histrionics, and they
looked alternatively shocked, embarrassed, or puzzled.  he'd sometimes jump
into the air to punctuate a musical cue, and then there wouldn't even be a
cue and he'd  look foolish.  creme usually looked disgusted, dudley often
looked embarrassed, and horn looked shocked/amused/bewildered.  i got the
impression that they didn't expect him to act in such a way.  also, i might
add that morley verbally expressed some dissatisfaction onstage.  around the
time of the 'greatest hits medley', he said (in sarcastic, bitter tones)
that the band couldn't move forward because "it always had to come back to
beatbox".  he also said that he didn't want to play the next song because it
was "shameless egotism", but that "she forced them play it" - - and then
they launched into 'peter gunn'.  anne dudley just looked at her keyboard,
and the rest of the band looked grim.  that was a bad scene...

anyway, i was glad as hell to have been there, if only to see trevor horn
doing his thing.  morley introduced him as "chairman of the board", and
indeed he was.  i hope that the morley behavior was just a symptom of
opening-night nerves, and that he won't subject everyone to it.  hope you
get a chance to check it out!

cheers -

jeff



__________________________
Jeff Grote
Engineering, VERITAS Software
[e-mail]
[phone]



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

From: [e-mail]
Date: 08 Oct 1999 13:22:33 -0600



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

From: "Cliff Tuel" <[e-mail]>
Subject: Re: (ztt) Art of Noise in San Francisco  (spoilers!!)
Date: 08 Oct 1999 17:50:05 -0700


Well just to play devil's advocate, I really enjoyed Paul's jumping around and
narration.  He tied the whole show together, provided a huge burst of energy
to an otherwise static show, was witty, and a great showman.  I think you're
being too hard on him.  IMHO.

- Cliff




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

From: Cliff Tuel <[e-mail]>
Subject: (ztt) AoN chat transcript
Date: 09 Oct 1999 09:57:00 -0700


The AoN chat on Yahoo was with Anne, not Trevor.  Here's the transcript:

  http://www.sonicnet.com/artists/ai_fullchat.jhtml?id=513929&ai_id=2022


--
Cliff Tuel -- [e-mail]
NOTE NEW ADDESSS! (formerly [e-mail])




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

From: Cliff Tuel <[e-mail]>
Subject: Re: (ztt) AoN chat transcript
Date: 09 Oct 1999 10:04:46 -0700


Ooops, that's an old transcript, sorry.  It talks about a "future" tour.  So
maybe the chat with Trevor will be posted soon...

--
Cliff Tuel -- [e-mail]
NOTE NEW ADDESSS! (formerly [e-mail])




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

From: artisan2 <[e-mail]>
Subject: (ztt) AON concert stuff.
Date: 09 Oct 1999 13:01:13 -0500


    Well, I for one am thoroughly stoked. After an angry phonecall,
Angela and I managed to squeeze our tickets out of "Ticket Bastards" for
the Chicago show. They hadn't been printed until Wednesday! Needless to
say I was getting edgy and pissed.
   I would like to know what Paul's impression is of his own bounding
about? I wonder what sort of message he is trying to convey. Plus, isn't
he a bit old to be doing all that jumping? He might throw a hip. ;-)
    The big thing for me is if there is some way to score backstage
access. Have there been any after show events so far?

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

From: artisan2 <[e-mail]>
Subject: (ztt) AON concert stuff.
Date: 09 Oct 1999 13:04:37 -0500


    Also, have there been any items for purchase at the shows?
-- 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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-------------------------------------------------------------------------------

From: Cliff Tuel <[e-mail]>
Subject: Re: (ztt) AON concert stuff.
Date: 09 Oct 1999 11:14:31 -0700


>     Also, have there been any items for purchase at the shows?

Yes.  There's a short-sleeve shirt and a long-sleeve shirt, $20 and $25
respectively.  Both are dark blue (black?) with "Seduce Me" on the front, and
"www.theartofnoise.com" on the back.  Pretty ugly, uninspired, and plain, so I
didn't get one.

--
Cliff Tuel -- [e-mail]
NOTE NEW ADDESSS! (formerly [e-mail])




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

From: Geoff Davies <[e-mail]>
Subject: Re: (ztt) Art of Noise in San Francisco  (spoilers!!)
Date: 09 Oct 1999 00:00:01 -0700


I'd have to go along with Cliff on this one.  I thought Paul made a
necessary contribution to the set.  It was an up tempo set and the
other members would have looked stupid up there without him - they didn't
move a lot and they are not showmen.  I think he was making sure
that they were a parady of themselves - you can't take yourself too
seriously in concert.  Actually I was reminded of the KLF (a la
Justifed Ancients vids) when I saw Paul in the big black jacket.
I would have been very disappointed if Paul M had simply repeated
the album narration.  I thought his contribution was great.

I thought Anne looked gorgeous and quite relaxed playing the keyboards
and it made my year to see her play Beatbox.

Lol seemed quite content is his own little world in the corner.  He
took the lead on the Peter Gunn track.

Trevor did various roles which have been detailed in other emails but
he also does some of the lyrics that Rakim did on the album and that
was a bit of a stretch but he certainly enjoyed himself out there.

For me, the star of the show was Amanda Boyd.  Absolutely amazing.  When
she came on stage strutting around with Paul, I thought she was an
extra from that Irish "Lord of the Dance" outfit.  A dancer was my
initial guess but I was blown away when she started to sing.  My jaw
dropped.  During Peter Gunn, she performed all the wails and screaming
- sounds that I thought could only be machine generated.   She performed
all the operatic parts of the Seduction album. She has a stunning voice,
a great dancer (bags of energy) and she's very attractive.

I loved the set list.  The "Something is Missing" track is stunning and
it had me hooked on the concert only 10 minutes into it.

The "Moments in Love" track was awesome and they shifted the tempo to a
fast track three time during the song.  A great variation.  I think
that sums up the performance i.e. close to the original but enough
variation to get you hooked.

The crowd were delighted when the old hits were played.  I think us "ZTT
mail list" folks were the minority.  I asked one guy after the show what
he thought and he was obviously someone who only knew AON from the
Edge/Beatbox/MIL era because his reaction was "well, they always were
a weird band".

It was a stunning show and you must beg, steal or borrow to make sure you
don't miss this limited run event.  I hope there will be a live CD as
a result of this mini-tour.

Loved it,
Geoff.

At 05:50 PM 10/8/99 -0700, you wrote:
>
>Well just to play devil's advocate, I really enjoyed Paul's jumping around
and
>narration.  He tied the whole show together, provided a huge burst of energy
>to an otherwise static show, was witty, and a great showman.  I think you're
>being too hard on him.  IMHO.



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

From: artisan2 <[e-mail]>
Subject: Re: (ztt) AON concert stuff.
Date: 10 Oct 1999 14:26:02 -0500


    OK, so how did Saturday's concert go? (It was last night wasn't it?)
Was Paul still being a little catty about Anne's non-ZTT past with AON
and that whole Peter Gunn thing?
    I just realized... about how long is their set?

    Also, who among us are going to the Chicago show tomorrow night? I,
kinda, wondered if anyone might want to try to get together at the show;
to put faces to the names we see all the time.


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

From: "Mark Wasiel" <[e-mail]>
Subject: (ztt) AON Coachella report
Date: 10 Oct 1999 22:59:15 -0700


Hi everyone.  Just got home from the Coachella festival in Indio.  Very fun!

I liked the Art Of Noise show. It was great to see them all on stage.  Andy
Richards was one of the computer operators btw.  A lot of the tracks had
beefed up drum tracks on them.  It was nice to see Trevor playing bass too.
Lol was playing guitar too but he was too low in the mix I think.  Maybe I
was too close to the stage.  The set list was the same but I think they had
run out of time so they didn't do Dreaming in Colour.

As for Paul...well, I liked it!  Anyone who has seem/heard the ZTT
Ambassador concert from back in 85 (was it that long ago?) has nothing to
fear.  I kept expecting him to make his Tears For Fears/Spanner comparison
the whole evening. :)  However, that's not to say it was a perfect
performance from him, but he did get the crowd riled up and did some amazing
performing on Something Is Missing (great track with Anne doing some vocoder
work..when do we get it released??)  and ...  rapt in the evening air... or
was it intoxicated.  I'm not sure.

I was surprised by a couple of things.  Those backing vocals on Metaforce
are done by Trevor apparently.  He came out to sing the "aerodynamic in the
evening air" parts.  I think this was when Paul was giving his great
performance.

Secondly, they played a long sample which apparently was the origin of the
"Can I Say Something" sample.  It started off as a conversation between two
women about the TV show Dallas actually...

It's definitely a show to see...

Of course I'm leaving out the meeting Trevor backstage part, but that's for
another day. :)

*Hey Trevor, if you or your family members are reading this, please email me
as we didn't get a chance to finish our discussion of "Junkyard"!

**Also, Fantastic Plastic Machine from Japan did a cool DJ set that
contained a really good house mix of Yes' Owner Of A Lonely Heart with the
breaks even.

Mark W.
http://home.pcmagic.net/markw
home of the new music machine



>



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

From: John Goelzer <[e-mail]>
Subject: (ztt) AoN put the "a" in Chicago
Date: 12 Oct 1999 15:35:08 -0500


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'm by no means saying that he needs to be erased from the live
show for it to be good or better, but that his contribution to AoN live is
the most in need of refinement. 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 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. 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.

Hearing Anne play the piano parts, new and old, live and occasionally
improvise some was worth the admission price alone. And watching Trevor and
Lol cavort around like rawk stars... priceless.

They came out for a second encore: another rendition of "Peter Gunn!" Paul
intro'd it saying "this time we'll get it right." And, with some help from
Anne (giving everyone, especially the singer, big cues) they did.

During the "greatest hits medley" intro, they not only played the "Dallas"
conversation that was the source for "can I say something," but also
something else that seemed to be the source for "hey!"

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.

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" etc. You could see Anne giggling over his goofball antics every so
often. During the first (botched) "Peter Gunn" rendition, Paul was blabbing
in his bitter-about-playing-the-old-hits tone about "this song we're so
proud of" and Anne did a shoulders-back-head-held-high pose like "damn right
I'm proud." It was funny, almost as though they acknowledge their feud and
can laugh about it.

I think someone in an earlier post mentioned the Yamaha MIDI wind controller
Trevor used by model no., but it didn't register with me at the time, and I
was very surprised - pleasantly - when he was playing the sax/clarinet (?)
parts of "Dreaming" live. Later in the track he was triggering some
weird-ass otherworldly sounds with it, too.

The "20-somethings" (neither of them Andy Richards - was he *really* at an
earlier show?) behind all the gear were busy boys indeed, though it was damn
near impossible to tell just what they were doing/controlling in real time.
Nice to see a PowerBook G3 with the big white Apple logo prominently
displayed, 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.
Made me think that maybe, just maybe, they were just playing a straight
version of "Metaforce" w/Rakim's vocal removed.

Anyway, I know I've nitpicked about some stuff in here, and I did think Paul
was a bit much, but at the end of the day I thoroughly enjoyed the show and
would go see them again in a heartbeat.

Hope everyone enjoys the rest of the dates.

JG


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

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


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

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


> 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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-------------------------------------------------------------------------------

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


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

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


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

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


> 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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-------------------------------------------------------------------------------

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


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

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


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

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


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

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




"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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-------------------------------------------------------------------------------

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


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

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


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

From: artisan2 <[e-mail]>
Subject: Re: (ztt) Art of Noise Boston show
Date: 15 Oct 1999 21:54:52 -0500


That link does not seem to be working. Either that of the article's
review consisted of "page not found". That might be fairly profound in
the right circumstances. ;-)
-- 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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-------------------------------------------------------------------------------

From: "H. van Iersel" <[e-mail]>
Subject: (ztt) New Dance Label from ZTT: Vision Recordings!
Date: 18 Oct 1999 23:07:32 +0200


+++

Hi Zangers,

Just picked up this message from the internet:

14 August 1999:

"Walker leaves Cheeky to open ZTT dance imprint: Vision Recordings, new dance music label, is formed by ZTT, UK"
"Pachuco Links With Ztt's Sarm: Pachuco Management has teamed with Sarm Management in the ZTT Records' Offices"

Can anyone confirm this????



Henry



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

From: "Mark Wasiel" <[e-mail]>
Subject: (ztt) new Trevor Horn track alert
Date: 19 Oct 1999 22:39:05 -0700


Hi again,
I just picked up some interesting Trevor Horn news I though I'd post.
Joerg, pay attention! :)

Trevor is producing one track for the new Charlotte Church album
imaginatively titled "Charlotte Church".
Sony Music is putting it out on the US on Nov. 16th.  If you've been away
from a music store in the last year, you know that Charlotte is a young
woman (<18?) who has the voice of a much older opera singer.  Apparently the
track is some kind of pop-classical cross-over thing as the song, "Just Wave
Hello" was listed in the one-sheet as "the new single".  The rest of the
album is all classical type material.

Here are the catalog details for those of you who must know them... ;)
CD/CT/MD - SK/ST/SM 64356

Mark Wasiel
http://home.pcmagic.net/markw
Home of The New Music Machine



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

From: [e-mail] (Joerg Fitzner)
Subject: Re: (ztt) New Dance Label from ZTT: Vision Recordings!
Date: 19 Oct 1999 18:17:47 +0100


> "Walker leaves Cheeky to open ZTT dance imprint: Vision Recordings, new
> dance music label, is formed by ZTT, UK"
> "Pachuco Links With Ztt's Sarm: Pachuco Management has teamed with Sarm
> Management in the ZTT Records' Offices"
>
> Can anyone confirm this????

For the Vision label, I have read the same in UK mag 'MUZIK' recently.




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

From: "Mark Wasiel" <[e-mail]>
Subject: (ztt) AON tour correction
Date: 19 Oct 1999 22:33:56 -0700


Hi,
I must correct my previous post in which I erroneously stated that Andy
Richards was one of the technical assistants.  Obviously the excitment of
the show got to my head and I didn't think about what I was writing.  The
actually technical assistant I was thinking of, but didn't write is Tim
Weidner.  He is accompanied by Justin Fraser.

Did anyone else see any of the other tour dates?  I'd love to hear more
opinions.

Mark Wasiel
http://home.pcmagic.net/markw
Home of The New Music Machine



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

From: Charles Daraghy <[e-mail]>
Subject: (ztt) Nasty Rox / escape from New York
Date: 20 Oct 1999 11:05:33 -0400


I forgot specifically who it was, but someone was posting on this list
looking for some promo soundtrack

I noticed the current Razormaid special (today only) has that track on
it:

http://www.razormaid.com/html/specialtyitems/daily/daily.htm



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

From: graeme <[e-mail]>
Subject: (ztt) Nasty Rox Inc
Date: 20 Oct 1999 18:15:31 +0200


While we're on the subject of Nasty Rox Inc. can anyone confirm or deny
that the CD version was ever released?  I have the album (luckily
enough) but never found the CD despite ordering it on the day of release
and looking for it ever since... I even have a catalogue number but
noone I know has ever seen it!

Anyone on the list gotta (spare) copy?

Cheers

Graeme


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

From: =?iso-8859-1?q?Smiley?= <[e-mail]>
Subject: (ztt) Emails to Smiley
Date: 22 Oct 1999 10:46:17 +0100 (BST)



hi,

if anyone has sent me a personal email in the last
couple of days, has expected a response and not
received one...

...please email me again, as my yahoo-mail has been
f*****g about for the last day or so.

cheers,


=====
Smiley
New spares list: http://come.to/SmileyWeb
____________________________________________________________
Do You Yahoo!?
Get your free @yahoo.co.uk address at http://mail.yahoo.co.uk
or your free @yahoo.ie address at http://mail.yahoo.ie


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

From: graeme <[e-mail]>
Subject: (ztt) Propaganda
Date: 27 Oct 1999 11:46:50 +0200


I've just found a CD listing of Propaganda 2000 "The Return of Dr
Mabuse"

Does anyone know what this is?

Graeme


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

From: "Murray Wilks" <[e-mail]>
Subject: (ztt) ZTT Baktrax Sampler for sale
Date: 27 Oct 1999 08:04:34 MDT


Anyone interested in my 1998 ZTT Baktrax promo sampler (US production)?
Comes in folding cardboard sleeve.

Eight tracks (2 AON, 2 Frankie, 2 808, 2 Propaganda).

I am open to offers. FYI I am located in Canada.

Murray Wilks.

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

From: "Murray Wilks" <[e-mail]>
Subject: (ztt) ZTT Baktrax Sampler for sale
Date: 27 Oct 1999 08:04:34 MDT


Anyone interested in my 1998 ZTT Baktrax promo sampler (US production)?
Comes in folding cardboard sleeve.

Eight tracks (2 AON, 2 Frankie, 2 808, 2 Propaganda).

I am open to offers. FYI I am located in Canada.

Murray Wilks.

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

From: [e-mail]
Subject: (ztt) News from the UK
Date: 28 Oct 1999 07:15:01 +0100


Hello List,
I have just arrived from UK - spending by autumn leave in the record shops.
Best news for you are off cource the splendid new Holly Johnson album (it
did not require any second listening to get my full attention - very high
average - lets see what todays teen-crowds think of it). New single planned
for November 29 is THE POWER OF LOVE, in the new recorded version. Just as
Holly describes it, I find it more intense and moody (just as it should be).
Holly has achieved inclusion of 'starts' such as: Matt Tait (Assistant - I
have only this reference on him), Holly Johnson (Guitar), Don Richardson
(Bass - I have only this reference on him), Luis Jardim (Percussion - from
), Peter Oxendale (Piano - I think he were used in the Frankie period for
live appearances, Recently he assisted Pete Burns of Dead or Alive on
Nukleopatra), Nick Ingman (Arranged), Julian Mendelsohn (Mixer - My Pet Shop
Boy favorite, but remember him from Yes, Frankie, Go West, Buggles, ABC, So,
Liza Minelli as well). However, I can not say whether JM og LJ were on the
original as well - both have colaborated with Trevor Horn for ages. Second -
Lucky me, that Sony just released in their Rewind-serie a remastered version
of BRUCE WOOLEY AND THE CAMERA CLUB, with its strange versions of Video
killed the radio star and Clean Clean,and a third Trevor penned track.
Finally I got a CD-version of the Buggles Living on Plastic with the three
b-sides as extras. Splendid!
Torben
- the Dane


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

From: [e-mail] (propaganda.de)
Subject: (ztt) ZTT: Holly Johnson - Soulstream
Date: 28 Oct 1999 07:22:26 +0200


Hi all,
i read last night in the videotext of a TV Station (for all german guys: Pro 7,
Seite 421) that Holly Johnson release his album "Soulstream" on November 29.
The first single is a remix of "The power of love".
Has anyone more information ???

bye
Karl

http://home.t-online.de/home/Propaganda.de/





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

From: [e-mail] (Alex Veronac)
Subject: (ztt) ZTT Album Wanted
Date: 28 Oct 1999 11:30:22 -0400


anybody have a copy of
"Zance: A Decade of Dance from ZTT / ZTT Remixed"
that they would sell?

alex v.



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

From: =?iso-8859-1?Q?Tommy_M=E4kinen?= <[e-mail]>
Subject: (ztt) Nasher - Ripe
Date: 28 Oct 1999 20:15:30 +0100


Brian "Nasher" Nash, former guitarist of FGTH has released a new album =
called "Ripe" which is available through his own website: =
www.nasher.co.uk.

...don't miss the opportunity to get your hands on the best album of the =
year :)=20

p.s The FGTH pages has moved to a new URL without pop up banners and =
other banner shit.... Please visit www.fgth.cjb.net for the best news =
related to Frankie.




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

From: [e-mail]
Subject: RE: (ztt) ZTT: Holly Johnson - Soulstream
Date: 28 Oct 1999 22:28:48 +0100


Hello list,

Please notice that the Holly Johnson album SOULSTREAM is released. It was on
Monday 11.10.99!

As regards singles from the album, one could state that the first was the
1994 release of LEGENDARY_CHILDREN, which is included on the album in a year
2000 remix. Second single were this years promo release of HALLELUJAH (again
included on the album in the Eric Kupper Radio Edit). Third single of the
album is the current DISCO_HEAVEN, which is included in the Sicario Club
Radio Edit. It is right that in November the new version of POWER_OF_LOVE is
going to be released. On the 15 years anniversary date for the original
1984-release. Best of luck to Holly Johnson!

Torben
- the Dane

> -----Original Message-----
> From:    [e-mail] [SMTP:[e-mail]]
> Sent:    28. October 1999 07:22
> To:    [e-mail]
> Subject:    (ztt) ZTT: Holly Johnson - Soulstream
>


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

From: "Mark Wasiel" <[e-mail]>
Subject: (ztt) new Buggles CD single
Date: 28 Oct 1999 23:40:12 -0700


Buggles - Video Killed The Radio star is being reissued on a CD single in
the UK on Nov. 15.  No idea what else is on it...but hopefully I soon will.

Speaking of the Buggles, does anyone have any info on the Bruce Wooley & The
Camera Club album being reissued in the UK.  Any bonus tracks or anything?
Comments?

Mark!

All this and more at:
http://www.newmusicmachine.com
for the latest in new music info...



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

From: "John McCormick" <[e-mail]>
Subject: Re: (ztt) new Trevor Horn track alert
Date: 28 Oct 1999 23:20:12 +0100


I think Ms. Church is a young woman of around 14/15, hence her
amazing vocals for her age.
John M.
--
//             Northamptonshire, ENGLAND.           \\
\\           Please visit my web pages at:          //
//         http://www.johnmccormick.cwc.net         \\
\\                  - * - * - * -                   //

----------
>From: "Mark Wasiel" <[e-mail]>
>To: <[e-mail]>
>Subject: (ztt) new Trevor Horn track alert
>Date: Wed, Oct 20, 1999, 6:39 am
>

> If you've been away
> from a music store in the last year, you know that Charlotte is a young
> woman (<18?) who has the voice of a much older opera singer.


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

From: Dave <[e-mail]>
Subject: (ztt) Bruce Woolley
Date: 29 Oct 1999 08:07:43 -0400


Hi,
I got the Camera Club CD. Thomas Dolby looks like he is 12! I don't
think it has bonus tracks (none listed as such) but the booklet has the
wrong lyrics for Video Killed the Radio Star!
They have the second verse as
"I Saw Your picture in the magazines I read
Imagined footlights on the wooden face ahead
sometimes I felt you were controling me instead"

Maybe these were early ones? Glad they changed em!
-Dave @ Lexicon



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

From: "John McCormick" <[e-mail]>
Subject: Re: (ztt) new Buggles CD single
Date: 31 Oct 1999 22:22:42 +0000


Is this a 'pre-release' to the forthcoming TH 'Greatest Hits' album?
John M.
--
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----------
>From: "Mark Wasiel" <[e-mail]>
>To: <[e-mail]>
>Subject: (ztt) new Buggles CD single
>Date: Fri, Oct 29, 1999, 6:40 am
>

> Buggles - Video Killed The Radio star is being reissued on a CD single in
> the UK on Nov. 15.


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