SV: Weller's Prime
Hey, at least you can now admit to it...g I once thought that Prefab Sprout would become an important band... Wha? Morgan Chrisopher wrote: I still do. Paddy McAloon and Paul Buchanan (of the Blue Nile) are two favorite pop songwriters. In an alternate universe, the Sprouts are as big as the Beatles ever were. (And people have cone-shaped heads - but that's another Point.) Still perplexed and p.o.'d that _Andromeda Heights_ hasn't come out in the U.S. It became a habit for me and a couple of friends to take a couple of yearly expeditions to London all through the eightees. To drink mostly and to explore the clubs and record stores. As we dived into the nightclubs, all charachterized by no sign outside, we got the strong feeling thath there was a diversions between the Damned/Ramones fans and those who liked the "newer" stuff. They all sat on diffrent tables. What they all said, at no matter what time, was nothing is happening here now. That seemed to be the refrain. I felt more than mildly schizofrenic in all this. Liking them all, the Damned,Jam, Pistols and the Clash. Then there was Style Council (the beer always cost more in the clubs that played them) and Prefab Sprout. I went bananaz about them when "Steve Mcqueen" came out, and oh Blue Nile,. and I admit that I was a big the Smiths fan from the beginning. I believe it was the same year that Steve Mcqueen came out that Darden Smith gave out his first, Native Soils on RediMix, and the same year I spent a week with Timbuk 3 in London, telling me about Townes. Okay so it must have been in the mid eightees that I converted. Don't want to be any more specific, those days were all to hazy. Geir Oslo np: Townes. LATOQ
SV: Clip: The state of country radio
Junior wrote: People!! Wagner and Debussy are yucky *romantic* music. They are NOT *classical* music. All European music isn't the same. Don't mix great composers like Mozart and Cimarosa in with trash like Wagner, sheesh g What would you think if somebody characterized Buck as Bluegrass?!?!? Sorry, Junior but I have a hard timing figuring out just what you are talking about. Yucky romantic music, you say. Sure, if you want to waltz around with the salong fähigness of Mozart, you are welcome any day. This don't mean I don't appreciate Mozart. Stating Wagner as trash is a little too much. Eventhough he took up many of the worst aspects of "Die Lebens-philosophie" in his music, not to say in his writing, his music is incredible. I'll listen to Jussi Bjoerling as Calaf in Wagner's opera Tristan und Isolde any day, above much of the crap that is hyped on this list. So just when did "classical music" die and romanticism take over? With Beethoven's Piano Sonata op.111, or was it before? Was Beethoven romantic crap all along? Okay, If you feel so, let me recomend an album for you. Put on Bach's mass in H-minor (preferable with Collegium Vocale and Philippe Herreweghe). Turn it up loud, listen as they breath in, before Kyrie is heard out of the speakers. Is Bach in your classical category? And since Adorno was mentioned in this thread. I just wrote an essay about Adorno's influence on Thomas Mann in writing Dr.Faustus. The focuse was especially on his contribution to Mann's understanding of the 12-tone technique, and Adorno's presence in the "Devil's" tale in that book. If you want to read it, learn Norwegigan. Geir Nyborg Oslo,Nyborg np:Townes Van Zandt: "Kitchen album"
SV: SV: Clip: The state of country radio
Junior wrote: This thread is nuts g. Heh Geir, I was mostly joking. Carl, I'm way back off that yellow line!! And Geir: while Wagner isn't my own cup of tea, more power to ya. As Jon Weisberger was just saying in another context of this same thread (!?), these taste matters are not really the basic point. I was simply alluding to a kind of basic historical/stylistic distinction in European music. Dividing what we Americans universally refer to as "classical" into some still-overlarge categories that don't lump 400 years of music into a single notion, etc. You know, Palestrina to Bach etc. in an early music to baroque phase, Mozart and Co. as classical, and post-Beethoven to the 20th century as romantic. Memo to self: use g thingies, --junior, who never would have been invited to lunch with Adorno I should have known not to drunkenly jump into threads I haven't been following up. Then again, I hope it makes fun reading for those who do. Follow up, I mean. Now, I'm gonna search, search for the basic point. Geir I've found it - Vince Bell:Texas plates
VS: Vince Bell
P2'ers A recently issued CD have enlightened dark january so much for me, so it deserves some words, eventhough I'm no reviewer.I'm talking about Vince Bell's Texas Plates. I admit to be a great fan of his Phoenix, actually it's an alltime favourite of mine. So, could he do it again? Or would I be dissapointed? Well, this is not a new Phoenix. It's quite a diffrent album. But it stands up, all the way to the moon to use his own images. I thought I was gonna get a heartattach as the first chords dripped out of the speakers like honey, and yes, I had to howl. Glad to be alone in the house just then. This was my immediate reaction when it arrived two days ago. I find Phoenix to be a very powerfull expression. An enormous pressure, not from the outside, but from the inside, if you understand. Like a primalscream - I picture the phoenix as it rise up, stretching its arms in to the sky like in a gasp,and then on That CD had alot of iron in it. I got the taste of blood in my mouth just to listen to it. A lot of desperation, but also pride. Texas Plates is cooler, more laidback. A lot more sexy, the narrator is more authoritative, has the overview, comments and evaluates. Sharp, but not always as personal as on Phoenix. Still, its a very human and confessing voice we hear. Fare from being arrogant or boring. From the first song, Poetry Texas, to the last dance, Last Dance At The Last Chanche, you are in it for a treat. Seek it out for yourselves. Ordering information at: http://www.mindspring.com/~vincebell/ Geir Nyborg Oslo,Norway
