smoe.org mailing lists
ivan@stellysee.de
From | rob@splitsville.com |
Subject | =?US-ASCII?B?UkU6IFJlOiAxOTkx?= |
Date | Fri, 02 Mar 2007 16:18:45 -0500 |
[Part 1 text/plain US-ASCII (6.8 kilobytes)]
(View Text in a separate window)
One Auditeer mentioned Robyn Hitchcock's 'Perspex Island'.
Great call- that was a wonderful album. He had a fluke hit (I guess it wasn't a 'top 40' hit, but a 'radio hit'?) with "So You Think You're In Love?", and the entire album really was a crackin' one.
My fave track was 'She Doesn't Exist', with Michael Stipe on backing vocals.
>----- ------- Original Message ------- -----
>From: :audities@smoe.org
>To: audities@smoe.org
>Sent: Fri, 2 Mar 2007 -0800 (PST) 11:48:03
>
> Hi,
>
> I guess that part of my perspective on that is
>that we never had a radio station, here in
>Arkansas, that was as good as what you had out
>there. We pretty well went from having stations
>that played Def Leppard, Gun 'N' Roses, The
>Scorpions, Van Halen, Motley Crue,... etc.; and
>were just breaking into playing some music that
>intrigued me more than the later Grunge, like:
>Jellyfish, the Posies, Teenage Fanclub, and Mathew
>Sweet; to having stations that as far as they were
>evidentally concerned, nothing existed except
>Nirvana, Pearl Jam, and Soundgarden. They went
>from Hair Metal with a sprinkle of Power-Pop to all
>Seattle sound.
>
> Peace,
>
> W.D.
>
>Date: Fri, 02 Mar 2007 02:28:35 -0500
>From: "Stewart Mason"
>To:
>Subject: Re: 1991
>Message-ID: <001601c75c9c$67f87c20$1d02a8c0@Sparky>
>
>
>
>
>I see what you're saying, and that's probably how
>the history books
>are likely to shape that era, but that's certainly
>not how I remember
>it!
>
>My personal background of 1991 is that I was 21
>years old and stuck in
>a small town on the Texas/New Mexico border (quite
>literally stuck,
>actually, because my mom had had a massive stroke
>the previous year
>and I'd had to quit school temporarily and become
>her in-home health
>care provider) where the closest record store was
>the Hastings in
>Clovis, 30 miles away, and the closest decent
>record store was in
>Lubbock, 100 miles in the opposite direction. My
>only musical
>lifeline at the time was a college radio station
>out of Amarillo,
>KACV, that was very much on the commercial end of
>alternative, but way
>the hell better than the other options. So I
>listened to this station
>(and KTXT, Lubbock's college station) constantly in
>'91 and '92, and
>my memory of these stations is that NEVERMIND
>definitely had a *huge*
>impact on the playlists, but it was in no way an
>overnight change from
>pre-grunge into grunge. It wasn't suddenly all
>Pearl Jam,
>Soundgarden, Stone Temple Pilots and the
>increasingly crap imitations
>of same.
>
>No, my memory is that NEVERMIND was roughly
>equivalent, in an industry
>sense, to the explosion of MTV nearly a decade
>before. It caught the
>big labels by surprise, and for at least a couple
>of years, they had
>no idea what exactly The Kidz were responding to or
>why, and whenever
>that happens, their first instinct is to basically
>throw everything at
>the wall and see what sticks.
>
>So yeah, there was the po-faced post-Nirvana crowd
>in one corner, but
>think back at what else suddenly emerged over the
>next few years
>(roughly the period between, say, NEVERMIND and the
>Apples In Stereo's
>FUN TRICK NOISEMAKER, to pick a totally arbitrary
>end point that
>demarcates the rise of "indie" as opposed to
>"alternative")!
>
>Think about it -- all these records were not only
>released on major
>labels, I remember hearing them on the radio and
>seeing the artists in
>magazines and on MTV:
>
>Teenage Fanclub's BANDWAGONESQUE (remember when
>they were on SNL in
>'92, doing "The Concept" and that mash-up of "What
>You Do To Me" and
>"Satan"?)
>
>The Pooh Sticks' THE GREAT WHITE WONDER and MILLION
>SELLER
>
>Juliana Hatfield's BECOME WHAT YOU ARE
>
>Letters To Cleo's AURORA GORY ALICE
>
>American Music Club's MERCURY
>
>The Wedding Present's HIT PARADE 1 and 2
>
>Barenaked Ladies' GORDON
>
>Beastie Boys' CHECK YOUR HEAD and ILL COMMUNICATION
>
>
>Eugenius' OOMALAMA and MARY QUEEN OF SCOTS
>
>Green Day's DOOKIE
>
>PJ Harvey's DRY and RID OF ME
>
>The High Llamas' GIDEON GAYE
>
>Stereolab's TRANSIENT RANDOM NOISE BURSTS WITH
>ANNOUNCEMENTS and MARS
>AUDIAC QUINTET
>
>The Lemonheads' IT'S A SHAME ABOUT RAY
>
>Luna's LUNAPARK
>
>Shonen Knife's LET'S KNIFE
>
>Sloan's SMEARED and TWICE REMOVED
>
>The Spent Poets' THE SPENT POETS
>
>The Breeders' LAST SPLASH
>
>Lisa Germano's HAPPINESS
>
>Kirsty MacColl's TITANIC DAYS
>
>Mazzy Star's SO TONIGHT THAT I MAY SEE
>
>The Muffs' THE MUFFS
>
>Redd Kross' PHASESHIFTER
>
>Liz Phair's EXILE IN GUYVILLE and WHIP-SMART
>
>Saint Etienne's FOXBASE ALPHA and SO TOUGH
>
>The Ass Ponys' ELECTRIC ROCK MUSIC
>
>Beck's MELLOW GOLD
>
>Massive Attack's PROTECTION
>
>Portishead's DUMMY
>
>Sonic Youth's DIRTY and EXPERIMENTAL JET SET TRASH
>AND NO STAR
>
>That Dog's THAT DOG and TOTALLY CRUSHED OUT
>
>Matthew Sweet's 100% FUN
>
>Elastica's ELASTICA
>
>Ben Folds Five's BEN FOLDS FIVE
>
>Aimee Mann's WHATEVER and I'M WITH STUPID
>
>The Sixths' WASPS NESTS
>
>This was actually a period of surprising vitality
>and variety for the
>big labels: the shutdown that you're talking about,
>when "alternative"
>started to mean only "flannel-clad dick-swinging,"
>didn't really
>happen until well after. My theory is that when
>Kurt Cobain died, the
>A&R lemmings decided that the primary search was
>for a "new" KC, a
>search that they got entirely wrong, as they're
>wont to do.
>
>S
>----- Original Message -----
>From: "William Rabeneck"
>> Nirvana were also kind of a curse, because after
>them, most bands
>> seemed to feel that everything had to be so damn
>serious. Hell,
>> look what it did to Cobain! Give me a cocky old
>live fool, trying
>> to recapture his glory, like David Lee Roth, over
>a dead Kurt Cobain
>> any day.
>>
>> The move away from the previous music, toward the
>Grunge thing, is
>> also just emblematic of the way the music
>industry has usually been
>> run. You've got suits gambling on what the kids
>are going to like,
>> and putting all of their eggs, usually in just
>one or two baskets
>> genre-wise. If the suits (radio and recorded
>music industry) ever
>> got wise, and promoted more variety at the same
>time, I think that
>> they'd actually be pleasantly surprised with
>their sales. In
>> general, radio is probably gonna have a better
>play list, if they
>> promote the ten best songs from five Rock
>sub-genres, rather than
>> the twenty-five best songs from two Rock
>sub-genres.
>
>
>
>
>
>---------------------------------
>Need Mail bonding?
>Go to the Yahoo! Mail Q&A for great tips from
>Yahoo! Answers
>users.=============================================
>==========================
>Detailed Audities-List information:
><http://audities.googlepages.com>
>To manage your Audities List settings or
>unsubscribe:
><www.smoe.org/cgi-bin/mj_wwwusr?func=lists-long-ful
>l&extra=audities>
For assistance, please contact
the smoe.org administrators.