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| From | "John L. Micek" <jlmicek@comcast.net> |
| Subject | Re: 1991 |
| Date | Fri, 2 Mar 2007 16:27:04 -0500 |
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And, in an ironic twist, my favorite Michael Stipe song is his cover of
Robyn's "The Arms of Love."
john micek.
----- Original Message -----
From: <rob@splitsville.com>
To: <audities@smoe.org>; <audities@smoe.org>; <audities@smoe.org>
Sent: Friday, March 02, 2007 4:18 PM
Subject: RE: Re: 1991
> 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.
>>
>>
>>
>>
>>
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