Greg, I guess I'm safe. I own no khaki pants. Is seersucker acceptable on a bill with CVS? I've known Chris awhile but haven't seen him in about 3 years. Greg, I thinks I needs an explanation on this one. I guess I wasn't at the "khaki" show. Ray Paul Re: Date: Fri, 20 Jun 2003 12:45:41 -0500 From: "Sager, Greg" To: audities@smoe.org Subject: Re: Ray Paul lineup at IPO/L.A. Message-ID: > Date: Fri, 20 Jun 2003 10:02:55 -0400 > From: Ray Paul > To: audities@smoe.org > Subject: Re: Ray Paul lineup at IPO/L.A. > Message-ID: <3EF3140E.C22CF69C@earthlink.net> > > Anyway...I hope to see and meet many of you out in L.A. on Saturday, > July 19th. With The Tearaways ( I love that band!), Chris Von Sneidern, > Supremium, Quarter After, Magnaphonic, & Steve Barton also on the bill > that night, how can you go wrong. It should be a really fun night. See > you in L.A. > Ray, if you're going to share a bill with Chris Von Sneidern, I strongly urge you not to wear khaki pants that night. Just trust me on this one. Gregory Sager ------------------------------ Date: Fri, 20 Jun 2003 11:29:17 -0700 (PDT) From: Jocelyn Geboy To: audities@smoe.org Subject: Re: Ray Paul lineup at IPO/L.A. Message-ID: <20030620182917.49230.qmail@web11405.mail.yahoo.com> --- "Sager, Greg" wrote: > > Date: Fri, 20 Jun 2003 10:02:55 -0400 > > From: Ray Paul > > To: audities@smoe.org > > Subject: Re: Ray Paul lineup at IPO/L.A. > > Message-ID: <3EF3140E.C22CF69C@earthlink.net> > > > > Anyway...I hope to see and meet many of you out in > L.A. on Saturday, > > July 19th. With The Tearaways ( I love that > band!), Chris Von Sneidern, > > Supremium, Quarter After, Magnaphonic, & Steve > Barton also on the bill > > that night, how can you go wrong. It should be a > really fun night. See > > you in L.A. > > > Ray, if you're going to share a bill with Chris Von > Sneidern, I > strongly urge you not to wear khaki pants that > night. Just trust me on this > one. > > > Gregory Sager ~~~~~holy shit, greg. that got me going this afternoon. and, i've been meaning to do this forever, but have just been WAY too lazy... for greg sager, bob hutton, bob kelly, but ESPECIALLY my dear friend, chris von sneidern: from the textbook "speaking clearly: the basics of voice and articulation" --- p. 1: "an *accent* is the sound and sound structure of a speaker's first language carried over into a second language. it is the effect of the phonetic habits and the mode of utterance of a particular language on the speaker's new language." "a *dialect* is a variation of a spoken language. dialects may differ in articulation, pronunciation, stress, intonation, meaning and structure. simply, a dialect is a variation of the language of a particular speech community. dialects can be classified into geographic, socioeconomic, and ethnocultural categories." since ENGLISH is the language of people from britain, scotland, wales, america and ireland.....they all have different *dialects* of that language. e.g. bob hutton, bob kelly, and me. so, CVS....how much was that bet?? at least 25 bucks, i think.... love and smooches, jocelyn __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com ------------------------------ Date: Fri, 20 Jun 2003 14:04:20 EDT From: TweeKid@aol.com To: audities@smoe.org Subject: (The Real) Tuesday Weld comes to New York Message-ID: <6d.13be205b.2c24a6a4@aol.com> (The Real) Tuesday Weld comes to New York ====================================== I usually don't post stuff around here to hype bands and shows but I just wanted to send out this quick note about the United States live debut of (The Real) Tuesday Weld on Wednesday, June 25 at The Fez. They done records on Dreamy Records UK, Kindercore USA and Bambini in Japan. Below is a review of show in London a couple weeks back when they opened for Future Bible Heroes (I think it was that show that the review came from) that appeared in the Daily Telegraph in London. ====================================== Finger-Clicking Good - (The Real) Tuesday Weld at The Spitz, E1 (Sukhdev Sandhu) Now that even Radio 2 fills its schedules with Britpop and new wave, what future lies in store for those of us who think popular music died when noisy guitars became all the rage? Surely nothing beats a good tune by Al Bowlly or by Ambrose and His Orchestra? These days there's no Dennis Potter to champion them. Those beautiful songs, dripping with melodies, lavish in emotion, so sad and so sophisticated, are rarely heard today. Soon they may become as remote and historical as lieder music. Hurrah then for (The Real) Tuesday Weld, aka Stephen Coates. The Clerkenwell Kid, as he sometimes calls himself, has gained a large word-of-mouth following in France and America as well as here for his ability to cut-and-paste old 78rpm grooves and combine them with droll but affecting lyrics that explore the vagaries of the human heart. His songs are beautifully arranged, witty (titles include L'Amour et La Morte and Terminally Ambivalent Over You), and evocative of nothing so much as a happy coming together of Hutch, George Brassens and Neil Tennant. How right that on this, one of their rare live performances, Coates's band spurned denim and leather, and were dressed in immaculate suits and cuff-linked shirts. They looked like the kind of musicians Londoners in wartime would flock to in order to forget about the bombs raining down above them on Leicester Square. The songs, stripped clean of beats and reassembled for guitar, bass and clarinet (played superbly by Jacques Van Rhijn), were performed with the trust and rhythmic dexterity of a jazz quartet. On opener Anything But Love,the audience cooed with delight at the sight of the entire band on synchronised finger-clicks.Ý Coates himself is a hugely winning lead singer, shaking a tin of mint balls as percussion, waxing lyrical about Serge Gainsbourg, dedicating the song George to his uncle who was "somewhat to the right of Enoch Powell" ("First-class degree in navel-gazing/Funny views on food and Asians"). For all his lightness of touch and the wide variety of tunes, what was very clear that this was pop played for keeps, not for laughs or nostalgic fun. Songs such as The Ugly and the Beautiful and the wonderful closer Someday show him to be an anatomist of love easily the rival of, say, the better-known Stephen Merritt. If Alain de Botton were in a band, (The Real) Tuesday Weld would be it. As long as Coates keeps making records, the good old days needn't be in the past. ++++++++++++++++++++++++++++++++++++++++ ====================================== Be there when (The Real) Tuesday Weld make their United States debut in New York on Wednesday, June 25 at The Fez ====================================== Matthew Kaplan ------------------------------ Date: Fri, 20 Jun 2003 13:07:29 -0500 From: "Sager, Greg" To: audities@smoe.org Subject: Re: Controversial entry into the murderous songs chart Message-ID: > Date: Fri, 20 Jun 2003 14:31:55 +0100 > From: bob_hutton@standardlife.com > To: audities@smoe.org > Subject: Controversial entry into the murderous songs chart > Message-ID: > > > Late entry - > "Mull of Kintyre" by Wings - that song gives me the heeby-jeebies every > time I hear it. > ... which inevitably reminds me of an evening I spent in a beer tent at Oktoberfest in Munich ten years ago with a couple of my college friends. A pack of young Scotsmen wearing kilts and Oktoberfest t-shirts overheard our Yank accents and, in a fit of lager-soaked international bonhomie, surrounded our table and began serenading us with a woozy version of "American Pie". Not to be outdone, the three of us returned the favor by singing the first Scotland-derived pop song we could think of whose words we all knew, "Stuck In the Middle With You" by Stealers Wheel. This prompted an even woozier version of "California Girls" by our new drinking companions. One of my friends, an inveterate Beatles fanatic, then began our next turn in this strange contest by starting to sing "Mull of Kintyre". One of the Scotsmen made a sour face and said, "I hate that song." Genuinely puzzled, my friend asked, "How can you hate that song? It's about a place in Scotland, and it's got bagpipes in it." To which the Scotsman retorted, "Does that mean that all Americans fancy banjo versions of "Rocky Top"?" "Good point," said my friend. > > Gregory Sager ------------------------------ Date: Fri, 20 Jun 2003 11:20:00 -0700 From: beeman To: audities@smoe.org Subject: my stuff on ebay Message-ID: <3EF35050.8040808@istar.ca> Either people are being very crafty and waiting for the last minute or I don't know what, but a bunch of my CD's on Ebay are going to end in the next 4 to 7 hours with NO bids and that, folks, is just plain wrong. Most start at $4.00 w/ $1.00 post which is a pretty good bargain I'd say. Items such as Josh Rouse/Negro Problem/Posies/autographed Sarah McLachlan f'goodness sake. So please check this stuff out my ebay name is: Telephono regards, Judith ps. On Ebay I'm selling one of the Superconductor cd's 'hit songs for girls' which is super noisy, somewhat melodic and features Carl "new pornographers" Newman on lead yelping (it's actually a pretty good cd). I'll do cdr trades for equally rare/unusual/live music...write me. ------------------------------ Date: Fri, 20 Jun 2003 14:49:56 EDT From: DanAbnrml9@aol.com To: audities@smoe.org Subject: Pollen Message-ID: <3d.314fa465.2c24b154@aol.com> In a message dated 6/20/03 2:01:20 PM Eastern Daylight Time, audities-owner@smoe.org writes: > I think arguments can be > made for both sides, that the openness of the Information Age could be > seen either as facilitating greater cross-pollinization of genres or > stifling cross-pollinization Actually I think I experienced this firsthand myself. For awhile I think I had my head up my proverbial ass while I deeply explored pop, buying up the entire Nick Lowe catalog, for example, and perhaps granting unequal weight to the influence of our 'lil genre's forbears. Then I got a job in a record store, and saw how much the tastes of many of my peers--people who are very educated and passionate about music, too--differed from mine. The time since then (and this has been awhile, now...) has been spent largely exploring THEIR tastes. The fact is that most of them, though, have compartmentalized, too--into hip/hop, electronic music (I use broad terms because electro, house, trance, etc. are actually quite different genres from one another), jazz, a trillion different genres of indie rock (emo, punk, punk/pop, nu-garage/hipster stuff, power-pop, etc). Learning from people who took a different route is pretty fun, and its surprising how much of this stuff fits in nicely with what we love, too. But the fact is that if I hadn't made the leap to a more old-fashioned way of exploring music--via word of mouth with a random group of people who all are united in their love of "music"--then I would miss out on all that, even though I would certainly have kept exploring and loving new music on my own. Also, back to the whole "tastes are formed when you're younger" argument--I grew up on Billy Joel and Elton John. I don't listen to much of either now, and I find much of the catalogs of each to be somewhat embarrassing (each has some pretty classic LPs, but a ton of dreck, too). But I can hear their influence in tons of things (maybe even MOST things) that I love now. And also while we're "fessing up" about embarassing acts we do listen to/have listened to, here's mine: Roxette. I'm 22, so that would've made me 8 when they broke through, and 14 when they began to fade away stateside, but I've bought up all their albums over the years and still listen to them regularly. Their lyrics are frequently awful, but Per and Marie know how to put together immensely catchy pop singles, and they mingle two wildly disparate voices with two wildly disparate musical styles (smooth, slick, ballady pop and driving, arena-friendly hard rock) in ways not frequently seen. A guilty pleasure? Yes. But do I love them anyway? Oh yes. --Jason ------------------------------ End of audities-digest V1 #396 (18 msgs) **********