Subject: Re: Wish list
Subject: Re: Missing sleeve scans
Subject: Re: stars on esp -- a query
Subject: Re: RHP Kill Your Idols
Subject: Dead Can Dance + Lisa Gerrard Boots
Subject: NY NJ are fans????
Subject: Re: Almost but not quite (Underground Lovers)
Subject: 4AD Newsflash!
Subject: Recommendations?
Subject: Lush article
Subject: Re: Dead Can Dance + Lisa Gerrard Boots
Subject: Re: Dead Can Dance + Lisa Gerrard Boots
Date: Sun, 12 May 1996 15:27:41 +0200
>Should anyone have an extra copy of the following or is willing to part
>with their's, please e-mail me:
>
>BAD 806 CD ULTRA VIVID SCENE: She Screamed CD single, 1988
>BAD 910 CD PALE SAINTS: Barging Into... CD single, 1989
>
Hi Jeff,
Here I am again ;^)
I do have ONE spare copy of each in my private collection.
By now you probably know they are very hard to get.
I won't sell these, but wanted to let you know I'm still
looking for a Lilliput. If you can find one, we probably can
make a deal.
Cheers,
Huite
Date: Sun, 12 May 1996 15:27:30 +0200
>Bauhaus
>4.A.D
>Cocteau Twins
>The Spangle Maker
Is the sleeve of the 10 CDs Box edition okay?
>Colourbox
>Colourbox (MAD315CD)
ok
>Colin Newman
>Provisionally Entitled The Singing Fish
Do you mean the CN1 free CD?.
>Scheer
>Sh=CAa
>Wish You Were Dead
Ok
>This Mortal Coil
>1983-1991 (box set)
ok
Don't wanna do double work, because I'm so busy already.
I can help you with the above scans.
Do you heva all scans of, sometimes rare, promo's?
Cheers,
Huite
Date: Sun, 12 May 1996 10:08:54 -0400
>>someone mentioned that ian masters sang a track on this.<<
Actually, if I'm not mistaken, I believe Messr. Masters is present only in
spirit through his having co-written some or one of the tracks.
I could be wrong though.
Roy
Date: Sun, 12 May 1996 14:16:47 -0400
this message really isn't in response to these two people, but for some
others that wrote considering the red house painters...
i still can't believe that people take things so seriously. i thought
"shock me" was a helluva good remake.i didn't even know that it was a
cover at first. i personally think if you can take a crappy song and make
it great than that is phenomenal. isn't it politically correct now and
quite fashionable to recycle? i mean i was raised listening to motown
hits. living in detroit, i will always love the motown muzik because those
were the first things to sink in my brain. i never chose those songs to
be influences on me because they were just there. when i first heard the
replacements and early rem i had made my decisions. i think it would be
great fun to do covers of those songs. i would have died to hear the
replacements do a martha reeves cover. mark came up listening to kiss,
bowie, mc5, and the "nuge." i think he transforms those influences very
well. i'd never buy a kiss or nuggent record, but i'd love
to have some fun listening to the red house painters cover one or two of
them. we are so much a slave to fashion, maybe i should be reading the NME
or rolling stone.
"shock me put on your kiss covers... shock me throw in some ted nuggent"
hey it even works. try it. all the syllables match. kool
*****************************************************************************
jim star vein@ http://www.science.wayne.edu/~jrenaud/
*****************************************************************************
> >Hell if Hollywood can plunder all the old tv shows
> >why can't RHP do a little interesting work with crappy
> >70's icons of pop? We can't all expect RHP do to
> >endless Iggy Pop, MC5, Dylan or Bowie. I would love to see
> >Lush personally do a Blondie song to show Elastica
> >how the whole 70's revival stuff should be done.
>
> In an interview on KCRW awhile back, Mark admitted that he doesn't listen to
> a lot of the new music that comes out. He continued to say that he was into
> older stuff like the Cars and *ahem* John Denver. He gushed to say that
> Denver's material was, "some really great stuff."
>
> The song covers that RHP and Mark decide to do don't surprise me too much. I
> speculate that in addition to the covers on the upcoming album on Island, we
> can also look forward with great confidence in a Christmas '96 release of
> 'RHP vs. the 70's preservation society'.
>
> ...and you thought they were booted for an extended guitar solo :)
>
> jason
>
> [email protected]
>
Date: Sun, 12 May 1996 11:27:00 PDT
I have these two boots for sale. Contact me for further information:
DEAD CAN DANCE - HIDDEN JEMS {B&F3}
[Unreleased Live Compilation] $13.00
1. Out of a Serpents Egg (Harp Instrumental)1990 from 'Gothic Spleens'
2. < > (Lisa/Brendan Song)1988-90 from 'Golden Age'
3. < > (Brendan Song)1988-90 from 'Golden Age'
4. < > (Brendan Song)1988-90 from 'Golden Age'
5. < > (Brendan Song)1988-90 from 'Golden Age'
6. < > (Lisa Solo)1988-90 from 'Golden Age'
7. < > (Lisa Solo)1988-90 from 'Golden Age'
8. Spleens (Brendan Song)1990 from 'Gothic Spleens'
9. Lilian Colours (Medieval Festive March, 1990 Version)1990 from 'Gothic
Spleens'
10.Jejum (Jig Instrumental)1990 from 'Gothic Spleens'
11.Rakim (1990 Version)1990 from 'Gothic Spleens'
12.Oman (1990 Version)1990 from 'Gothic Spleens'
13.At Last (Industrial/Percussion Instrumental)1990 from 'Meditabor'
14.Noctambulist (Brendan Solo w/Hurdy Gurdy & Flute)1990 from 'Meditabor'
15.Mourmer Rose (Brendan Song)1993 from 'Dark Christ-mas'
16.Forest of Souls (Lisa Song)1993 from 'Dark Christ-mas'
17.Karath (1993 Version)1993 from 'Dark Christmas'
18.< > (Lisa Solo)1993 from 'Live at the Berklee Performance Center'
19.Sailing the Seas (Unreleased)1993 from 'Exit to Eden'
20.Matawa (Video End Credits)1994 from 'Toward the Within'
LISA GERRARD - LIVE AT THE THEATRE OF LIVING ARTS {B&F4}
[PHILADELPHIA, 1995] $13.00
1. Gloradin
2. Celon
3. Tristan
4. Sanvean
5. < >
6. Ajhon
7. Swans
8. < >
9. < >
10.Gloradean (From 'Toward the Within' Video)
< > = Title Unknown
**B*L*I*S*S*&*F*E*T*I*S*H**
***R*E*C*O*R*D*I*N*G*S***
[([email protected])]
<-3950-CHIPPEWA-CT.-SAN-DIEGO->
<-CA-92117->
Date: Sun, 12 May 1996 16:23:25 -0400
Hello,
OK. I JUST signed on to this list yesterday and am new to this. I was
wondering...are there ANY people on this list in northern NJ, NYC, or lower
NY state?? I'm really curious because I guess you could say that I'm a
minority among my firends music wise. I would love to know that I'm NOT
alone here. I'm a 20m just looking for some sort of correspondance. Thanks
for reading this. Bye
Date: Mon, 13 May 1996 08:22:26 +1000
G'day,
> For the first time in quite a while a sort of thislisty band (Underground
> Lovers) arrived in Canberra. I almost got to see them.
I'm sorry to hear about that... the Undies are truly a wonderful band.
They actually did an in-store appearance at HMV in Brisbane on Saturday
(well, just the singer & guitarist, anyway). It was way cool, and I
chatted to Vincent & Glen after the show, and got them to sign my
"Rushall Station" CD.
I asked Vincent if "Rushall Station" (the new CD, out on the Underground
Lover's own label Mainstream) has been released overseas yet...but he
said no. I told him that I have been attempting to spread the good word
about the band via this mailing list, to which he replied "cool".
So...hopefully soon, the new Underground Lovers CD "Rushall Station" may
be released overseas. It is very sparse & slow, and a logical extension
from their previous release, "Dream It Down". I cannot recommend either
enough (BTW, "Dream It Down" was consistently the critic's fave
Australian release of 1994 - so if you see it, listen to it and be
impressed).
Cheers,
Geoff.
Blind") which was done by none other than Ivo himself. Are there any
other Ivo remixes about?
Date: Sun, 12 May 1996 18:07:42 -0400
Hello all.
These are very substantiated reports from very pertinent and involved sources
(this would inherently make them reliable sources as well, wouldn't it?).
Ah....MYSTERY!!!!!
At any rate, here's the scoops. Take them any way you like.
First, apparently Ivo has rejected the demos for the new Liqourice album,
tentatively scheduled for release later this year. As a result, the band is
shopping the demos to other labels.
IT IS MY ASSUMPTION ONLY THAT, as Jenny Toomey runs her own label Simple
Machines, the release will appear on that label in some form, but, according
to my sources, the band is, indeed, looking for another label to release the
record.
Also, Mark Robinson is going to be releasing the next full-length release
from Air Miami solely on his TeenBeat label. Not to be confused with an
upcoming ep release from the band on TeenBeat, this is indeed, according to
my sources, the next full-length.
And for the big surprise...
It has also been suggested by these sources that the offices for 4AD US may
soon be closing up shop entirely. Reasons for this were not given, this is
all the information I have.
This is all I've heard and I haven't heards no more. At the risk of sounding
pathetically melodramatic (although it may be too late for that), I cannot
divulge my sources.
Perhaps more enlightened parties on the list may care to shed a little more
light on these stories.
Oh well...
Roy
Date: Sun, 12 May 1996 20:02:28 -0400
I will be in London in about a week, and, having never been there before,
was wondering if anybody could recommend any good record stores...
obviously, I'm looking for thislistie stuff - not rare imported turkish
chant and frenetic jungle boogies.
Date: Sun, 12 May 1996 20:00:23 -0400
>From the LA Times Web Site
POP MUSIC
Refiguring the Lush Life
In its seven mostly underground years, the group that put out the dense
'Spooky' has kept emotions in check. With the new album 'Lovelife,' all
vitriol breaks loose.
By Lorraine Ali
For most of its seven-year career, Lush has been as intriguingly distant
as Pluto, with a core of dedicated fans orbiting like curious probes.
One of England's enigmatic "dream pop" bands, the quartet buried its
tunes and wafting vocals under layers of guitar reverb, signed with the
esoteric 4AD record label and put out cryptically titled records such as
"Spooky" and "Scar." It didn't help, from an accessibility standpoint, that
the musicians looked so cool as to be unapproachable.
But with its third album, "Lovelife," one of the year's hardest-hitting
and best pop albums, Lush drops its mysterious shroud and emerges as a strong
and feisty personality. Singer Miki Berenyi now sings such pointed lyrics as
"I can't believe I fell for such a loser like you" (from "Ciao!," in which
estranged lovers bat insults back and forth), and critiques the singles scene
in "Ladykillers" ("When it comes to guys like you/I know the score/I've heard
it all before"). Berenyi's voice is confident, the melodies are ultra-sassy,
the ballads graceful.
The response to Lush's new sound is also more clear-cut: "Lovelife" is
the band's most successful record. The collection has been at or near the top
of college and alternative-rock radio playlists since it was released in
March, and the video for "Ladykillers" is receiving more exposure than all
the band's past
videos combined. Lush will headline a sold-out show at the Palace on Friday.
"This album's more satisfied, more confrontational and confident," says
singer-guitarist Berenyi, 29, sitting poolside on the roof of her West
Hollywood hotel. Wearing a metallic black dress, sparkling sweater and black
tights with numerous runs, she looks incongruous in this cliched L.A.
setting, her fire-
engine red hair clashing with the patio's palms and her powdered, pale skin
the antithesis of "Baywatch" healthy.
"A lot of people think this album is about one guy, and it's not," says
Berenyi, who co-writes all of Lush's material with her childhood friend Emma
Anderson, who also sings and plays guitar.
"The song 'Ladykillers' came from three specific incidents that
happened in one week, like snapshots, and 'Ciao!' was an imaginary situation.
I actually used Nancy Sinatra and Lee Hazlewood's duet 'Jackson' as a
starting point for that. They bicker all through the song, and I thought,
'Two people arguing--I can do that.' "
At the time of Lush's appearance on the 1992 Lollapalooza tour, the
band offered the washes of textural noise and ghostly, sheer, often
indecipherable vocals that marked its debut album, "Spooky."
"We never had the vocals up front or had the effects on the guitars
turned down," drummer Chris Aclund, who's joined Berenyi at a patio table,
says of those early days. "But we thought if we can play Lollapalooza at 2 in
the afternoon to a load of bored Pearl Jam fans, we can do anything."
Even though Lush's second album, 1994's "Split," offered some sharper
edges, the band was beginning to feel trapped by its sound, which Berenyi
says was given the band by the producer of "Spooky," the Cocteau Twins' Robin
Guthrie.
"From then on it was quite difficult to shake," she says. "Even people
that worked with us on different projects after that still had 'Spooky' in
mind. It was like, 'Well, they're quite a melodic, gentle,
soundscape type of band.' It was very frustrating."
But despite its difficulty homing in on its own sound, Lush became a
respected part of the underground world.
"We had very little self-awareness," Berenyi says. "We were always a
bit bemused with the amount of reverence that some people would describe our
music with. We still thought we were treading water a bit. When I see bands
come out now, they're a hundred times more professional than we were. We were
like, 'We've got five songs now. I guess we can play.' "
Berenyi grew up in the London suburb of Willesden Green with her
Hungarian dad, a freelance sports journalist, and her Japanese mom, a
housewife and part-time actress. Her parents split when she was 4 and she
lived with her mother, who listened incessantly to the Kinks, Roxy Music and
Carly Simon.
Berenyi moved in with her London-based father at age 11 when her mother
moved to Los Angeles, and the youngster soon met Anderson at the girls'
school both attended. They immediately bonded.
The two were in their late teens when they started a garage band called
the Bugg. The band became Lush in 1989, when its sound began to form and
interest trickled in from the outside world. Aclund, a
college schoolmate, joined before the band signed with 4AD in 1989. After a
few EPs, former rock journalist Philip King came aboard as bassist, and the
band released "Spooky" to critical acclaim in 1992.
When "Split" came out two years later there was less fanfare, but it
marked a key transition.
"That album was way more serious than other things we'd done," Berenyi
says. "A lot of the songs were quiet, inward-looking, and about headier
subjects. But that older stuff was not doe-eyed. There was a certain amount
of sarcasm there. There's always been an element of humor in our music, but
again, the lyrics weren't as important then as the sonic experience."
The band's video for "Ladykillers" capitalizes on that sense of humor,
with its quick, snapshot images of Berenyi rolling her eyes and looking
extremely bored as she's approached by a number of sleazy
characters in a bar.
Berenyi used some of her frustration over being misinterpreted as arty
and pretentious to propel the more fiery feel of the new album. "It just
suddenly seemed easier to write about things that pissed me off," she says.
"It's weird, 'cause not all the songs I wrote were like that, but it's
the vitriolic ones that made it onto the album. I'd love to be able to write
a really good love song. A happy song like 'It's Raining Men' by the
Weather Girls. It's so happy! . . . I try and write a happy song and it just
sounds like a piece of inane [expletive]."
Berenyi pauses. "Can you tell we're not very good at selling
ourselves?" She laughs. "I just feel like an idiot getting that pious-faced
about music. Yes, it's important, but it's not the be-all and end-all."
* Lush plays Friday at the Palace, 1735 N. Vine St., 7:30 p.m. Sold
out. (213) 462-3000.
Copyright Los Angeles Times