Fetless - R.E.M. - 2nd Strike At The Bowl (CD)

Download Fetless - R.E.M. - 2nd Strike At The Bowl (CD)

Label: Cry For Love - CFL 1010/20 • Format: 2x, CD Unofficial Release • Genre: Rock, Pop • Style: Alternative Rock

Now, I'm hoping that unlike that slacker, Bill, you will take up this most pleasant assignment. The pennies can be in the mail in minutes, just say the word.

Here is the U. Subject: Little Liza Jane Bil, I get that it was a mistake rather than a nefarious plot , but I was wondering about the source for the credits in the discography here supplied presumably with the release of AMH. I suppose it's a chicken or the egg type of thing. Did they get it right before getting it wrong or get it wrong before getting it right.

Eric Clapton's relationship with Beano's always been a bit of a puzzle. I guess he must've sworn off the stuff whenever he was planning to cut an album. Todd: Rob Bowman's discussion of "Go Go Liza Jane" in his article-length notes to AMH makes it clear that "Go Go Liza Jane" was well recognised as nothing more than a rearrangement of a folk song, despite the mistaken attribution in the credits.

The tradition in the US grew out of the military and most of the changes that have been made seem to add to the military flavour of the spectacle. Here is a short list of the changes that have been made to marching bands over the last years, see if you notice any one institution that is being heavily borrowed from.

Now, remember these are additions to what was spawned by the military. The fight song. Color guards They've adopted drum corps styled marching. Flag, rifle and sabre units have been added to the modern marching bands Those are the changes listed by Wiki to US marching bands for the last century.

Wiki seems to be the only one interested in the history of marching bands though I could have read the individual histories of the bands at different schools. As spellbinding as that promises to be I took a pass. Another point that jumped out was the statement that outside of the police and military, marching bands are most closely associated with football. I think that was my point in the original post on this subject.

To be fair I'll list the non military changes that have been made since marching bands "split" with from their military tradition. They now use some non military formations and due to a lack of interest in marching bands by active military personnel the bands are made up of non military personnel.

I know, I know, it goes without saying I'll be repeating this course. Let me just say I'm looking forward to having you as an instructor again next semester. Were they updated after the fact, or did they occur independent of the book printing.

Just curiosity. However the pom-pom girls might be popular with some of the fellows in both organizations. Hey Bill: I thought it was terrific - ok, the plot was a bit Have you read'Bending the Willow' about Brett's approach to Holmes? It's very interesting ONe thing I noticed is that the credits call the organisation featured 'The Golden Dawn' though the script doesn't seem to.. The Golden Dawn based some of its philosophy on Kabbalah. Did Guy Ritchie make a point about his ex-wife?

Enquiring minds Jude Law is one of the best Watsons. Edward Hardwicke and Edward Burke are the best What I liked about it is that the number of tributes and homages - the various quotes, the relationships with the police both taunting from Holmes and frustratingly respectful from the police. Downey apparently consulted Les Klinger one of the top world experts - and his performance shows that. BEG - same email addy - I remain as obscure as ever! I'm really sorry to hear that. Going out to sea when it's stormy was always terrible for me, because I never was much of a mariner.

I remember thinking that not even a note from my mother would do any good. When things got really bleak I'd think about my home being on the other side of where we were going. Gonna hit the road one last time. All that money, all that money. No more runnin, no more runnin. I can't wait to see the Old Man's face When I win the race.

Subject: Back to the heavy Seas I got to get back out and deliver another load of "Iron". Just wanted to thank many of you for the prompt responses for the CD. Glad many of you are enjoying it. It's been doing well locally, and on my brothers website as well, so I was rather surprised by the response.

Every one keep well You've mentioned watching the U of Alabama military styled marching band and I'm guessing you actually attended that university and weren't just enticed into the stadium from the rural countryside by the musical madness inside. If you've had some college experience you know the problem I'm facing; To go for the top mark by giving the instructor what he or she wants to hear or let reality dictate the facts presented in the report.

What to do , what to do? I'm preparing my rough draft with this in mind. My absolute favourite song. Kate McGarrigle on piano and her sis Anna who is accompanying her. Thank you for the song I would listen to when my heart was broken. I knew then I wasn't alone. Anyway, today again This song is bringing up some sad feelings. Some say a heart is just like a wheel When you bend it, you can't mend it And my love for you is like a sinking ship And my heart is like that ship out in mid ocean They say that death is a tragedy It comes once and it's over But my only wish is for that deep dark abyss 'Cause what's the use of living with no true lover And it's only love, and it's only love That can wreck a human being and turn him inside out That can wreck a human being and turn him inside out When harm is done no love can be won I know this happens frequently What I can't understand Oh please God hold my hand Is why it should have happened to me And it's only love and it's only love And it's only love and it's only love Only love, only love Only love, only love dlew Did ya change your email addy?

Are you now getting too well known in the academic field? I would think they are different shows. Further, the bootleg show released previously says it's from Dec. Anyone know? I was not aware of the bootleg. The version I had heard of but have not heard is the "official" release see link.

The contents of the two are quite different, with the bootleg containing a lot more songs than the new disk. Have y'all seen Jimmy Fallon doing an impersonation of Neil Young?

It's fantastic. Here's a link of him doing a cover of "Pants on the Ground" from American Idol the other night. Bill, don't try and send Dlew to see this wretched super hero movie.

Don't go dlew, not if you like The Sherlock Holmes stories. Bill, I guess you'll be going back for the sequel? One of his show pieces on the famous "Beano" album was a blazing version of Freddie King's "Hideaway". I've recently been enjoying Audio Fidelity's new gold CD reissue of that album, which features the mono version that presents Clapton's guitar more up-front in the mix.

A few minor continuity problems but very enjoyable all in all. Deb, I'll have my report on your virtual desk as soon as my computer can download that movie, so we'll say , probably late Thanks for the marching orders.

Clapton was at Saratoga Ampitheatre, a very nice place for shows. They said it was the first time they'd ever played together. I saw Freddie King in a little club outside of Syracuse - it was the second and last time I saw him. Both shows were great, but I recall the latter show as one of my best concerts BTW, check out the St. Aug Marching Hundred in the movie I just referenced or any of the bands in the movie Drumline and get back to me.

Deb, more marching band talk, eh. You and the other pom pom girls never addressed my "majorettes" question did I make it a question? It sure sounds like a way to let the girls into the military ranks of those marching bands through the back door to me. Now, like in the fighting arm of the military, they're allowed to blow their own horns.

I remember singing it as a kid in those classes, but it was one of those songs that everyone just knew at the time. The link above is to a Smithsonian Folkways recording of banjo tunes with Oren Jenkins's instrumental version of the song. It's a fixture of the New Orleans brass band repertoire, too.

Augustine Marching Hundred is shown playing. On trad. It has two long versions of Scarborough Fair on it, restoring the song to Martin Carthy. With "Trad. David Bowie "wrote" his version of Liza Jane, after all. Subject: Condolences John W. Charlie, Sorry to hear about the loss of your job. It just takes time. Best of luck to you. Things move pretty quickly down here.

Hey Bill, I just double-checked. In my copy of AMH it just lists Robbie as composer. Maybe I got any early copy of AMH that was later amended, or maybe it just a typo. Subject: Liza Jane Thanks David. Is that the way that it's typically done? If I've learned nothing else here over the years, I've heard the mantra "arranging is not songwriting" many many times.

In the case of traditional songs, vs. If Robbie wrote it, then they should be able to perform it however they want. Is there another Liza Jane folk song that was used as "inspiration" for Robbie's song? BEG: Thanks for the instruction. We'll see in a minute if it works.

I'm not impressed by the thinking of Stephen Pate, a thought of whose you posted. Angelina - I'll try and dig out that article for you again - you might need to re email me so I can have your address - are you on Facebook? JTull - look for me there, too, if you like If you go to the 'Shape I'm In' article, my email is there Hey Carmen Here it is again Robbie can be such an elegant player. Love it! I think the same year or the year before he was at Maple Leaf Gardens.

It was the first time I saw him perform with Yvonne Elliman. I was reading one review at the time when she was also trying to keep up with him Said, "You can make it in your disguise, Just never show the fear that's in your eyes.

Some people at the time thought that he wasn't able to play and that he had some of his music precorded that night?! Bill M It came back to me one day. I guess you'd need to know what portion of the white population left those areas and what portion has remained. I think his main conclusion was more based on te relationship between the population and the gov't. I haven't read the book, just hear the interview. Bill, I can't listen to Liza anymore. It's starting to remind me of Jimmy Cracked Corn on steroids.

It's really hard to compare it to any of the later and much better songs. I'm listening to Cripple Creek as I type. In Liza they only sing one thing together, Go Liza Jane, over and over. It's really hard to compare that kind of harmony singing with the other songs where they sing whole verses in harmony with different voices coming and going slipping slightly out of time with each other. I'm listening to Jemima and it's almost like you have two guys singing two versions of the same song coming together at times then drifting apart.

Listen to Rocking Chair then Liza and you won't need anymore from me to see what I'm trying to describe. RR performed the Solo and Paul just turned around and watched. Bruce at one point also walks over and just watches RR play. To tell the truth I don't remember any of his songs but I vaguely remember a TV show he hosted that gave him a certain cachet with an older generation.

Anyone else remember the show? Much of my misspent youth occurred in a drinking establishment nicknamed 'The Pig', after that show. The Pig burnt to the ground one Saturday morning late summer c The band that had been playing there lost all their equipment. The proprietor, Melv S. Melv died just before Christmas. If there were a publican's Hall of Fame he'd be my man. It hadn't occurred to me until I read it back, but that Birmingham, England gig was only three months before The Last Waltz.

He's lucky nobody told Muddy! Around the same time, David Bowie expressed support for fascism. Bowie later retracted his coke-fuelled remarks and apologized. Allegedly, Eric never has. He was in a seriously bad state from alcohol and drugs at the time, and he has cleaned up. So on the Civil War, given the degree of immigration and population movement, years is one hell of a long time. Subject: Clapton's worst gig?? If anything, Clapton's and everybody else's who played on it was the Rainbow Concert.

He was literally carried off the stage after playing with The Band for one song and the audience wasn't kind during his wretched set. For the record, The Band and Freddie King both did good sets and were well recieved Later on he would mine his own heritage less successfully. This show is interesting in much the same way as a gruesome car accident beside the highway - you don't really want to look, but there's a certain sick curiosity that makes you!

Certainly only a recording for diehard fans. An essential part of any EC collection - if only to see how bad it can get!

Subject: Rhythm Jimmy Description from Jan's site. The quality is good. David, reading your title below for a moment my brain registered that I was actually on Facebook! Noticed that they have a piano, organ, guitar bass and drums, and three vocalists What are the contents? How is the sound quality? Bill I should pretend I know which of the two lines you're referring to but I'm afraid I'll choose the wrong one.

In his book he graphs murder rates for different areas of the US and Canada. His work shows that more than years after the war the areas of the US with the highest murder rates are generally the areas where there was a lot of brother against brother fighting in the war, an example of a large part of the population being unhappy with the gov't I guess. I think this is an extension of his theory, that he backed with stats, that the murder rate is lowest when people have confidence in and support their gov't.

Seems more centrist gov'ts like Clinton's and Eisenhower's brought a substantial drop in the murder rate while Nixon's caused it to soar. He also uses his stats to explain the difference between the murder rate in the US vs Canada which he traces back to the way each parted from England.

Canada's murder capital is Winnipeg. The murder rate is 3 per , This compares with the US leader, New Orleans at 36 per , Was there a lot of brother on brother fighting down there? It sure shines a different light on killings in parts of the world where civil wars have been a part of daily life for decades, if he is right. For all I know that could be a song, too. Lars, help, I need somebody, help, not just anybody, help, you know I need someone, helllllp.

When I was younger, so much younger than today, I never needed anybody's help in any way. But now these days are gone, I'm not so self assured, now I find I've changed my mind I've opened up the door. Help me if you can I'm feeling down, and I sure appreciate you being round, help me get my feet back on the ground.

So won't you please, please, help me, help me, help meeee oooooh? Still waiting for you to link to some music that I find less than great. A revamp of Otis Rush's "Homework" was the best record released by Ritchie Knight and the Midkights, and certainly the one with the firiest Robbie-ish lead guitar work by George Semkiw, later a noted recording engineer. Cooper said he watched The Last Waltz several times without the sound obviously can't follow instructions so the music wouldn't distract him.

He wanted to see how to film a concert and make it come alive. He said he wanted to see how Marty moved the cameras to give you that being at the concert experience. I believe it'll be hearable over the internet as well as the airwaves. Coincidentally, one of the editorials in today's "Globe and Mail" was about on her recent passing. Steve: Don't forget to check out "Rainmaker" when you pull out disc 1 to review "Liza Jane" for me. Also, the only marching band concert I've ever attended was a Shriners' event that an aunt and uncle took me to in the late '60s.

It was actually some sort of battle of the bands, with three from the US and one from Canada. Like everyone else in the audience I was disappointed when they didn't win, despite being the liveliest and playing and doing at least a bit of "The Twist". The economics are interesting. It's a very good twelve track live CD for the cost of a newspaper. I still don't believe that Hofner violin bass is an undoctored original either. I suppose it promotes the new NYC set. John W. We remember that he was a gentleman and a down to earth guy.

That was the night you gave us a ride back to Queens after we had missed the last bus out. A great night of music and we're surely glad we met you and Chris. That's what brothers are for!

May Chris rest in peace. Take care, Eddie and Kevin. So sad to hear about Bobby's death. I've been listening to his stuff all weekend. I can't help but smile though, when I realize somewhere out there, Richard, Butter, Danko, and Bobby are partying and playin' music and getting into all kinds of trouble. Charlie, sorry hear about your job, sometimes you have to go through that to reach a better place, like my dad once did at age 56, I know you will too.

To answer a question that got truncated by fireworks, or squibs, the pronunciation of louie Louie, taken from the CD compilation "Love that Louie". I don't know why, but I feel somewhat better about things when I think about Robert E Lee forsaking the glorification of war. To me, Robert E Lee was nearly perfect. That's quite an oxymoron. I'd also like to thank Jan H for providing this GB a place in cyberspace.

No matter the occasional grousing, this is a small community that has value. RE Lee made no bones about his displeasure with the military after the Civil War which is what he called it. He purposely marched out of step with the cadets from VMI when they had joint exercises with the his students from Washington College.

He also wrote any number of times that he wished he had pursued teaching as a career when he was younger, saying it was better to teach youth that to militarize them. He encouraged the South to forget about the war--that God's will had been done--and to become good citizens again and respect the government.

He purposely avoided any talk of resurrecting the Confederacy and went way out of his way to welcome Northern dignitaries to White Sulpher Springs, a vacation spot he favored.

He certainly never wore any military trappings and refused to take part in any Confederate reunions. Lee was in fact the very antithesis of modern anti-government "patriots" who wave the rebel flag and glorify the Confederacy. Lee would have regarded them as terribly misled. Lars - I recall that reference to General Lee intentionally being out of step, following the War of Nothern Aggression, from the Ken Burns documentary, in a late chapter. Sorry to hear about your brother.

May his memory be eternal. Steve is feeling blue about turning 60 in a couple of weeks. He needs to get over it and be thankful. I think it was dlew who mentioned this long article on The Band a looooong time ago in one of the GB's Anyway, I forgot I saved it when it was accessed freely. Now you have to pay for the remaining pages. You could send the rest of the article to Jan H dlew Otherwise I could 'cause it's too long to post the 13 pages here.

It's nice that they consider themselves a aprt of the community. As a small, inconsequential part, I'm sending as many good vibes I can your way Natives Sing It Their Way Robbie's "Ghost Dance" in comparison to others who have written Native-themed songs. Crazy Horse and Sitting Bull as mystics and apostles, not just warriors.

A more thorough listing of Native people. Not just the Sioux and Apache fought the US. In "Ghost Dance," prayer and love will win the day. This reflects the deep spiritual grounding of traditional Native cultures. Though Indian tribes fought with each other, harmony rather than supremacy was their overriding goal. This isn't an elegy of a defeated people, but rather a prediction of times to come. Good stuff. The irritating thing is reading them and going "Oh!

Let's have a best duets Top Ten next month. Subject: Top 30 Singles No particular order, phew! We ask customers to retain your tickets and await further details of a postponed date. Further information will be escalated from the point of sale. I was lucky in that a guy stopped me on my way into the car park and told me before I paid to park, then I drove round and parked in the taxis only bit to hear the loudspeaker announcements.

Check if you have tickets this week. Beatles Abbey Road Side 2 Medley Beatles - Hey Bulldog Ten finest The Band songs are : 1. AD, 3. IMND, 4. TW, 5. ISBR, 6. RC, 7. WP, 8. UOCC, 9. KH, The Weight 3. Ain't No More Cane 5. Unfaithful Servant 7. Rockin' Chair 8. Mystery Train TLW 9. Stage Fright TLW Will need some time to compile my Top 30 plus am considering a Top 10, in time for Canuckistani Day on Friday.

The Weight, 3. It Makes No Difference, 4. Twilight, 5. Ophelia, 6. UOCC, 7. Rockn Chair, 8. Acadian Driftwood, Christmas Must be Tonight. As it happens Bri Sz, I wasn't consciously restricting it to Band composed songs but I guess I'd sort of implied it by my own list. Your post moves the goalposts a bit which i'm happy with and Don't do it and Blind Willie McTell certainly come into consideration for my own As for the top 30 - hmmm reading some of PV's terrific selections has given me a bit of a jolt.

Also no Little feat. Not good. In fact very very bad. In fact this may well have to be extended to a top Caledonia Mission 3. The Weight 4. Across the Great Divide 6. Whispering Pines 7. Unfaithful Servant 8. King Harvest 9. It Makes No Difference Subject: Band Top 10 1. The Weight 2. When You Awake 3. Acadian Driftwood 4. Bessie Smith 5.

It Makes No Difference 6. King Harvest 7. Whispering Pines 8. Get Up Jake 9. Band songs: 1. King Harvest 3. Rockin Chair 4. Daniel and the Sacred Harp 5. Acadian Drifwood 6. The Weight 7. Stage Fright 8. The Rumor 9. Unfaithful Servant No I was not in Island! Subject: Top Ten Great idea Al. Although my first attempt at the 10 finest Band songs came in as a list of Subject: Woodstock Mountain David P, your bringing back some happy memories for me today.

They use to come down and play The Chance in Poughkeepsie. Amazing music. Al, happy to contribute. Here's my list of favorite Band songs. Hope to get some time to work on the list of thirty. We Can Talk 2. Across the Great Divide 3. Tears of Rage 4. King Harvest 5. Sleeping 6. Look Out Cleveland 7. Time To Kill 8. All La Glory 9. Up On Cripple Creek He sang background vocals on John Herald's "Woodstock Mountains". Does The Band include solo?

I assume not. Alan: here's my 10 finest the 30 favourite will come later We shall see. My own overriding criterion was - can I listen to the song on a repeat loop over and over? Clearly the choice is so wide ranging it is an impossible task to get it "right" or to bring to mind every favourite past and present. The fact is the overall scoring is going to be a nightmare in any case but for me it will be worth it to see the shared delights and passions. Incidentally, the list is pitched at 30 because I personally found it impossible to get it to less and even then I was struggling badly with what I was leaving out.

I have to say I was surprised at what a soppy sentimental sap my own list actually shows me to be. But fuck it. Anyroad, so mister feckin nosey parker here would be delighted and honoured to know what drives the musical emotion motors of each and every GBer and whilst the album selections sort of achieved that goal I think individual song choices are kind of a bit more insightful and revealing.

Even SM!!! Subject: Arthur Mullard And the classic appearance on Hancock as the copper with the big hat John Le Mesurier as judge too, Hugh Lloyd Subject: Two Languages - Jaico in mute mode [sorry Peter V for the sharp youtube harmonic transition of tunes from different worlds, but it took me a time to prepare these two posts] The Spanish spoken dialect?

They don't make cover versions like that anymore. I wearily picked up a T-shirt this morning and realized after I'd put it on that it was a Paul Simon one, and I'm going tonight. Should I change first? I've never worn a fan T-shirt to a show before.

We only got about 30 minutes in the 90 minute programme and as predicted far too much of presenters talking about themselves. It was a bit predictable, but the band is as ever sublime and he was in good voice. References I never expected to see in this Guestbook - the mention of Arthur Mullard.

Everything comes around. Years ago we had a report of a meeting at a garage sale between a guest booker who? We're seeing Paul Simon in Birmingham on Thursday. The Guardian review of his Glastonbury set was not generous - but I imagine that says more about the time, the place and the audience than Paul Simon.

Subject: PV "When the Eagle Flies" Peter, I agree - why they can't just slap an illuminated box-section sign over it beats me - but was saying that how appropriate it happened to a fast food chain with ideas of world domination very much like the NSDAP.

There is a block of flats in Berchtesgaden that still has the whole cast eagle, albeit with the Swastika removed and a street number "roundel" instead. Given that the spread eagle was a part of German identity long before the Nazis and still is long after, that seems a dignified and appropriate response. The "ghostly" remains on the BK building do seem more chilling as a reminder of the whole identity.

With the swastika wilfully supplanted in the Berchtesgaden flats, the decent thing is done. As a kid, I was a keen ornithologist and still do take the opportunity when overseas to take any recommended local rambles that will provide sightings of bird life that we do not see in the UK.

See link It's opposite the old rally grounds nearly and they've had a devil of a job getting the old Reich livery off the end of the building. The eagle's proud wings are etched into the blockwork for good. But then again, does a huge corporate all-conquering chain like BK really need to change it, or is it strangely appropriate? Ha ha ha! Very sorry to hear the news. We corresponded in the early days of the GB, and Andy was someone who had a wealth of Band stories.

Peter V : the cumulative sum of worthy things i have learned from you over the years, not music only, gives me a bad feeling of being indebted the good feeling is that henceforth i wont be worried nor shocked at the sight of a swastika, or just a little bit.

Of course the Spanish sense of humour, for those who make the effort to feel it, can explain many intriguing facts. One of the main supporting characters is a police seargent, and much to my initial surprise and delight, as thought where have i seen this name before, none other then our beloved Garth Hudson.

Sorry to hear. Tried a few but got them the wrong way round. Had sex with a tree and chainsawed the neighbour. Still it's all grist to the mill I guess. Be well advised today by a walk in the park, visit a Beatle museum, chainsaw a tree, have sex with your fav. There sure is a mine of treasures in there. I estimate I should be able to get through it by Christmas His precision tinkling is pivotal to so many major songs. BILL M. I was a late comer to the amazing mister Seger.

The double live album Nine Tonight in '81 was my baptism and I just devoured every track. Absolutely loved it to bits. So much so that when I came to backtrack to the Live Bullet album it has never come near to emulating Nine Tonight for me in spite of it being acclaimed by all and sundry as his finest ever moment.

Same goes for his earlier studio albums. Don't get me wrong I do really like his earlier stuff and nobody does a nuts and bolts rocker like Bob. Nobody - well maybe John Fogerty - but it's from Beautiful Loser onwards that he really appeals to my sensibilites.

I also love the way he's gone on to develop the use the girl backing singers to add to the overall sound. Probably better than anyone else i've ever heard. Love it when they're chiming in. My own ultimate Bob track amongst a host of amazing ones is Shinin' Brightly. For me it hits every spot I'd ever want from one track.

Desert island material. I love your Caledonian loyalties in your album selections. Too feckin right. I actually think you could throw a few more in to the fray - Teenage Fanclub's "Songs from Northern britain" and "Grand prix" were not that far off my top And what about Roddy Frame and Deacon Blue? Truly great pop music all of it. Lars, let the next war be an arm wrestling contest by those who are in charge, may the best one win. Our beloved www can cause severe cases of information overload.

To remain within the framework above, I want to leave it by this for today. Sorry to hear the news. Fred, there's lots of Japanese tourists in Liverpool Got to say I'm yet to see one with a swastika tattoo on their temple But as it happens I'm going down the Beatles Museum later where they all tend to gather.

So I'll report back if I do see one. The Code was introduced in the s, so a lot of creativity went into discussing things Back from a gig; an open air party; some classic rock and soul covers with a few mates.

Got the old Hammond A back from a long overdue refurb. First gig with it in about three years. Had a wonderful time; every little burble or nuance hitting the open air and shimmering.

There is nothing like the real thing!!! For a gender awareness test, I would recommend the Unthank sisters, Eliza Carthy and Nigella Lawson clog dancing and having a handbag fight. Subject: Shangri-La for sale Any takers? The web page includes a glimpse inside. Subject: Mid-summer's eve celebration tonight over in the eastern hemisphere To all of you Scandanavians celebrating the mid summer's eve tonight, go easy on the aquavit Norbert- I have a nose that used to be longer, but it was broken at least twice, so it's shorter and crooked now.

My feet were bigger in my youth. Maybe that gang of stonemasons got punched in the nose too often and it affected their art.

And maybe their feet got shorter from running away from wars. That's what happened to me. There's talk of covering "Acadian Driftwood. Subject: Paul Simon Peter:Will not spoil the show for you by saying too much, but you'll really enjoy a multi instrumentalist band with great playing and Paul singing well. As a lighting man, I think you'll appreciate the lighting and backdrops which enhance the show.

Brilliant evening. Bob W:Thanks. Was on the east coast today in between St Andrews and Carnoustie. In line with the Monty Python townswomens' guild doing a mud-bath version of Pearl Harbour, my vote goes for the Unthank sisters, Eliza Carthy and Nigella Lawson recreating the Civil War with clog dancing and a handbag fight.

Nowhere did you say he could use extra sheets if he felt it necessary. This Danish stonemason gang, like all other sculpture groups had their own style. They made beautiful sculptures but the sculpture all had long noses and short feet, this was their handwriting. If you follow that trail which still can be done nowadays you'll end up in Naumberg. What happened there is lost over the years, but something must have happened there. In the 13th cent. But this time leaving a trail of short nose, long feet sculpture.

There have been numerous speculations of why the Danish sculptures changed in Naumberg from the long nose to the short nose and also the radical feed change, but all they can do is guess.

Anyway could you give me please your shoe size and the length of your nose? If the myth is correct you should have long feet and a short nose.

All I want a list! Oh, sorry. This is how it is. Inane presenters shoving their faces into the camera and chattering mindlessly through the music. Looking forward to hearing about the Paul Simon show. Hoping you had a wonderful evening of music. On Scarlett O'Hara, as portrayed in fiction, you're correct. But add movie interpretation not in the question. Question 5: Was Hollywood in the s more debauched than in ? Lee wouldn't sit down at the table.

He would probably just look over at Walter Taylor, a silent question in his eyes. Imagine Jefferson Davis guarding Abraham Lincoln in a game of on-on -one basketball. Lincoln works his way down low and crosses the key with a sky hook while Davis gets position for a rebound. There is none "swish". I wonder what Garth did with his old hat, I used to like that on him.

Garth still shows up at a gig wearing all black. The same with Rando. I guess black is the color of The Band. I think Garth still has a lot of great things to do.

I'll happily use it freely when discussing my OWN music, being an Englishman, in England playing music with a distinctly American flavour effected therein. Answer these questions.

Begin each answer on a separate sheet of paper. Number the pages. Lee and Rhett Butler. While this year marks the th anniversary of the Civil War, next Thursday June 30th is the 75th anniversary of the publication of "Gone With The Wind". Margaret Mitchell's novel sold over a million copies during the first six months, an especially amazing feat during the Great Depression and still sells , copies a year worldwide. I have to admit that I never cared that much for the book or the movie, but I haven't endured either of the epic length versions since my youth.

Subject: The south's gonna rise again Out of curiosity, I just googled the phrase. There is even a Facebook page dedicated to the subject.

Some of the comments there very soon show the feelings below that Mason - Dixon line of many people. Subject: The South! The South's gonna rise again, has been around longer than the Band, and most of us. It has never gone away. In Hank Williams Jr. Hell I could give many references to that position.

Don't ever kid yerselves Even if you don't want to call'em KKK, there are many "White Sepremacisits" who subscribe to the same ideas, even if they are not from the south. Then again, while "Life Of Brian" has been referenced here several times before, I never thought I would see it tied in with references to the mighty Motherlode. Let the south rise, so long as they "Welease Wogah! Not at all cute if it's the verbal equivalent of a confederate flag on a rusty pick-up or clapped-out van; those I find chilling - and sadly, I do occasionally see them.

And it was Jack Richardson producing - as discussed starting at in the clip at the link. Pat B: What made the mass exodus from San Francisco I think it was so different was that it was done en masse, totally lawfully, and as a result of talks with the part-'Creole' governor of the newly formalised colony of Victoria, James Douglas, who wanted to boost Victoria's population to keep expansionist Americans at bay a recurring theme in Canuckistani history.

I have a niggling sense that Governor Douglas was the great-grandfather of Margaret Trudeau. Southern politicians rose in anger again following the Supreme Court decision in Brown v. Board of Education and the Civil Rights Act of A century after the Civil War and Lincoln's Emancipation Proclamation, these federal actions implemented specific remedies to finally end segregation policies in the Southern states.

No doubt, some Southerners of that generation did utter "the South will rise again" invectively, resurrecting the anger of rebellion from the previous century. Hey Bill. Are you getting my e-mails? Pat B: Here's a link to a book that, among other things, covers an episode I was thinking of mentioning to Bonk in the context of our brief discussion of whether Jellyroll Morton would have travelled to Saltspring Island while he was based in Vancouver circa I thought it might be of interest to you because said episode was the mass migration of African Americans from California to BC in in anticipation of California ditching its non-slavery status.

GregD: Thanks for the link. Were you in Island with Denny? Ironically, one of the members of Truck on their one LP at least was from Norfolk Virginia, as was William 'Smitty' Smith, leader of Motherlode and then sessionman extraordinaire. Adam2: I think you're absolutely correct in interpreting Robbie's line in the way you did. Just a suitably modest way of saying that he was made uncomfortable by the Judean People's Front putting out the idea that he was more that just Brian.

As for Robertson and Americana, "Mystery Train" alone gives a good sense of the thinking on the subject. And Robbie didn't write it. As someone who has lived in the South almost all my life, I would point out that, for the most part, those use the expression "the South will rise again" are not really serious. He also takes care of the band finances. As lighting director, Herns if the man who designs the system itself, and operates the control panel during the show.

Mike Hirsch is our Stage Manager, who arrives each morning with the first truck and the lighting crew, and is the last to leave in the early hours of the following day, with the last truck—and the lighting crew! Michael supervises all aspects of the equipment load-in, set-up, and load-out.

He organizes the sound checks, the backstage security, and the set changes during the show, ensuring that the show starts, runs and ends on time.

His job involves the choosing and placing of the individual microphones, and the mixing of the total sound from the sound board in the main house, where he also adds his effects wizardry to enhance the off-stage sound. Also as Crew Co-ordinator, Ian looks after the book-keeping and organizational needs of the crew. He also choreographs the tight guitar changes Alex requires, assisted by his look alike cohort Jack Secret a. Tony Geranios , who is also the guitar maintenance man, and keeps the instruments in tune during the show.

Tony also sets up and maintains the synthesizers for both Alex and Geddy. Larry Allen appears nightly as Centre Stage Technician, setting up and meticulously maintaining the drum kit. Larry also serves as the Official Tour Shravis. A Fender J. Twin Reverb is used for primary p.

I also play a set of Moog Taurus pedals. My drums are all by Slingerland, with the inner surface of the wooden shells treated with a process called Vibra-Fibing. In the percussion department are orchestra bells, tubular bells, wind chimes, cratoles, timbales, tympani, gong, temple blocks, bell tree, triangle, and melodic cowbells. For heads I use Remo black dots on the snare and bass drums, Ludwig silver dots on the concert toms and timbales, and Evans Looking Glass top , and Speed King pedals, and Tama and Pearl stands.

I use Pro-Mark drumsticks with the vanish sanded off the gripping area. I use two Rickenbacker basses, one Rickenbacker bass, one custom-modified Fender Precision, one custom Rickenbacker double-neck, incorporating a bass and a twelve-string. All my basses are fitted with Badass bridges and Roto-Sound strings, and a Roland Chorus is used on the guitar.

All cabinets are fitted with JBL K speakers. I also use a Fender Twin Reverb for guitar. After eight months of touring across Canada, the United States, Great Britain, and Western Europe, it is probably self-evident that we were all very glad to be returning home for our first summer vacation in about four years! One forgets what a stately and serene thing summer can be when subjected to the almost uninterrupted overcast skies which are native to South Wales, where our last two summers were spent.

Out of one period of three weeks, two summers ago, the sun only shone for two days! We might get rid of our green suntans!

This also marked the first time that we had ever taken time off prior to recording an album, our usual schedule consisting of tour, tour, tour, write-rehearse-record, and then perhaps a couple of brief weeks of Domestic Therapy in which to attempt to glue yourself back together before going on the road again. The advantages of a rest between touring and writing new songs are probably readily apparent to the discerning reader, and certainly proved themselves to us in the making of this record, however such a liberty had never before been economically possible for us.

Nor this time either, really. Such indulgence! It was one of those classic, golden days of mid-July, six relaxing and enjoyable weeks later, we all made our way northward, to a small town not far from Georgian Bay, where we were to begin writing and rehearsing some new material. The place was Lakewoods Farm, a rambling and comfortable old farm-house, somewhat modernized, surrounded by a hundred acres of farmland, including a barn containing many interesting and articulate cows, and fascinating fields of dynamic wheat!

About a quarter of a mile distant from the house was a rough little cottage, set on a tiny jewel of a lake, which proved to be the perfect setting for a flow of lyric writing. I arrived in the afternoon to find Alex happily at work in the kitchen preparing his famous lasagna, as he is our willing and able chef at every possible occasion even on the bus microwave! This would give a rich and readily attainable texture to add to our sound, and came in very useful indeed.

So here we were, tanned, healthy, and well-rested, fair bursting with new ideas, and our gear crammed wall to wall in the basement. We soon settled into a schedule which both suited and served us well. After a huge breakfast from Alex, I would gather my things and walk down to the cottage, to spend the afternoon working on lyrics, while Alex and Geddy would descend to the basement to work on musical ideas.

Eventually it came to seem too awkwardly out of place with the other material we were working on, so we decided to shelve that project for the time being. More on that later. One day, four of us spent about four hours combing the waist-high fields in search of the out-of-control plane, and Alex would spend hours every day re-assembling the pieces with gallons of epoxy, styrofoam cups, elastic bands, toothpicks, bits of plastic, etc.

Most entertaining! These two idyllic weeks in the country were soon over, however, and it was time for the next step, into the Demo studio. We moved into a small studio in North Toronto called the Sound Kitchen, where we would be able to record the songs in a rough fashion, to hear what they really sounded like, and if they were any good or not! All recording at the farm had been handled by the Slider JVC mobile unit, leaving him without a cassette player!

Also we had to prepare ourselves for an upcoming series of dates, which were to hone ourselves into razor-sharp precision prior to entering the studio proper.

We spent our time here refining and rehearsing the arrangements, again aided and edited by the keen perception and critical appraisal of the omniscient Broon, our beloved and belaboured co-producer. We also were to spend the last few days putting together a stage presentation, and polishing up our older material. This we now did. This marked another significant historical first, the first time any amount of new material had been performed live prior to being recorded.

Although it was only a three and a half week tour, we did cover most of the area of the United States, along with two shows each in Canada and England, and by its end we and the songs were certainly ready for the Main Event: Le Studio. Le Studio is a wonderful place, nestled in a valley of the Laurentian Mountains about sixty miles north of Montreal. It is situated on acres of hilly, wooded land, surrounding a private lake.

At one end of the lake is the studio, with the luxurious and comfortable guest house situated at the other, about a mile away. We commuted by bicycle, rowboat, on foot, or in laziness or bad weather, by car. We arrived in the full, ripe glory of autumn, and were there through a genuine Indian Summer, and we heralded the coming of snow and winter, all in our four week stay!

The recording facilities are, of course, nothing less than excellent in every way. The room itself features one whole wall of glass, overlooking a spectacular view of the lake and the mountains. This is in direct contrast to most studios, which are more in the way of being isolated, timeless vaults, which in that respect of course, are not necessarily bad.

Here, though, we worked in the light of the sun, and one could watch the changing seasons in idle moments, rather than a dimly lit, smoky view of musical and electronic hardware.

Our engineer, Paul Northfield, soon proved himself to be a helpful, capable, and congenial member of the project, as did all of the excellent people who were employed there. Suffice to say that we were well fed as well! The great contributions put forth by Daisy, Mr.

She was with us for the whole session, and her state-of-the-art sleeping and running around were an inspiration to us all! We began our great labors by working on the individual sounds of the instruments. This consists of the musician banging away at his particular object, while the engineering types experiment with different microphones, mic positionings, and their own arcane world of knob-twiddling, faders, echoes, equalization, etc.

Once this has been accomplished, the three of us will play together, probably going over the song we plan to record first, and considerably more work is put into the sounds, to make them sit together properly. This is accomplished by the three of us performing the song, pretty much as we usually would, except that things such as vocals, acoustic guitars, lead guitar, synthesizers, and percussion are omitted. The reason for this is that better separation, and more control over the eventual balance and quality of sound, is possible when these lead parts, or embellishments, are recorded separately, once a good rhythm track has been captured.

Mere fantasy, I fear. Did I perhaps have a title? Ah, no. Did I have a few strong ideas lying around? Well, no. Did I have any ideas at all? Well, maybe, but not exactly. And for two days I stared in frustration and growing unease at blank sheets of paper, and questioning eyes.

There is no doubt that working under pressure can be very rewarding, as we have found many times in the studio. It seems as if the creative mind slips into a burst of overdrive, allowing a brief, exhausting, but productive surge in the creative process. On the third day of my confinement this phenomenon arrived at last, and something new began to take shape.

It was at this point in out story when the visitors arrived, in the person of Fin Costello, our effervescent and ever-ready Irish photographer, and our equally manic art director, Hugh Syme. This would be the first time that we had ever been photographed while working in the studio, but we have maintained such a long and amicable relationship with these two characters, that there was little self-consciousness on our part.

We just carried on working, while Fin went to work at capturing the moments you will see on the cover of the record. To digress for a moment on the subject of the cover, planning and organizing had been going on in the background for the last couple of weeks. The album still had not received a title right up to the time when we were ready to record, every time we came up with something it seemed to be already taken.

Even when we did settle on the one, it immediately popped up all over the place too, but by now it was too late, as the artwork was already in progress, and we knew it to have been an original idea, if not the only one. These things are sent to try us! This is where we used up some of the time that we had gained earlier, as we had to work a lot on refining and rehearsing something as new and complex as this had grown to be.

Mention must now be made of the great game of volleyball. At dinnertime, and after the sessions at night, it was our great pleasure to play intensely athletic and competitive volleyball. One of a few games played in the pouring rain starred the members of Max Webster and their crew, while other games would continue despite mud-mires or blinding snow.

Frivolities aside, the work continued as we plowed through a mountain of overdubs. The parade of guitars, synthesizers, vocals, percussion, and experiments went on, and the days wore away. We had about three days at the end to spare, in which we could make some rough mixes of the songs to take home and listen to before the real mixing began. As straightforward and logical as this again must sound, it was the first time that such a thing had ever happened. In the past we had always had to begin mixing the day after the recording was finished, giving no opportunity to get away from the material, and return to it with a fresh, objective ear.

One week later, the four of us flew across to England to begin the two weeks of our sojourn at Trident, which is buried in the small streets and lurid night-life of the Soho district of London.

The album is actually complete at this point, at least in terms of content, but there are a myriad of small adjustments, individual sounds can be shaped slightly differently, relative balances can be altered, echoes or other effects can be added to certain sounds to make them more interesting or to punctuate them, and the overall sound is made adaptable to different listening conditions or equipment.

Here once again, Alex moves into the kitchen, as Trident is so completely equipped as to possess one, and proceeds to regale us yet again with a series of delicious meals. This is also the point at which Mr. Broon really comes into his own. Taking over the engineering himself, the console becomes an instrument, as he and his capable assistants orchestrate the faders and switches. The gods once again rule in our favour, and we work ahead of schedule, our two weeks at Trident speeding pleasantly by.

Soon it is time for that most satisfying and enjoyable of ceremonies, the Final Playback. This is the climax of the whole project for us, the time when we stop working on the album, and just listen to it. A few friends are invited, a goodly amount of Champagne is consumed, and a relaxed and twisted time is had by all.

This is the moment for which all that has gone before becomes fair value; all has been worth it. Stage Manager: Michael Hirsh. Concert Sound Engineer: Ian Grandy. Stage Left Technician: Skip Gildersleeve. Centre Stage Technician: Larry Allen. Guitar and Synthesizer Technician: Tony Geranios. Stage Monitor Mixer: Greg Connolly. Guido, Bob Cross.

Design: Hugh Syme. Photography: Fin Costello. Correspondence: P. I recently became the proud owner of a new set of Tama drums, once again with the inner side of the wooden shells coated with the Vibra-Fibing treatment. Along with the custom finish and the brass-plated metal hardware, this operation was performed by the Percussion centre of Fort Wayne, Indiana. I probably need hardly add that both on the road, and most especially on this newest record, I am very pleased with the combination of the thick, wooden shells, and the dependable, modern hardware.

Digging into the toy box we find the usual assortment of effects, including timbales, melodic cowbells, orchestra bells, wind chimes, tubular bells, bell tree, tympani, temple blocks, triangle, gong, and crotales.

On my snare and bass drums I use Remo black-dot heads, Ludwig silver-dots on the concert toms, and Evans Looking Glass top and Blue Hydraulic bottom on the other toms. Ludwig Speed King Pedals and Tama hardware complete the set- up.

My guitars are: two Rickenbacker basses, one Rickenbacker bass, one custom-modified Fender Precision, one Fender Jazz Bass, and one Rickenbacker custom double-neck, which incorporates a bass with a twelve-string guitar. All basses are equipped with Badass bridges and Roto-Sound strings, and a Roland chorus is used on the guitar.

I also play a set of Moog Taurus Pedals. Dateline: New York City, May 9, In the midst of a crowded and chaotic backstage scene, following the second of our four nights at the Palladium, a few quiet words of agreement became the unlikely conception for this album. Prior to this, it had been our announced intention to record and release a second live album, but an unlooked-for charge of ambition and enthusiasm caused a last-minute resolution to throw caution out the window!

The reasons for this are difficult to put on paper, being somewhat instinctive, but all of us had been feeling very positive, and our Research and Development Dept. Dateline: London, June 4, It is never too late to change plans, but not so with arrangements!

Thus we went ahead with the live tapings we had planned, recording our five shows at the Hammersmith Odeon, as well as dates from Glasgow, Manchester, and Newcastle.

Then we would record some shows in this upcoming tour, and put together a live set that would represent a wider scope of our concerts, musically, temporally, and geographically.

This is no bad thing, and should prove to be a good move, unless we change our minds again, in which case we could combine three tours, or four, or. Dateline: Toronto, July 28, An intense thunderstorm raged outside all day long, while indoors a storm of a different kind was brewing. In the studios of Phase One, two complete sets of equipment crammed the room, and two complete bands filled the air with a Wagnerian tumult, as Max Webster and ourselves united to record a song for their album, called Battlescar.

This could only be a very unique and enjoyable experience, attempting something on such a scale as this, and I think the result will testify to its success. Dateline: Stony Lake, Ontario, August, The address and time of year will probably best describe the setting, as the creative work begins in earnest.

Happily, he was somewhat more fortunate in his dealings with the genuine article, and on many an afternoon could be seen buzzing and strafing the house. These exciting distractions aside, we were banished to the barn, and began the process of assembling ideas, both musical and lyrical. On the other end of those tags, though, it becomes increasingly apparent to us just how valuable touring is, primarily in our development as individual musicians, which in turn directs the progression of our music.

It would serve as a sort of vehicle for experimentation and indulgence. Although the main thrust of our work has always been directed towards its live presentation, it is nice to take a small dose of studio indulgence! We had been very much looking forward to our return here, and were not disappointed, it proving to be every bit as great as our memories.

A very friendly place. We were soon made painfully aware literally of the ambitious nature of our project, as we had to work long and hard to capture the right sounds and performances for each track.

We had purposefully left one song still unwritten, with a view to writing it directly in the studio, as we have had such good results from this previously. It is interesting, if irrelevant, to speculate as to whether we impose our nature on the machines that we build, or whether they are merely governed by the same inscrutable laws of Nature as we are.

Never mind! The tracks were eventually finished, albeit a few days behind schedule, when the mixing and the disasters began. In a massive electronic freak-out revolution, the digital mastering machine, the mixdown computer, and one of the multi-track machines, gave up their collective ghosts one after the other, driving poor Broon to distraction, and setting us two weeks behind in the end. As with anything that drags on too long, we were glad to finally finish, but even more glad to hear what it was we had finished!

It is a curious sensation, when listening back to a completed album for the first time, how quickly all those months and all of those difficulties go racing by. How can a mere forty minutes of music contain and express all of the thoughts, feelings, and energy that goes into it? Concert Sound Engineer: Jon Erickson.

Security cheif: Ian Grandy. Personal Shreve: Kevin Flewitt. Concert Projectionist: Lee Tenner. Concert Rigging: Bill Collins.

Program design: Hugh Syme. Photography by Fin Costello, except where indicated. Seventh L. God of Balance DOWN 1. Our management company 8. Prince of Darkness 9. My cymbals are Avedis Zildjians, with the exception of one genuine Chinese China type.

In the Percussion Department are orchestra bells, tubular bells, wind chimes, temple blocks, cowbells, triangles, bell tree, crotales, and Burma bell. I use Remo clear dots on my snare and bass drums, Ludwig silver dots on the concert toms, and Evans Looking Glass top , and Blue Hydraulic bottom on the closed toms.

Clear Remos are used on the timbales and gong bass drums. Ludwig pedals, Slingerland high-hat, Tama hardware, and Pro-Mark drumsticks are the final details. We were getting a little bored with inactivity. During the mixing of Exit. One afternoon as I was idly polishing my car, Alex and Ged returned from working at the little studio, set up a portable cassette player right there in the driveway, and played me the musical ideas they had come up for it.

At the wheel was our stalwart guest helmsman, Geddy, with Captain Mike and myself reclining in the stern and offering directions. We all watched the pennant halfway up the starboard shrouds, gauging our attitude to the wind. Up forward, First Mate Keith and Deck Steward Tom stood by the sheet for the Yankee jib, ready to wrestle it across the deck for the upcoming tack. Captain Mike decided that we were close enough to land now to make the maneuver, so that if we ran out of wind he could walk to shore!

He gave the helmsman his instructions:. YELL it out! Last night Geddy played me some of the things he had been working on at home. That night as we lay at anchor in Virgin Gorda, Geddy and I went down below after dinner, and I showed him some of the work that I had been doing.

He liked it, and we discussed different ways it could be treated musically. As we often do, we thought it would be interesting to take the opposite approach to what the lyrics would suggest; make it a very up-tempo rocker, with some kind of a dynamic contrast for the choruses. Around we all made our way on to the bus. Curtains closed against the world, we rode away to the gig.

At the hall, we checked out each of the instruments separately: boom-boom-boom, tap-tap-tap, thud-thud-thud, strum-strum-strum, woof-woof-woof, test-test-test, et cetera, and then gradually moved into a little spontaneous creation. This tour for the first time our sound man, Jon, has been taping our soundcheck meanderings, and it had proved very fruitful to us. Just like that! When Alex and Geddy get together to sift through the soundcheck tapes they will find a whole song written here, and will arrange it and make a demo that will be very close to the finished song.

Lyrically, this is the first time that all three of us have collaborated on the words to a song. Geddy and Alex together came up with the title and concept for the song, wrote out a few key phrases and words that they wanted to get in, than passed it along to me for organization and a little further development.

When all of this is put together, we have what was probably the easiest song to write on the album. At this time of year there is still no sign of spring up here. The lakes and ground are still blanketed by about four feet of snow, the temperatures are steadily sub-zero, and one is obliged to dress rather like an Arctic explorer to go outdoors. We are up here for a month to work on new songs. We have a row of chalets to stay in, and the winterized upper room of a barn to work in.

An open fire is friendly company for me as I spend the afternoons working on lyrics, while Alex and Ged are over at the barn working on musical ideas. The cold, crisp air and the thick shroud of snow create a very magical atmosphere in which to work, especially walking back at night when the full moon gleams on the diamond-dusted snow.

Some people have nothing good to say about winter, but I find it very beautiful. One night Larry and I borrowed a pair of snowshoes, and went out walking on the frozen lake. The moon shone down on the bluish snow almost like daylight, and the dry air was so cold it pinched your nostrils shut. That might sound like a nightmare to you, but to me it was a dream-world!

After much head scratching, we finally came up with the sequencer pattern, and the guitar and drum patterns to go with it. This time however, we were so sure that we were right that we refused to give in. We talked and talked about why we liked it, how we heard it being recorded, and what it could do for the song as a whole. We wore away at him inch by inch, until he got tired of hearing about it, offered a few half-hearted suggestions, and relented.

Among the Top Secret projects which they produce is the basic foundation for this song, including a highly mysterious and bizarre drum pattern which Oscar coaxes out of the drum machine. The shame of being reduced to learning from a machine! However, I must admit, I would never have come up with something like that on my own! This also brings the feel of the song perilously close to a shudder d-d-d-dance song, like, you know, disco!

Kill the traitors! They wrote a song you can dance to! Will you ever forgive us? It was fun to do, though. At this point the basic tracks for the other seven songs were finished, and we have enough for an album, but we have always wanted to write another song for this one.

We want more! What shall we do? When was the last time we wrote a song under four minutes, you ask? We can do it! I spent a couple of days wringing out my notebook, and tying in a few of the themes from other songs, and came up with a straightforward, concise set of lyrics consisting of the two verses and the two choruses, and then we went to work.

We decided to play this one fast and loose, writing it in one day and recording it the next! We wanted to capture a spontaneous, relaxed feel for this one, not even spending much time getting the sounds together. Two days is very close to a record for us to write and record a song. That was written and recorded in one day. But then that whole album was completed in under a month; things are different now! We worked out the verses and choruses while we were in rehearsal, and made a skeletal demo of it with just keyboards and drums, then put it away until we got to the studio.

We had talked for a while about getting Ben Mink to play electric violin somewhere on this album, and this seemed like the perfect track. Once we got into the studio, we developed the jazzy solo section, recorded the basic track, and gave Ben a call.

Fortunately he was able to get away from his group, FM, for a couple of days, and bring his unique instrument up to play his heart out for us. All of this illuminated by four green Christmas lights that provide the necessary inspiration for such a piece.

Sounds crazy? You bet! We worked him hard, squeezed him dry, and threw him away. He just stood there in front of the console, taking it and giving it, fueled by occasional sips from a bottle of C. Not only the monumentally fantastic solo did we demand, but we had him multiple-tracking an entire string section as well. We were there! We had a long-standing invitation to the first launch, and always swore that we would be there no matter what.

Little did we know! On April 9th we flew into Orlando on a day off, checked into a hotel, and slept until about four a. We stood around, listening to the announcements, as the sun rose higher and hotter in the sky. Finally they announced that the launch would be scrubbed for that day.

Well, we ran for the car, and our daring driver sped off, around the traffic jams, down the median of the highway, and got us to the airport barely in time. The next night we had a show in San Antonio, after which we drove off immediately, clambered into a hired jet, and flew straight back to Florida. More about that in the song. Again we raced backed to the plane, and flew off once more, back to Fort Worth where we had a show that night. Fortunately the day after that was a day off, so we had a chance to catch up on all that sleep!

I can only hope that the song comes even close to capturing the excitement and awe that we felt that morning. I hope that you will all enjoy it. We tried to break some new ground for ourselves; explore some different types of songs and sounds; while continuing the directions begun by Permanent Waves and Moving Pictures. Stevie Wonder has won a lawsuit over music royalties. Gwyneth Paltrow has unintentionally lost some weight over the last month due to stress, and her boyfriend Brad Falchuk isn't happy about it, according to a new report.

Read More 3. Ben Affleck keeps it casual in sweats while making a solo trip to a gas station convenience store on Thanksgiving afternoon November 26 in Brentwood, Calif. Earlier this month, the year-old actor Whoopi feted with elaborate cakes for 60th birthday Page Six - 28 Nov Whoopi Goldberg celebrated her 60th birthday on "The View" with an elaborate cake presented by Billy Crystal in the shape of a giant American flag, topped off by a wacky high-heeled shoe.

We hear the Thanksgiving Parade. The holiday was also likely a welcome respite from the much-maligned production of Arquette's Windy City show "Sherlock Holmes," which local critics have roasted In the same interview, Odom told Meyers that Grey had nabbed an impossible-to-get ticket I'd pin Dita Von Teese up anytime, if you get my meaning.

Egotastic All-Stars Courtney Stodden lost her sheep


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8 thoughts on “ Fetless - R.E.M. - 2nd Strike At The Bowl (CD) ”

  1. "2nd Strike At The Bowl" Cry For Love / Recorded: Milton Keynes 7/30/95 + 7 Out Of Time Outtakes First night of the 2nd leg of the R.E.M. "World Tour" CD Tracks. California Dreamin'/Fretless/Love Is All Around/Dallas/So You Want to Be a Rock 'n' Roll Star/Moon River/Ghost Riders in the Sky/Paint It Black/In the Year /Mr.
  2. It’s one of the best covers R.E.M. ever did, and arguably one of the best covers of a Leonard Cohen song by anybody (JC adds..I’ll second that!!!) For fans, however, the CD single was a tad disappointing as it didn’t contain anything we didn’t already have. mp3: R.E.M. – World Leader Pretend mp3: R.E.M. – First We Take Manhattan.
  3. This CD is based on the US album released in (and much later in the UK), which was a combination of the UK double EP package and the rest of the non-LP tracks from that year. So, basically, it's not really an album, so to speak. Two of the songs ('Strawberry Fields' and 'Penny Lane') are actually pre-Pepper.
  4. Grado Labs is a family run manufacturer of audio headphones, phono cartridges, amps and accessories. Proudly made in Brooklyn NY for more than 60 years.
  5. 1. The longest track on their 2nd album 2. 95 down by it 3. In “Oracle: The Dream” () story line—I was overwhelmed by wonder and understanding 4. The track after “Lakeside Park” on their 3rd album 6. I felt the gloom of these empty places (on rainy afternoons) 7. “The blacksmith and the artist reflect it in their ” 9.
  6. The Amorphous Androgynous return with the symphonic, minute prog space-rock concept album ‘We Persuade Ourselves We Are Immortal’. The album contains 5 epic parts, featuring the legendary Peter Hammill (the Van Der Graaf Generator) on vocals alongside a host of musicians including: Paul Weller (piano and guitar), Ray Fenwick (Spencer Davis Group/Ian Gillan) on .
  7. These four young men from Arizona have developed into a high-caliber emo-core outfit with added texicana flavouring. They've an immense talent for precocious, intricately construc.

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