Other Music New Release Update
May 23, 2001

In This Week's Update:

Ladybug Transistor
Peter Brotzmann reissue
Tujiko Noriko
Toby Dammit 12"
Whiskeytown
Milennium/Ballroom reissue set
Travelling/Triode reissues
Low & Dirty 3 EP
Nicole Mitchell
Sebastien Tellier
Freakoff: Latin breakbeats, etc. comp.
Andrew Coleman
Studio One Soul comp.
Rapture EP
Sandy Bull reissue
John Zorn
Vert
Robert Lippok EP
Oval
Calexico EP
Zoviet*France

Exclusive Merchandise:
Readymade Records CD & 7-inch Folders
(designed by Yasuharu Konishi)

Restocks:
Miniflex
Moldy Peaches


Featured New Releases:

LADYBUG TRANSISTOR "Argyle Heir" (Merge) CD/LP $13.99/$11.99
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The Ladybug Transistor have staked an early claim on the best
pop album of 2001. Smooth and sophisticated, "Argyle Heir" could
be another classic unearthed from the Immediate Records vaults.
Slower-paced than the sunshine pop of "Albermarle Sound",
"Argyle" is decidedly more complex and introspective, as LT
opt for thoughtful arrangements, careful production and subtle,
yet timeless, hooks. Yet "Argyle Heir" is not without a hit single
or two in the mix; the lush 'Wooden Bars' and 'Words Hang in
the Air' are pure pop magic. They also throw a few instrumental
numbers in the mix as well. "Argyle Heir" eliminates any notion
that the Ladybug Transistor are merely a retro-pop outfit,
propelling themselves into a class with Magnetic Fields and Belle
and Sebastian as the finest of the contemporary purveyors of
timeless pop. [PW]
CD //perl-bin/OM/CD_Add_To_Cart.cgi?sku=03617294892&refer_url=email
LP //perl-bin/OM/CD_Add_To_Cart.cgi?sku=09999156141&refer_url=email

PETER BROTZMANN "Fuck De Boere" CD (Unheard Music Series) CD  $13.99
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Score another unprecedented coup for UMS as they continue to
plunder the vaults for known (rare) and unknown (rarer) gems of
challenging music. This latest offering pairs two never-released
appearances at the Frankfurt Jazz Festival. First, from March
1968, is an incendiary take of Brotzmann's masterpiece "Machine
Gun" (easily our most consistent selling free-jazz title) recorded
three months earlier than the FMP version. The line-up: Brotzmann,
Evan Parker, Willem Breuker, and Gerd Dudek (saxophones), Fred
van Hove (piano), Peter Kowald and Buschi Niebergall (basses),
Han Bennink and Sven-Ake Johansson (drums). That alone would
have me falling out of my chair. The second piece, the utterly
explosive 37-minute "Fuck De Boere" (recorded at the festival in
March 1970) just plain lays me out flat! Derek Bailey's guitar dukes
it out with Fred van Hove on organ as four trombones (Paul
Rutherford, Niebergall, Malcolm Griffiths, Willem van Manen) collide
with three saxophones (Brotzmann, Parker, Breuker), all anchored
by Bennink's beyond-insane percussion. Dedicated to Johnny Dyani,
the South African bassist, "De Boere" adds resonance as a moving
anti- apartheid meditation with a simple mantra: "Get the fuck
OUT!" Highest recommendation. [JG]
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TUJIKO NORIKO "Shojo Toshi" (Mego, Austria) CD $16.99
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Noriko, who was the recent subject of a large exhibit of
photographs taken by musician Aki Onda (of her and Tokyo,
titled "A Girl and a City") at Anthology Film Archives in NYC, is
a composer in her own right. And I'm quite glad that her tapes
found their way into the hands of Peter Rehberg of Mego. This
curves markedly away from the glitch ambience Mego's known
for -- instead, the nearest comparisons I can make for Noriko's
work would be compatriots After Dinner or the slippery Avey Tare
+ Panda Bear. Or Kate Bush, just abstracted and made much
more 'experimental', as she takes unexpected turns, even in the
poppier numbers. Noriko's electronic sounds have a flighty,
breathy, shimmering quality, and she works them over and under
and around her girlish voice, creating a sound so magically
transparent you can walk through it, but which stings like being
pelted by straight pins as you do. Fabulous and quite unusual.
[RE].
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TOBY DAMMIT "Modus Operandi" (Omplatten) 12" $6.99
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A 12" of 'Modus Operandi' succeeds Dammit's Tricatel 10" and
precedes the upcoming full-length. A barrage of squelchy
drumbeats from both man and machine, accented by high
whistles and clashes of the squirmy. Restless, ballistic, crunchy,
like a really bizarre music-minus-one record. B-side has a stream
of Dammit's loops for DJs, not found on the CD. Bertrand Burgalat
assists. [RE]
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WHISKEYTOWN "Pneumonia" (Lost Highway) CD $16.99
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After languishing in limbo for three years due to corporate
mergers and just plain bad luck, Whiskeytown's "Pneumonia" --
their third and final album -- at last sees a proper and long-
awaited release. Surprisingly, given the somewhat turbulent
events that preceded its recording, "Pneumonia" is by far the most
introspective, mature and diverse record of Whiskeytown's short
but celebrated career. Credit goes primarily to principal songwriter
and band leader Ryan Adams who wrote or co-wrote all 14 tracks,
but also to multi-instrumentalist Mike Daly, who helped on half.
Expanding their horizons here Whiskeytown successfully transcend
their "alt-country" roots by subtly evoking a variety of influences
ranging from country to bluegrass to Celtic folk to Beatle-esque pop.
Some of the experiments work quite well (the haunting, whispered
lullaby 'What the Devil Wanted' for example) while a few do fall a
bit flat. But there are plenty of great tracks like 'The Ballad of
Carol Lynn' in which Adams channels Randy Newman and 'My
Hometown,' where he mimics the vocal delivery of Bob Dylan.
Though Whiskeytown are no more, Adams has already embarked
on a very promising solo career. Think of "Pneumonia" as an
essential missing link in the development of this extremely talented
artist -- one who has the potential to become one of our great
American songwriters. [TC]
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MILENNIUM "Magic Time" (Sundazed) 3xCD $34.99
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We've raved about the Milennium probably about three times now,
corresponding with the three different reissue compilations we've
had of their material. But this supercedes everything. No you
don't have another variation on the one-disc format--instead, this
is three discs (62 tracks) of songs from not only the Milennium
but also their 'corollary' the Ballroom, with a few tracks from
Sagittarius (1), Curt Boettcher (4), and Summer's Children (2).
This will make your Milennium and Ballroom reissues moot. If
you're a completist about it there are 22 unreleased tracks
scattered throughout the discs, many demos, alternate or 45
versions that were never released. Besides that, this includes the
entire Ballroom LP and  Milennium's "Begin" LP. Covering 1965-1968,
the 'sunshine pop' of these groups were coached and corralled by
producers Keith Olsen and Curt Boettcher, whose grand-scale,
experimental pop with elaborate orchestral arrangements,
interesting sonic add-ons, and pristine harmonies never hit the
charts but instead simmered for years waiting for rediscovery.
Everything you'd expect from a good archival package--liner notes,
rare photos, etc, all for the price of but one Japanese import CD.
[RE]
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TRAVELLING "Voici La Nuit Tombee" (Futura / Mellow, Italy) CD  $19.99
TRIODE "On N'A Pas Fini D'Avoir Tout Vu" (Futura / Mellow, Italy) CD  $19.99
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Futura Records was France's most innovative psych/free jazz/
experimental label during the early 1970's, effectively the
spiritual heir to BYG/Actuel. After a flurry of diverse releases,
Futura folded in 1973, leaving a highly sought-after catalogue to
pass into the ether. Reissues have been slow to emerge, but I'm
pleased to report that the Mellow label has seen fit to release
two of the more obscure titles on this most obscure label. Both
lean toward the Canterbury progressive style, only sporting better
chops. Travelling's sole album, released in 1973, can be seen as a
French answer to classic Soft Machine. In leader Yves Hasselmann
they had an organist the caliber of Mike Ratledge and a vocalist
eerily reminiscent of Robert Wyatt. But in a strange way,
Hasselmann's jazz instincts sound purer. His compositions, while
certainly derivative, remain vibrant, challenging, and inventive,
particularly the 19-minute title track. A great one to stump your
friends with! The Triode album, recorded in 1971, is entirely
instrumental and features Michel Edelin, an incredibly hot flute
player who is equally at ease quoting classical repertoire as he
is tearing it up Krautrock fashion. It's a genuine pleasure
listening to the rest of the band try to keep up with him. And I
can almost forgive the excess of their covering 'Come Together';
I'm sure it seemed like a great idea at the time. [JG]
"Travelling"
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"Triode"
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LOW/DIRTY THREE "In The Fishtank" (Konkurrent) CD EP/12" $9.99/$6.99
RealAudio: /ramgen/othermusic/LowDirty.rm
"In The Fishtank" is a Dutch CD series that allows free-thinking
bands to quickly improvise, and sometimes collaborate in a studio
environment. So far, the series has been somewhat of a
disappointment. With the latest one, it seems that streak has
ended. Certainly, nothing could quite fulfill the high expectation
of Low and Dirty Three coming together, but this half-hour foray
is pretty damn consistent. The ululation of Warren Ellis' violin
followed in turn by Alan Sparhawk and Mimi Parker's deliberate
harmony is right as rain. Particularly so on 'Invitation Day,'
where the two inanimate objects clash, drawing emotions out
into the sun. As these collaborations go, there are moments of
frivolity, as on the track 'Lordy,' when Sparhawk picks up a
banjo. But by far the most combustible element of this EP is Neil
Young's 'Down By The River' which gives the two trios a sonic
sanctum wherein their best elements are utilized. The first
friction-filled five minutes belong to the Dirty Three, after
which Low step in, Parker's vocal invoking Young's lyricism to
great effect. By the time the title chorus comes out (eight
minutes in), you are ready to grieve. A majestic track on a
worthwhile EP. [DD]
CD //perl-bin/OM/CD_Add_To_Cart.cgi?sku=71875203812&refer_url=email
12 //perl-bin/OM/CD_Add_To_Cart.cgi?sku=09999156151&refer_url=email

NICOLE MITCHELL & BLACK EARTH ENSEMBLE "Vision Quest" (Dreamtime)  CD  $13.99
RealAudio: /ramgen/othermusic/mitchel1.rm
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Flutist/multi-instrumentalist, AACM member and part of the David
Boykin Outet, Ms. Mitchell debuts with her excellent Black Earth
Ensemble. Mitchell's flute affects a hummingbird stance,
fluttering into frequencies, balanced by Hamid Drake on
percussion, who gives a heavy rhythmic base as an anchor. The
recording uses lots of strings and a quick instrumental interplay;
she's accompanied by violin and bass, plus a peculiarly-plucked
cello on one track that creates a sound almost Lebanese in origin.
Spiritual, soulful jazz a la Fred Anderson or Don Cherry. Very
highly recommended. [GA]
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SEBASTIEN TELLIER "L'Incroyable Verite" (Record Makers, France) CD  $22.99
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Sebastian Tellier's music sounds like it comes from a different
culture, but one which has not been present for a long while and
may have never really existed at all. A 'lost' culture. No drums.
A sense of madness is evident in even the opening string of
interludes ('interludes' placed before anything has transpired,
mind you). Then, as the end of one manages to trail off into a
sweet, faint thrill. . .a sense of chamber-psych know-how in the
offing. The center of the album a concatenation of events peppered
with moments of aforementioned sweetness (a surging melody in
birdcall), and mercurial abandon (woman screaming at the top of
her lungs), even the seemingly distracted portions of AM-radio
stylings replete with lulls into dissonant territories, if only to
remind you that there are always things lurking just around the
arondissement. The general impression is that of a distraught
Parisian schoolteacher with a drink in his hand and a tear in his
eye. [DHo]
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[V/A] "Freakoff: Latin Breakbeats, Basslines & Boogaloo" (Harmless, UK) CD $17.99
RealAudio: /ramgen/othermusic/freakof1.rm
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The first disc in Harmless' Latin Beats series was the quite
good "Broasted Not Fried", but "Freakoff", Vol. 2, leaves that one
in the proverbial dust. Northern NYC, circa 1963-1976 grew music
influenced by a panoply of cultures, integrating funk, jazz, pan-
Caribbean musics (Puerto Rican, Cuban, more), soul, etc., into
what became known as Boogaloo and Latin soul, though what's
on this disc only starts there. With stark Latin rhythms and
bangingly sharp percussion, songs are wound in tight then uncoil
onto the unsuspecting listener. Orchestra Harlow's title track makes
the disc alone, a remarkable example of funk and psychedelia
growing into Latin soul, generating a slamming breakbeat in the
process. Some of the best tracks from Willie Bobo, Joe Bataan,
Johnny Colon, Cal Tjader, Tito Puente, Eddie Palmieri and El Gran
Combo make an appearance, followed by more obscure slabs from
Ismael Quinones, Roberto Roena, Chollo Rivera among others. As
startling as a traffic jam honking in perfect synchrony, possessing,
rapturous. [RE]
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ANDREW COLEMAN "Everything Was Beautiful And Nothing Hurt" (Thrill Jockey)
CD/LP $13.99/$10.99
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Andrew Coleman helped to kick-start a flood of what came to be
known as "drill 'n' bass" with his previous project, Animals On
Wheels. After reaching critical mass in 1998, the genre has since
subsided with only a few records standing the test of time.
With "Everything," Coleman is taking his shot at perpetuity.
Stripping away the cranks and ratchetry of AOW, he's left with a
more ambient, cavernous sound. In this environment, the simple
synth strokes and flitting piano melodies are allowed to hang,
suspended from viola strands or washboard clacks. Coleman, it is
said, lives on a houseboat, and he uses this to his advantage.
Throughout the record we hear his neighborhood birds ('Leaving
the Building'), a recent rain shower ('Wider Ignorance') and even
the sound of waves lapping against, what I assume to be the
boat itself ('Opulent Installation'). His exotica/Ninja Tune leanings
remain here and there (there are a few tracks with substantial
drum loops), but mostly "Everything" seems a nice change from
the manic crinkle of his old self. Another example that in the
electronic landscape of '01, less is more. [DD]
CD //perl-bin/OM/CD_Add_To_Cart.cgi?sku=79037701022&refer_url=email
LP //perl-bin/OM/CD_Add_To_Cart.cgi?sku=09999156171&refer_url=email

[V/A] "Studio One Soul" (Soul Jazz, UK) CD $18.99
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One of the many currents in the ongoing saga of Jamaican music is
the fascination among reggae artists with music from the States.
Since the waning days of mento and the early years of rocksteady
up to the current moment, reggae vocalists have covered hundreds
of songs first made popular in the U.S. This exemplary collection
documents some of the finest moments in that part of the reggae
world. And though the collection bears the name soul, what
remains a paradox is how Jamaican vocalists of the late '60s and
early '70s could take hold of even un-soulful songs and make them
beautiful, heartbreaking pieces. As 16-year-old Norma Fraser turns
Cat Stevens' 'The First Cut is the Deepest' (1971) into an aching
threnody emanating from a heart so wounded it's barely beating.
More common was the tendency to cover Motown and Stax songs,
and thus much of Studio One Soul consists of equally moving soul
covers such as Ken Boothe's 'Set Me Free' and a defiant version
of 'Express Yourself' by Leroy Sibbles, originally performed by
Charles Watts and the 103rd St. Rhythm Band. This panoply of
reggae soul covers often transform the originals, through
Caribbean technology, into trembling, elegiac songs. [TH]
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THE RAPTURE "Out of the Races and Onto the Tracks" (Sub Pop) CD EP $8.99
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A near-perfect 6-song EP of jagged punk dissonance and wound-up
new-wave-influenced harmonizing yelp sandblast. Relevant to
certain early Section 25 sounds, the Pop Group reincarnate, Gang
of Four in wetsuits rather than their 'Uniform'. Regards also to
Fugazi and other earnest vocally serrated punks of the '90s. Slow
and wandering, or charging ahead always on the verge of tripping,
they also make much more noise than you'd expect from only three
players. [RE]
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SANDY BULL "Fantasias for Guitar and Banjo" (Vanguard/Comet) CD  $16.99
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Stunning instrumental folk record recorded for Vangaurd records in
the '60s. Bull was a part of the Village folk scene in the early part
of the decade -- he ran around with Dylan and took lessons from
legendary oud player Hamza El Din. On "Fantasias", Bull prefigured
the current vogue for world music fusions by thirty years.
However, he did it so tastefully and seamlessly that I doubt his
achievement has ever been surpassed. A typical Sandy Bull record
runs the gamut from Indian raga to Brazilian samba, "Carmina
Burana" to quotes from Ornette Coleman's 'Lonely Woman'. And it
never, ever sounds forced or contrived. "Fantasias" was Bull's
first record, and on the opening song he was joined by master
percussionist and Coleman quartet regular Billy Higgins. Sadly,
both Bull and Higgins passed away last month, yet the admiration
and acclaim given to their work continues to grow. Recommended
for fans of John Fahey, Davey Graham, Bola Sete, Ali Akbar Khan.
Timeless, beautiful music. [MK]
//perl-bin/OM/CD_Add_To_Cart.cgi?sku=802657511952&refer_url=email

JOHN ZORN "Madness, Love and Mysticism" (Tzadik) CD $14.99
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Zorn's newest set of compositions are probably the most '20th-
century classical' in tone and approach of anything he's done,
with stylistic links to Feldman, Cowell, Varese -- yet, like most of
Zorn's work, it's wholly his. In three parts: the first is dedicated
to Antonin Artaud, a work of extremes swinging from gentle piano
trickles of notes to mad sawing on violin and quick pouncing on
the keys. The centerpiece, dedicated to Joseph Cornell, is the
most difficult, a solo cello piece which ascends often into the
higher registers of the instrument, a passionate, nearly seething
work that expresses, in a way, the energy contained within
Cornell's works, here unlocked and roaming. My favorite is 'Amour
Fou', a trio for violin, cello, and piano, with notes that build and
fade, struck commandingly but just as often tenuously held. The
piece turns from mood to mood like a walk in the woods in which
you pass flowers and seeds of impossible beauty along with
things like weasels stealing birds' eggs and mice attacked by
owls. [RE]
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VERT "Nine Types of Ambiguity" (Sonig) CD $13.99
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From Mouse On Mars' own label comes more scraping, bubbling
electronics married to melodic forays. Instead of underpinnings
of rock, however, Vert draws upon abstract classical structures
and sounds. Songs draw in acoustic instruments like the harp,
accordian, and piano (plus some warm synth tones) amongst the
nature samples (birds and water are faves). These are expertly
buried under patches of sub-bass and skittering rhythms,
occasionally to be nearly mistaken for Mouse on Mars themselves,
such as on the track 'to doo is to be.' Although Vert borrows
elsewhere from Plone in its playful synths and Takemura/Child's
View in a charming simplicity, closer listening reveals layers
only headphones bring out - muffled vocal samples, sloshing
electronics, and blips of old computer games and sci-fi movies.
"Nine Types of Ambiguity" mashes the natural with the digital --
until the hard edges of experimental electronics become
a soft but gritty paste. Mouse on Mars fans will like this. [LG]
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ROBERT LIPPOK "Open Close Open" (Raster Noton, Germany) CD $15.99
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Lippok, also part of To Rococo Rot, goes cautiously solo on "Open
Close Open". I say cautiously because this is a disc so perfectly
balanced as to be walking on its fingers, a work which
contemplates but one tiny aspect of his other group, examining
frequencies and textures under a microscope. To say it's carefully
controlled is an understatementm -- there's not a twinge of the
flail here. In three longish tracks which add up to but 20 minutes,
Lippok makes trios of sounds, like bouncy, glassy clicks
interacting with a cycling tone, playing with synth tones that pop
as bubbles do. The centerpiece, 'Close', sets up super-sweet
strings wafting and waving with small watery computer noises. All
arranged in unexpected, lovely ways. I know it's only 20 minutes
for the $, but it's more inventive and quite different than the
TRR stuff Lippok does, and I had no idea he had this in him. [RE]
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OVAL "Ovalcommers" (Thrill Jockey) CD/LP $13.99/$10.99
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Markus Popp's newest CD (the packaging for which makes it look
like he's changed his name to 'ovalcommers', really). And, on
which he ventures beyond the container of his previous work,
remarkably. For one, he's branching out into more noise than
before -- there's very little seemingly bounded precision to the
work, instead he's spreading out into noise: guitar feedback,
interlaced computerized multiharmonic reed sounds, louder
bursts of static. It's significantly looser, and almost sounds
angrier --  the structure exists as a stream of random (non-
repeating sounds), bound at points by a returning sound, flip,
or sample, which works like a carriage return at the end of a string
of words rather than making the sounds form loops. So, in a way,
he's commenting on the creation of the 'random' to begin with --
that while he can meander all over the place, even the placement
of that on this disc means that it's a conscious effort. This is truly
denser, almost irascible work, it seems quite different, the artistic
product of frustrations and annoyance, which makes it at the very
least a little punk. [RE]
CD //perl-bin/OM/CD_Add_To_Cart.cgi?sku=79037701032&refer_url=email
LP //perl-bin/OM/CD_Add_To_Cart.cgi?sku=09999156161&refer_url=email

CALEXICO "Even My Sure Things Fall Through" (Quarterstick) CD  $8.99
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Just in time for their American tour, Southwestern multi-
instrumental duo Calexico releases a tidy EP of outtakes, b-sides
and videos. For only having two members, Calexico is surprisingly
limber. John Convertino and Joey Burns have always used Ennio
Morricone as a touchstone, keeping the spaghetti desert sound
in their music, but here we get dark, narrative vocals and an
atmospheric mariachi treatment. Even more unusual is the
collaboration with Two Lone Swordsmen, with whom they
swapped remixes. That results in a brooding, churning track
of iced ambience. The CD also contains three Quicktime videos,
which show off the cinematic leanings of the photogenic group.
[DD]
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ZOVIET*FRANCE "Decriminalisation of Country Music" (Tramway, Scotland) CD $18.99
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Zoviet*France were commissioned to make a sound document of
the physical transformation of an old Glaswegian train station into
a collection of artists' spaces. As they recorded the sounds of both
destruction and construction, they then rearranged/shrunk the
sounds. The result is nothing like a field recording, instead, it's
a musing on the idea of potential, as they married these
radically-altered construction sounds to echoing industrial guitar,
thin crackles (which may have been something like sanding, for
all I know), quick thwippings and overtones, an open vocalization
expanded as much as the original recordings were compressed.
The lines then drawn link the process to that wide-open-spaces
sound of not country music but more Western music, related
tenuously to pedal steel sounds that stretch over the horizon,
the evocation of the potential in an entirely different kind of
landscape. Hence the title, methinks....[RE]
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Exclusive Merchandise:

READYMADE RECORDS CD and 7-inch Single Folders $19.99/$22.99
Other Music is proud to be the exclusive American distributor for
these Readymade Records DJ accessories. Designed by Readymade
supremo Yasuharu Konishi, these heavyweight polyvinyl folders
cleverly accommodate either 20 7-inchers (with sleeve) or 10 CDs
(booklet and disk). Sporting the same artwork as Readymade's
popular "Good Night Tokyo" compilation, these folders are as stylish
as they are practical. Perfect for travel, but fortunately you won't
have to trek to Tokyo to get them. Limited quantities available at
this time. [TC]
CD Folder
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7-inch Single Folder
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Restocks:

MINIFLEX "Sud" (Escalator, Japan) CD $21.99
RealAudio: /ramgen/othermusic/Terrestr.rm
RealAudio: /ramgen/othermusic/TillIDie.rm
Miniflex is the solo project of Yugo Katayama, the man behind the
music of Yukari Fresh. For his solo debut, however, Yugo all but
abandons the Casio-pop programming he practically trademarked
with Yukari Fresh in favor of a total cut-and-paste approach. Yugo
deftly and seamlessly patches together a myriad of sound samples,
unusual vocal snippets, and some live instrumentation into an
album of infectious Japanese dance-pop. Latin horns and
percussion, vibraphone breaks, a children's chorus, rounds of
applause, '60s exotica, dreamy electronic-pop. For all the
lighthearted fun, "Sud" is a serious piece of work on par with the
recent release from Avalanches, and the best album Escalator's
released since Cubismo Grafico's Mini. This record will make your
day. [TC]
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MOLDY PEACHES "s/t" (Rough Trade, UK) CD-R $4.99
RealAudio: /ramgen/othermusic/moldyp1.rm
RealAudio: /ramgen/othermusic/moldyp2.rm
NYU wunderkinds (as in "I wonder") Adam Green (from whom we
had some particularly snotty EPs last year) and Kimya Dawson are
Moldy Peaches. As the British press foams at the mouth about
these two, they have their own brand of rabidity, as they swing
from tender ballads of pain and confusion to THC-inspired anthems
like 'Steak for Chicken' (which rhymes with 'who'm I gonna stick my
dick in'). Moldy Peaches drink from the same well of stupidity that's
fueled Ween for years, but somehow derive more nutritional,
political and social values from it. It's a particularly cool effect that
when singing a duet, they diverge on different words here and
there, making a multiplicity of meanings and even punchlines, a
number of songs crammed into only one. Super cheap 'cause we
get it direct from them. [RE]
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This week's contributors:
Geoff Albores [GA], Tom Capodanno [TC], David Day [DD], Robin
Edgerton [RE], Gian Carlo Feleppa [GF], Lisa Garrett [LG], Jeff
Gibson [JG], Tim Haslett [TH], Dan Hougland [DHo], Michael
Klausman [MK], Phil Waldorf [PW].


The Big Picture:

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