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Atavachron Digest, 5/97
The New Atavachron Digest 97/05/03
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From: R.J.Heath@lboro.ac.uk (Richard Heath)
Subject: "New" UK Album
Date: Wed, 16 Apr 1997 17:14:01 +0100
In the latest edition of MOJO, tucked away in several of the record mail
order small ads, is listed a live (presumably legitimate), UK album "Dead of
Night", for 12 to 13 pounds sterling. Only other details given is that the
album features the original UK line-up.
Can somebody enlighten me to the history of this album, what tracks it
features, where it was recorded, quality and whether, in an earlier
existence, it was a bootleg? (Which reminds me, is it not about time
somebody got round to releasing the soundtrack to the Bruford Band's "Rock
Goes To College" TV recording - if still available. The Windfall label for
instance has issued many of the other BBC broadcast recordings?).
[ Moderator's note: This UK release would appear to be a bootleg --
one which Eddie Jobson has apparently stopped from being
distributed, according to another mailing list. --JP ]
These small ads also show that a new John Wetton is on the way - is this the
one which has come under heavy criticism in these pages recently?
Dick Heath
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Date: Wed, 23 Apr 1997 11:41:14 -0500
From: rbisson@courrier.usherb.ca ( =?iso-8859-1?Q?R=E9mi?= Bissonnette)
Subject: Tony Williams on P.I.L. CD
Hi Atavachronists,
Regarding Tony Williams' alleged performance on Public Image Limited's 'CD'
record, all I can say is that I have heard this to be true from many
different sources, interviews, articles, and such. Although I have not
heard the record, I think it would be an interesting listen; it seems that
the liner notes do not credit anybody (purposely, I believe), but the
'superband' assembled by Bill Laswell supposedly goes like this: Ginger
Baker and Tony Williams, drums; Bill Laswell, production, and also basses
with Jonas Hellborg and Malachai Favors; Nick Skopelitis, rythm guitars;
Steve Vai, lead guitar; Bernard Fowler, background vocals; L. Shankar,
electric violin; Aiyb Dieng, percussion; Ryuichi Sakamoto and Bernie
Worrell, keyboards; and of course Johnny Lydon doing his thing. This
should be the 'official' lineup, but who knows? Lastly, if anybody has
more info on this, and/or has heard the record (and could comment on Tony's
performance), please post your reviews/thoughts.
Also, I'd like to say (in response to Mark Jordan's post in the last
digest) that I really like John Goodsall's playing. IMHO, the Fire
Merchants 'Landlords of Atlantis' was a great piece of music. Very
underrated, indeed. If anybody has more info on John Goodsall and company,
please post it. (or e-mail me privately).
Hoping to see and hear Holdsworth live in PQ, Canada,
Bruno Bissonnette
R=E9mi Bissonnette Ph.D.
Professeur titulaire
=46acult=E9 d'=C9ducation physique et sportive
Universit=E9 de Sherbrooke
Sherbrooke, Qu=E9bec
J1K 2R1
=20
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Date: Wed, 23 Apr 1997 23:33:40 +0200 (MET DST)
From: mark van schaick
Subject: Dick Heath's posting
Goodday Mr. Heath,
In the last digest (20/4) you mention `yet another "West Side Story" album;
that of Chick Corea's Elektric Band and Steve Vai's Monsters.'
I'm not sure what album you mean. Could you possibly provide label and
number, maybe, even if it's a dud?
>2. Mr Billeray and I have been privately debating whether Tony Williams
>guested on (the Bill Laswell produced) Public Image Ltd's "CD" record, along
>with Ginger Baker and Steve Vai. Alright, the thought of Tony Williams with
>the arch-punker Johnny Lyden/Rotten seems totally wrong
You are right, though. Virgin Records promoted the album by mentioning the
names of Ginger Baker, Tony Williams, Ryuichi Sakamoto, Steve Vai and
(bassist and producer) Bill Laswell.
>3. There are ads in the press stating new Tony Williams album, post-dating
>"Wilderness", out in UK soon.
It's a trio recording with Mulgrew Miller and Ira Coleman, called Young At
Heart. Columbia 487313 2. Songs featured range from 'On Green Dolphin
Street' to the Williams original 'Neptune: Fear Not', to the Beatles' 'Fool
On The Hill'.
I guess I'm not the first one to mention 'The Last Wave' by Arcana, the trio
that featured Williams, Laswell and Derek Bailey (DIW 903, 1996). In all its
bold heavy freedom I think it's an exciting recording, quite unlike
everything Williams has done over the years.
By the way, Fredrik Thordendal's Special Defects finally have an album out.
It's called 'Sol Niger Within' and has been recorded for the small Swedish
UAE-label (Ultimate Audio Entertainment) that offered fine albums by
Mats/Morgan and Jimmy Agren. It's not for the faint of heart, but I'm
curious what reactions it provokes with Holdsworthophiles...
All the best,
Mark van Schaick
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Date: Wed, 23 Apr 1997 23:37:58 -0700
From: Francisco Pablo Espinoza Estrada
Subject: ALLAN'S CHORDAL SOUND
HEY ATAVACROONOIDS,
I have a question for you ! Exactly when did the rich Allan
Holdsworth chordal concept originate ? The evolution of his linear playing
is quite clear to me, but a comparison between his sparse and minimalistic
power chord approach in the seventies records (Lifetime, Gong, Ponty,
Bruford, U.K.) versus his overwhelming sound in "I.O.U." leads to think
that something very strange happened to him at the beginning of the 80's.
Also (correct me if I'm wrong), I don't hear any of his characteristic
volume swells in the seventies records. Is this the result of woodshedding
or could it be an encounter with E.T. ?
Help me solve this riddle
Frankie
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Date: Thu, 24 Apr 1997 16:55:28 -0400
From: Diego Molleda
Subject: Re:
Hi!!
Just wondering about the Holdsworth guitar. I am really planning to buy a
new guitar, and I want to hear a review outside of the Carvin circle. Thanks!!
Mark F Duerr
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Date: Fri, 25 Apr 1997 10:48:37 +1000
From: Neill Griffin
Subject: Re: Brand X
"Mark Jordan" wrote
>
> Just to digress for a short time. Is anybody out there into Brand
> X/Landlords of Atlantis. Is there a WEB site for this band(s) or the
> greatly underrated John Goodsall?
Yes a big tick on Brand X! - Unorthodox Behaviour was one of my fave albums
of that period... along with UK/UK of course.
Funny you should mention John Goodsall, I was checking out some artist
references on CD Universe the other week and looked up John to see if he had
played on any other albums and discovered 'Marscape' (1976) which is
basically a Jack Lancaster and Brand X (of the Collins period)
collaboration. It's currently in the 'to be played' queue at the moment... I
obviously need to reorder my priorities in life... or at least my CDs :)
> Australia is still waiting for you Allan.
DITTO!
Cheers
Neill
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Date: Mon, 28 Apr 97 11:38:42 EST
From: "Mark Jordan"
Subject: Chad Wackerman gig
Hi All
You may remember a cople of issues ago I mentioned that Chad
Wackerman's band was playing at the Jazz Lane in Melbourne Australia.
Well it looks like I'm the only one that was aware of this.
Unfortunateley the gig was cancelled due to lack of interest/ticket
sales. I have since spoken to a few musos around Melbourne and they
didn't even know about the gig. I found out about it because I walked
past the venue and saw the A4 sized ad in the window. It seems that
they didn't do any sort of advertising/promotion and therefore no-one
knew about it. It's a pity as I was looking forward to it.
regards to all
Mark Jordan
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From: "Leslie Miller"
Subject: WIAH Rules
Date: Tue, 29 Apr 1997 14:31:10 -0500
Hello To All Holdsworth Worshippers (Espically female fans)
I noticed that the majority of Allan Holdsworth fans are males. I have
mentioned on this site before that I have gotten some strange looks and
comments from other males (Some not all) when they realize I am a female
fan. It has been called to my attention that I am but one of a few females
who write to the site . And I have heard of Allan being refered to as a
"Guy Thing".Well, it is time for us female fans to unite! I have formed
WIAH (Women Into Allan Holdsworth). Designed especially for the female fans
who are Allan Holdsworth fans. I am starting by conducting a poll as to how
many female fans are out there. If you are female and are interesed in
becoming a WIAH simply send in your name or email me, Leslie Miller at
lmiller@our-town.com. When you do you will automatically be polled and
become a WIAH....Who knows...If enough females are polled, this could turn
into a fun "organization" .....(You know... letters, silly things like
badges, etc.:) ) Have to see what developes.... But seriously I mostly was
curious to see how many female fans are out there. See you at the polls
..
Leslie Miller
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From: "Doug Liles"
Subject: Brand X
Date: Wed, 30 Apr 1997 23:38:31 -0500
I will be starting a new digest for Brand X fans very soon! I'm asking for
subscribers only at this point (I will open the digests for posts early
next week). So if you want to subscribe send a message with the subject
being 'subscribe' to Xcommunication@multipro.com.
Thanks
Doug Liles
dug@multipro.com
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Date: Fri, 02 May 1997 08:34:54 +0200
From: Fredrik Skaar
Subject: the atavachron digest
Shalom, fellow atavafanatics!
I came across this exciting site two years ago, while surfing the =91net
trying to forget about my thesis in spe for a second=85. Sadly, I was cut=
off
>from the gross opportunities of e-mail at the time, so this is actually my
first contribution.=20
First, a huge THANKS to Jeff Preston for providing me with lots of
valuable
info about Sir Allan, his recordings and the like. From day one, I have
depended on ATAVACHRON as the most reliable and loyal AH sites. (I think
leaving out albums Allan disposes of is a wonderful thing to do). Too bad
I=92m stuck here in little Norway (limbo), where it=92s virually impossible=
to
get hold of all of Allan=92s excellent albums. After several years, I had
finally reached the amount of all the =ABofficial=BB albums except for =ABRo=
ad
games=BB (do you read me, Warner Bros.?), in addition to Bruford=92s=
absolutely
smoking =ABOne of a kind=BB (IMO Allan=92s best sideman job ever), Chad
Wackerman=92s albums, the UK one, Soft Machine=92s =ABBundles=BB and EVEN=
Level 42.
And what happens? A burglar! Can you believe me? Well, can=92t blame him=
for
his sense of quality, though=85
So, if anyone could help me with hints as to where to get hold of Allan's
work without=20
jeopardizing my budget, please let me know! This goes for other interesting
material as well.=20
A small Norway-related matter: I read somewhere that AH was a Jan Garbarek=
fan.=20
So am I, so I have seriously been thinking about sending Garbarek a copy of
=ABNone too
soon=BB. AH=92s version of Coltrane=92s =ABCountdown=BB would probably=
excite him,
since this is the very tune Garbarek heard on the radio as a 14-year-old,
determining him to a life as a musician. Seems like we have a lot to thank
Coltrane for. A dream come true, would be AH and JG together on stage or
vinyl, sorry, plastic. =20
This approaches the amount of dollars instead of cents, but nevertheless,
thanks=20
for not falling asleep! I promise to be slightly briefer my next time=
around!
In the player (one at the time, as I haven=92t bought a silly changer):
AH: =ABNone too soon=BB (of course!)
Frank Zappa: =ABThe best band you have never heard in your life=BB
King=92s X: =ABEar Candy=BB (an excellent band, check them out!)
Bruford: =ABOne of a kind=BB
AH: =ABI.O.U=BB =20
Earthworks: =ABStamping ground - live=BB
Yours,
Fredrik Sk=E5r (fredrik.skar@hf.ntnu.no)
Marianne Berge Sk=E5r
Kristiansfeldgate 3
7013 Trondheim
tlf. 73528475
----------
End of Atavachron Digest
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The New Atavachron Digest 97/05/06
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Date: Sat, 03 May 1997 07:30:13 +0000
From: Andrew Lewis
Subject: Re: musings in response to various recent posts
> Date: Wed, 23 Apr 1997 11:41:14 -0500
> From: rbisson@courrier.usherb.ca ( =?iso-8859-1?Q?R=E9mi?= Bissonnette)
> Subject: Tony Williams on P.I.L. CD
> Regarding Tony Williams' alleged performance on Public Image Limited's 'CD'
> record, all I can say is that I have heard this to be true from many
> different sources, interviews, articles, and such.
Yeah, me too--it was around, kind of "common knowledge" at the time
the record came out. Of course, in those that stone age, everyone
referred to it as "Album," exc. those who did all their listening in
the car, who called it "Cassette." I had seen exactly one CD player
when that had come out. I remember orig. Laswell would do interviews
and say "If I told you w ho was on this record, you'd freak out, but
I'm trying to get away from the whole 'star' thing and just make it
music." Uhh, yeah, I believed that one, Bill. A couple of months
later it seemed Vai and WIlliams and Baker and Worrell were "common
knowledge." Certainly Laswell was hanging with all of them at the
time--the rest of the band being even *less* surprising, given
Laswell's past associations.
Although I have not
> heard the record, [snip]... Lastly, if anybody has
> more info on this, and/or has heard the record (and could comment on Tony's
> performance), please post your reviews/thoughts.
If you're into Lydon's thing... which I was at the time, still am to
an extent. It had a couple of fabulous tunes--right up front, "Rise"
and "FFF" were among the most intense performances ever did. The
sound is much more "pro" than other PiL records, which turns out not
to be bad at all--i.e., it didn't domesticate the sound at all (hey, it
wasn't Mitch Easter producing or sumthin'). Unfortunately, and this
speaks to Richard's point in the question, I don't think there's
anything particularly distinctive about Tony Williamss playing. I recall
thinking I could tell what was Williams and what was Baker, but that
was about it. That should be like the difference between, say, Zappa
and Jerry Falwell... but it really wasn't. I think Tony sounds good
in the context, but not particularly like Tony and not particularly
like any number of lesser lights couldn't have done every bit as
well.
[sni[]....t I really like John Goodsall's playing. IMHO, the Fire
> Merchants 'Landlords of Atlantis' was a great piece of music.
which album? My Brand X records, along with the rest of my vinyl, is
in storage in another part of the country... haven't heard this stuff
in forever, though both Goodsall and Percy Jones (on bass) were
*very* impressive on those records.
>
> Date: Wed, 23 Apr 1997 23:33:40 +0200 (MET DST)
> From: mark van schaick
> Subject: Dick Heath's posting
> >2. Mr Billeray and I have been privately debating whether Tony Williams
> >guested on (the Bill Laswell produced) Public Image Ltd's "CD" record, along
> >with Ginger Baker and Steve Vai. Alright, the thought of Tony Williams with
> >the arch-punker Johnny Lyden/Rotten seems totally wrong
>
> You are right, though. [snip]
Do you mean "unlikely," or "wrong"? I have no idea what is "wrong"
in this context, but given Laswell's associations and obsession for
organizing, especially in that era, it's not unlikely at all. And
Williams seems to have always been willing to try things that seemed
to have some "life" in them.
> >3. There are ads in the press stating new Tony Williams album, post-dating
> >"Wilderness", out in UK soon.
>
> It's a trio recording with Mulgrew Miller and Ira Coleman, called Young At
> Heart.
I haven't heard this, but isn't htis the record with an orchestra?
Or is it really just a trio? I'm confused as to which is which in
the recent Williams discography. [and BTW, does anyone know if the
Blue Note Williams record, "Life Time," has been reissued? I've seen
reference to it, but now can find it nowhere. This is unrelated to
the band "Lifetime," excepting of course the drummer, BTW].
> Date: Wed, 23 Apr 1997 23:37:58 -0700
> From: Francisco Pablo Espinoza Estrada
> Subject: ALLAN'S CHORDAL SOUND
>
> I have a question for you ! Exactly when did the rich Allan
> Holdsworth chordal concept originate ? [snip]... a comparison between his sparse and minimalistic
> power chord approach in the seventies records (Lifetime, Gong, Ponty,
> Bruford, U.K.) versus his overwhelming sound in "I.O.U." leads to think
> that something very strange happened to him at the beginning of the 80's.
He, uh, met the devil at the crossroads and made a deal...
oh never mind, I think that was someone else ;-)
Leslie Wrote:
> Hello To All Holdsworth Worshippers (Espically female fans)
> I noticed that the majority of Allan Holdsworth fans are males
[snip... etc.]
is this even debatable? I don't know why it would be true. I've
seen Allan exactly twice, and the audience had some women, but not
many. Like, way less than one of ten people. Are there lots of
women listening at home and not telling anyone? My girlfriend finds
his playing impressive, but she can't listen to it for more than
about 90 seconds. Then it's time to break out the B-52s or Alex
Chilton or old R&B records. All of which is cool with me, but I
can't listen to Allan if she's around if I intend to keep her around.
Has there been speculation as to *why* this is all true?
Ahh... an overly long post for an early Saturday morning. Something
must of have gotten me started... I must go to the gym and lift
heavy things and seriously shut up. Bye for now.
--Andrew
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Date: Sat, 03 May 1997 08:05:21 -0700
From: Keith Bruening
Subject: pil
Jsut wanted to comment on the P.I.L. "Album", I remember only hearing
that it was Ginger, Steve, Johnny on bass and some japanese keyboardist,
can't remember the name. If you haven't heard the album you have missed
the best album of 80's decade. Ginger must be on the whole thing though,
because it's the same drum sound and style throughout. I had him sign my
copy.
Also, this "Blue Thunder" release with Gary Husband I'm seeing listed,
is it a re-release of something old? And anybody heard the new Gary
Moore, which is supposedly with Gary? keith
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From: lednammurco@earthlink.net
Date: Sat, 03 May 1997 06:27:19 -0700
Subject: Re:
(fwd reply to:) Mark F Duerr wrote:
Just wondering about the Holdsworth guitar. I am really planning to buy a
new guitar, and I want to hear a review outside of the Carvin circle.
Thanks!!
I have tried the one Allan used in a Carvin clinic. The one he was playing
sounded great unplugged (from the hollow inside), and of course sounded
great when he played it. Personally the only things I see as possible
drawbacks are: The neck is very fat, unlike the trend towards thinner
necks. It was like a baseball bat. He has really big hands, but you may
want to make sure that aspect will not hinder your playing. I suppose one
could get used to it. Also....
It is not the kind of guitar that is going to be ideal for getting a lot of
different sounds........If you are going to use it is a working musician or
just like being able to get an array of tones for your needs, this may be
a problem as well. Despite these few things it is an excellent bargain for
the price and they are quite cosmetically cool.
----------
From: Snsound@aol.com
Date: Sat, 3 May 1997 13:03:58 -0400 (EDT)
Subject: Re: new album
Hello from THE REPUBLIC OF TEXAS,
Only a joke, so all you militia-fearing peoples can relax----might I suggest
listening to "Home" for awhile. It always does the trick for me after a long,
paranoid day. Enough about me---still cannot find AH's new one here in
Houston. His distribution has got to be the worst. This area around here has
about 3 million people surrounding it, so you would think his label could at
least stock 1 freakin' copy of this greatly awaited new recording. Not to
mention wanting to hear the reuniting of Gary Willis and AH, to boot! I hate
ordering through the mail because of the heightened expense of importers, but
the disc has been out awhile and I've got a bad jones for it. Moderator,
please advise AH as a loyal fan and fellow guitarist/hack, that your fans
here in Houston want to buy your cd---as soon as we can find it in the
stores!!!!!!! We love you Allan!
[ Moderator's note: You can contact Tammy Kizer at Restless Records
to let her know that you're having trouble finding it -- she will
reply with a list of area stores that should have it. Her e-mail
address is tammyk@restless.com --JP ]
Sidenote: I bought my wife a home brewing
kit( she loves beer, dark and bitter) and would like his reccomendations to a
premixed blend of ingredients if he knows of any here domestically in
specialty stores (ala Whole Foods and the like.)
Anything would be appreciated. HOUSTON AWAITS YOUR TRIUMPHANT
RETURN!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Your Friend and Fan,
Mike Morrison
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Date: Sat, 03 May 1997 14:02:08 -0700
From: Matt Zito
Subject: BrandX and the Catalina Bar and Grill
Hello Fellow Holdsworthians:
I saw the band on the Saturday night and it was great show. It
was great to see and here Allan Pasqua with the band. A friend of mine
brought some buttons to the show and was handing them out. They
said Allan Holdsworth was the greatest guitarist on the planet earth.
Allan didn't seem to mind to much but he didn't agree. Allan even took
the time to write out the solo chords for Letters Of Marque for my
friend when he showed him his own version. He's to COOL.
As to John Goodsal. Another friend of mine who went along to
the show happens to be friends with the late Victor Feldmons son(I don't
remember his name) but we went to his house after the show and he has
been playing with John. I saw there set list which included a cover of
RED by K.C. Lilas Dance By Mahavishnu John. I didn't get to meet John
but they are doing gigs in Europe and Japan. When they went to Japan
Percy did the gigs. To the person that mentioned Marscape it's a
fantastic Album. I've had it for years. Have you heard Peter And The
Wolf?
P.S. Did anyone see Allan at the Hollywood Palace with Chic?
Great Show!!!
Well sorry if this post is to long
Matt Zito
Lost in Vegas
mattz2@ix.netcom.com
----------
Date: Sat, 3 May 1997 22:24:40 -0700 (PDT)
From: Roger Billerey
Subject: A few things
Hello everyone out there
First off, I'd like to thank all of you who've provided information as to
who's playing what on PIL's "Compact disc" CD (a.k.a. "Album" when
originally released as an LP record, funny old world). I bought the album
used for $3 for Steve Vai who I was sure played on the thing, as I didn't
want to spend more than $5 on anything remotely related to Johnny Lydon ;)
The fact is, the guitar playing is unmistakably Vai-esque and makes up for
Lydon's ugly singing. And the musicianship overall is topnotch, which only
makes sense considering the roster of musicians who seem to be featured
there. One of the downsides of buying the CD used is that the booklet, for
some unfathomable reason, seems to have been glued together by some
unidentified substance; thus, trying to pry it open to read whatever
credits are mentioned would amount to destroying the whole booklet
altogether without any guaranteed success, so I shall not even try. Maybe
someone else on the list has the cd and could ascertain what has been
suggested here (I doubt it, though, as I can't really see anything in
common
between Lydon and Holdsworth save the fact they're both English)
One gentleman asked about the Carvin Holdsworth guitar. I tried one at the
Carvin store in Hollywood and here are my observations:
- the craftsmanship is remarkable (check out the black stained figured
maple top!!!)
- the Wilkinson trem model works great
- the pickups are a tad anemic for anyone searching for heavily distorted
tones
- the guitar is ultra light (it's partly hollow) which is very nice
- but... it feeds back really easily, even at low, in-store-booth volumes
- the neck is very thick by Charvel or Ibanez standards, but I found that
very pleasant, especially for extended chordal work
- the action is unbelievably low but playable (meaning you can bend
strings without the strings slipping under your fingers, as is often the
case with hair-thin actions)
All in all, this guitar may not be suitable for anyone's playing style or
music but it's a very fine instrument, and the ridiculously low price
makes it an unparalleled bargain. I am NOT compensated by Carvin!!! (but
their equipment is remarkable and their prices are just preposterously
subterranean) (plus the guys that work there are very nice).
That's it for today. Sorry for being so long-winded but I just can't help
it.
P.S: Just picked up "Core", Stone Temple Pilots' first album. I knew their
guitarist DeLeo is an self-confessed Holdsworth fan - check out his two
solos on the album; shades of "in the dead of night", anyone? Really
striking. So these "alternative" guys didn't just listen to punk rock!!
P.S.2: Howdy Leslie, good to see that Holdsworth's appeal extends beyond
testosterone-pumped males! How did you first hear about Allan and what do
you like best in his playing? Please let me know.
Bye to all
Rog the Frog
----------
From: KingsleyD@aol.com
Date: Sun, 4 May 1997 08:25:43 -0400 (EDT)
Subject: Re: No Subject
RE: Allan's chordal work prior to IOU...
Funny this question should come up. I was at my brother Jon's house yesterday
and he played me a compilation CD (didn't catch the source) which included a
couple of tracks from the '78 UK tour. Although the performance was pretty
lame, there was AH doing that chordal 'thang' and I remarked to J that I was
amazed that people with whom AH worked just didn't seem to get it. ('it'
meaning that AH was a monstrously good rhythm player, at least in the
harmonic sense)
Here are a few indications that AH had this sort of thing going well prior to
IOU: UK/UK - 'Nevermore', 'Mental Medication' (n.b., notice these are the two
tracks for which AH received co-composer credit); 'Velvet Darkness' the
acoustic tunes; bits during the kybd solo in 'Red Alert' (TW Lifetime);
Bruford's 'Forever Until Sunday' (those in possession of a tape of the
original broadcast of the first Boston UK show are treated to a very nice
fingerstyle chordal intro to this tune); Gordon Beck's 'Sunbird' LP. As for
the volume pedal swell/multi-tap chorus thing, that did seem to come along
later. (although you may want to dig out Gong's 'Expresso' aka 'Gazeuse' &
check out the pedal steel parts on the lengthy drum/percussion piece on side
one)
But I'd have to say that none of this prepared me for what I saw the man do
in that summer '82 IOU show at the Paradise (the IOU lp hadn't been released
publicly; I bought it at the show). All of us walked out of there in a daze -
I've never seen a crowd of guitarists walk out of a show that quietly.
--Kingsley
----------
From: Paolo Valladolid
Subject: Holdsworth Chords and Guitar
Date: Sun, 4 May 1997 11:56:17 -0700 (PDT)
According to the biographical information, Holdsworth learned his
chordal theory from a piano player (his father). That's why his
chord voicings are more piano-like than most other players.
The latest issue of Guitar Player features a review of the Carvin
Holdsworth guitar. Overall it was a positive review. Some of the
negative comments came from members of the review team who want yet
another Strat/Les Paul/Tele/classic guitar clone. The more open-minded
members liked the guitar design. Other comments that I recall:
"The neck is heavier than the body"
"The guitar, designed for Holdsworth's refined technique, had 'tremelo
gargle' problems when one tried to really 'dig' into a note"
The body is semi-hollow, so that's why it weighs less than the neck.
As for the second comment, yes, I can't imagine anyone buying this guitar
and then playing serious thrash-punk power chord stuff on it without
ordering it with heavier gauge strings and either a fixed bridge or a
tremelo with an additional spring. I personally am more into the
fingerstyle/tapping/legato way of playing; a way of playing suited
to this guitar.
Paolo Valladolid
---------------------------------------------------------------
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|for Music Technology and Stringed Instruments | \
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----------
Date: Sun, 04 May 1997 18:39:08 -0700
From: Ronald Cope
Subject: Re: Public Image, Ltd.
Someone wrote:
>Regarding Tony Williams' alleged performance on Public Image Limited's 'CD'
>if anybody has
>more info on this, and/or has heard the record (and could comment on Tony's
>performance), please post your reviews/thoughts.
When I bought this album (called "album," of course) in the 80s, all I knew
was that Steve Vai was on it -- being a budding metalhead guitarist and
punkrocker, I had to own it. It was, and is, one of my favourite 80s
records. It rocks. I mean really rocks -- if Tony Williams is actually on
the thing, he plays it pretty straight and simple -- and the drum sounds
are huge. Steve Vai is excellent and Mr. Rotten is his usual bad self. If
you're expecting anything other than a rock record, I'd look elsewhere,
though there's a cool 8 minute eastern-sounding Laswellian track at the
end. I've seen the "cd" in the bargain bins for 8 or 9 bucks (Vancouver
prices), and at that price, what the hell...
Someone else wrote:
>>2. Mr Billeray and I have been privately debating whether Tony Williams
>>guested on (the Bill Laswell produced) Public Image Ltd's "CD" record, along
>>with Ginger Baker and Steve Vai. Alright, the thought of Tony Williams with
>>the arch-punker Johnny Lyden/Rotten seems totally wrong
Do you mean morally "wrong" or logically "wrong"? I'd be surprised if Tony
is on any of the tracks on "album," but whether it's right or wrong for him
to have played with an old punk is a non-issue, I think. I heard, however,
that John Lydon all but disowned the record (maybe it wasn't irritating
enough?).
On another note, I just found an old Gong album on vinyl, called
"Expresso", for 7 bucks, featuring Allan on a bunch of stringed
instruments, including pedal steel!! Is it just me, or does a lot of
fusion make other people chuckle, too, especially the 70s stuff? What's
the half-life for a keyboard sound, because these retro sounds are sounding
pretty hip...
Lastly, the line up for the Vancouver Jazz fest is out -- McLaughlin,
Frisell (joy!), Wayne Horvitz (yikes!) -- but why no Holdsworth?! Herb
Alpert's coming, though, so I guess I can't complain...
cope.
----------
From: DMersten@aol.com
Date: Mon, 5 May 1997 10:16:31 -0400 (EDT)
Subject: Re: No Subject
Regarding PIL, Public Image Limited lineup. It has been a while since I
listened to the album, but one can discern the various musicians from one
another. I would hasten to add that I liked it as a musical piece at first,
but it was soon after that I felt that the musicianship lacked what Johnny
Lyden seemed to aim for.
Doug Mersten
----------
Date: Mon, 5 May 1997 10:24:10 +0100
From: Jonathan Donald
Subject: Carvin Holdsworth Guitar
Mark wrote:
>Hi!!
>
>Just wondering about the Holdsworth guitar. I am really planning to buy a
>new guitar, and I want to hear a review outside of the Carvin circle.
>Thanks!!
>
Mark, I ordered mine earlier this year, and have been playing it a lot.
(It's basically the same model shown in the catalog - clear-finish alder,
two AH pickups, black hardware.) It is a very well crafted instrument, very
responsive, and amazingly light. I've owned a dozen or so electrics over
the last fifteen years, including an Ibanez "Jackson copy", two
Stratocasters, and an ES-335. My AH guitar is worlds above any other I've
owned or played.
The neck is not super-thick, but it is noticeably thicker than most
Fender-style necks. I really like the jumbo frets. The fingerboard is a
high-quality piece of black ebony. I don't use vibrato arms much, but the
Wilkinson that this model came with works very smoothly and has yet to
demonstrate tuning problems.
The pickups are very well-balanced - not super-powerful, but have an even
tone (no sharp peaks in the harmonic spectrum). I have yet to feel the need
to adjust the polepieces to compensate for string volume imbalance. They
also have a great clarity that you just have to hear to appreciate. Even
with lots of overdrive on my amp, the nuances just sing right through. And
let me point out that it sounds good at any setting - it's not one of those
guitars that only sounds good 100% clean or completely distorted. (Though I
suppose this also depends on what kind of amp you use - I've got a Boogie).
The acoustic properties of the instrument, produced by chambering the body,
are largely responsible for making this such a fine, responsive instrument.
Notes soar, its sweet overtones sustaining gracefully. After playing this
instrument for the first time, I then picked up my Tele-style solidbody and
it felt/sounded like a water-logged plank - just _dead_.
Because this guitar is so well designed and constructed, it has made me
much more sensitive to the subtlies possible in playing. I never thought an
electric could be so responsive and expressive. It has inspired me to
greater musicality than I've strived for in a long time.
My present brace of guitars, I think, had channeled me into a rut through
their inflexibility and limited range of expression. Regardless of my
intentions of exploring harmonic possibilities, I always found myself
helplessly falling into Neanderthal hard rock barre-chord mode. The AH
doesn't seem to limit me this way.
If you want a high-quality guitar with a truly timeless sound that's really
easy and fun to play, I don't think you can go wrong by ordering the Allan
Holdsworth guitar.
Jonathan
P.S. Backgrounder on me - I'm a self-taught, rank amateur who just likes to
play as a hobby and is fortunate enough to (finally) afford nice equipment.
In case this message sounds too good to be true, be assured that I'm not
affiliated with Carvin in any way. This is, in fact, the first guitar I've
ever purchased from them. I once owned a Carvin SX-60 amp and to be frank,
it was OK but not great. I sold it after about two years.
----------
From: Neesh123@aol.com
Date: Mon, 5 May 1997 18:17:27 -0400 (EDT)
Subject: Re: No Subject
In a message dated 97-05-03 01:31:44 EDT, you write:
> From: Francisco Pablo Espinoza Estrada
> Subject: ALLAN'S CHORDAL SOUND
>
> HEY ATAVACROONOIDS,
>
> I have a question for you ! Exactly when did the rich Allan
> Holdsworth chordal concept originate ? The evolution of his linear playing
> is quite clear to me, but a comparison between his sparse and minimalistic
> power chord approach in the seventies records (Lifetime, Gong, Ponty,
> Bruford, U.K.) versus his overwhelming sound in "I.O.U." leads to think
> that something very strange happened to him at the beginning of the 80's.
> Also (correct me if I'm wrong), I don't hear any of his characteristic
> volume swells in the seventies records. Is this the result of woodshedding
> or could it be an encounter with E.T. ?
The obvious answer would seem to be that until IOU, he had only been the
guitarist on other peoples records. He had total say in what went down on
IOU, and all his subsequent recordings, because they were HIS. He had total
freedom to do what he wanted. He finally got to express the ideas that had
been in his head for many years.
----------
Date: Tue, 6 May 1997 12:41:23 +0000
From: aclark@zappa.u-net.com (Adrian Clark/Nicola Sainsbury)
Subject: Re: UAE Label
On 23 April, Mark van Schaick wrote:
>By the way, Fredrik Thordendal's Special Defects finally have an album out.
>It's called 'Sol Niger Within' and has been recorded for the small Swedish
>UAE-label (Ultimate Audio Entertainment) that offered fine albums by
>Mats/Morgan and Jimmy Agren. It's not for the faint of heart, but I'm
>curious what reactions it provokes with Holdsworthophiles...
Well, I haven't heard that one, but I can definitely recommend
Mats/Morgan's album (also on UAE) 'Trends and Other DIseases'. Quite
frankly, it's one of the best albums I've ever heard - gave me one of those
rare "musical renaissance" feelings when I first heard it around this time
last year. I heard about them through two links: 1) During the late 80s
they played in a Swedish Zappa tribute band called Zapp-stee-toot (Swedish
people pronounce this like they pronounce "substitute") who I saw in a club
in Uppsala, when I was out there as part of my Uni course; 2) Another
Zappa-related link, Mats and Morgan played on the controversy-laden
'Zappa's Universe' album (read frontman Mike Keneally's views on that
album/event at www.moosenet.com/keneally.html).
Just as Mark describes the Thordendal album, 'Trends...' is not for the
faint-hearted or culturally-challenged - it's an inspired mix of
jazz/speed-metal/classic 70s prog/Zappa-style quirkiness. Fredrik
Thordendal provides some utterly DISEMBOWELLING guitar parts, and as with
everything Mats and Morgan are involved in, the keyboarding and drumming
are brill. Don't sit there reading my babble - just go and buy a copy!
Love and hugs,
Adrian
----------------------------------------------------------------------------
--------------------
aclark@zappa.u-net.com
The online manifestation of ADRIAN CLARK & NICOLA SAINSBURY
----------------------------------------------------------------------------
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----------
End of Atavachron Digest
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The New Atavachron Digest 97/05/14
----------
Date: Tue, 06 May 1997 11:19:06 -0700
From: Malcolm Humes
Subject: Williams/PiL/BrandX/Moerlen
Only tangential connections to Holdsworth, but in refernce to recent threads:
Here's the listing of who played on PiL's ALBUM, taken from a japanese CD
release.
PUBLIC IMAGE, LTD. - Album
1) FFF; 2) Rise; 3) Fishing; 4) Round; 5) Bag; 6) Home; 7) Ease
John Lydon: Voice; Steve Vai: Guitar; Skopelitis: Guitar; Bernie Worrell:
Organ; Bill Laswell: Bass; Tony Williams:
Drums; Bernard Fowler: Voice; Ryuichi Sakamoto: Fairlight CMI; L. Shankar:
Violin; Malachi Favors: Acoustic
Bass; Ginger Baker: Drums; Aiyb Dieng: Chatan; Jonas Hellborg: Bass; Steve
Turre: Didjeridu
Produced by John Lydon & Bill Laswell/Material
1986 - Nippon Columbia Japan
BTW, it's not clear to me from the last issue or two of Atavachron if folks
are aware that Tony Williams died recently, I think about a month or so ago.
Also, re: Brand X, there was supposed to be a recent or pending Brand X
concert
I think in Europe, as a trio, with *Pierre Moerlen*(!) on drums with Percy
and
John Goodsall. I heard this mentioned on the Canterbury "What's Rattlin'"
mailing list. Moerlen is also rumored to be moving to the US and gigging
soon on the east coast.
- Malcolm
----------
Date: Wed, 7 May 1997 10:59:48 -0400 (EDT)
From: Scott Miller
Subject: Re: your mail
Hello All,
I just wanted to see if anyone has heard any info on
whether Allan will be coming Stateside any time soon. I realize he was at
Catalina's a while back but will it extend any where beyond in the near
future? And if I may to all of those looking for some new music, if you
haven't checked out Jimmy Herring and Aquarium Rescue Unit your missing
out.
Peace,
Scott Miller
----------
From: Marscrepe@aol.com
Date: Wed, 7 May 1997 11:38:24 -0400 (EDT)
Subject: Re: No Subject
Hey all . It was funny that you should mention that Leslie about female
listeners.
I went to see King Crimson about a year ago down here in southern Florida and
believe it or not the place was half filled. But my wife pointed out to me
that the place was mostly men. Which doesnt surprise me. I really dont know
why it dosent surprise me but it doesnt. I think it is because it is a little
heavy . Like Allan , he wales. Robert Fripp , he wales. Adrian Belew he
wales. Steve Hackett he wales. Steve Howe he wales. But there is something
inside a womans head that just doesnt get it. When I listen to these
guitarist , I sometimes feel like a woman , because it gets me so emotional.
I love it so much . Like riffs from "One of A kind" or U.K. ala Alan. Riffs
from Mr. Fripp or Reeves new bowie cd. Hot. Im sorry Im just ramblin but it
was a very good point and one which someone should research. But not I. OK?
My email name is marscrepe@aol.com which used to be marskape , which was a cd
I loved. Before AOL closed my account and wouldnt turn it back on with my old
screen name. Someone mention "Peter and the Wolf"
if your thinking about the one with Brian Eno . That was good. I have it on
vinyl.
To all take care love this newsletter or what ever it is postings. Leslie
keep on listenen and start recruiting. Share to the masses of woman they need
it.
Love , Steve
----------
From: R.J.Heath@lboro.ac.uk (Richard Heath)
Subject: AVTAVDIG
Date: Wed, 7 May 1997 19:21:19 +0100
Jeff,
The wide ranging subject matter found in the "pages" of AVTAVDIG continue to
amaze me. For example, I never thought the name of Johnny Rotten would
appear. It is one of the many reasons I find this web-site refreshing and
worth contributing to. Long may this freedom of expression, loosely based
around the Allan Holdsworth centre, continue.
[ Moderator's note: Heh... well, *I* sure can't take the credit.
We've got almost 800 -- yeah, *800!* -- subscribers on the list
now, and my hat is off to all those who contribute to the
digest. Unfortunately, the "freedom of expression" point may
not be so valid; for years, I have been publicly derided for
my "no bootleg" policy on Atavachron, and I have decided to
do something about it. See my posting below for details. --JP ]
A couple of issues ago I wrote asking for opinions on whether Allan was a
"Canterbury guitarist" and as an afterthought, slipped in a mention about
PIL and the possible presence of Tony Williams. The response on the latter
has been overwhelming and the former (considerably more relevant to
AVTAVDIG) there has been sweet Fanny Adams ("zero").
To echo my friend Mr Billerey in Santa Barbara, thanks for the PIL details
guys Thanks also to those who tackled my semantics: I meant "wrong" in the
sense of my logic suggesting it was illogical for Tony Williams to be
involved on "CD/LP/Cassette/Reel-to-Reel/8 track/Wax Cylinder/Sheet Music"-
I don't think he ever appeared on anything remotely similar before or after,
(although there was a subsequent Laswell, Hellborg and Williams association
on the AXIOM label). However, as I have indicated before, I love those odd
pairings that often spark into flames, (Vai and Corea for instance - which
also triggered several enquiries in the last week- Cobham and Bolin, Oscar
Peterson and Rick Wakeman**, Paul Butterfield and Jaco Pastorius, even
Pastorius & Mitchell, Rick Derringer and Chick Corea, *** etc.), while
feeling huge frustration with those superbands that didn't spark.
** Old OP TV show shown on Canadian & UK TV about 20 years ago.
***Any other recommended odd pairings on record??
Yes, TW's "Life Time" has been released on CD on Blue Note, if only in N.
America - a US-based friend misread my request to find TW New Lifetime on
CD and sent me a copy of "Life Time" instead. But that was 12 years ago,
so it may be long deleted???
Any news about Allan Holdsworth doing any special gigs in the UK??
And finally.....
In the end I could not resist it and purchased Edward Macan's "Rocking The
Classics". It is a thorough review of mainstream progressive and
neo-progressive rock, and from several viewpoints: those of its history,
sociology, musicology, influences from and of past and subsequent bands
respectively, etc. As you will gather below, it is a relatively learned text
uniting a broad variety themes on progressive music, with the author largely
knits them together well. It initially focusses on the "Englishness" of
this music, developing a pretty good thesis for why this music could have
only evolved in England - Macan goes further and proposes within a 100 mile
radius of London (far too precise???). I think his analysis on why
particular critics have attacked the genre (to paraphrase) "as being the
home of dinosaurs", is fair and balanced. There are inevitably some areas of
conflict with my own views and some weaknesses within the book. I disagree
strongly with the concept of "Canterbury guitarists" having a
particulartype/style/sound -especially wrt Allan). There are about 10
references to AH elsewhere in this book , and the quote from Allan that UK
(EJ??) was essentially not allowing room for improvision led to his and
Bruford's departure (to jazzy things???), reinforced what I had thought.
While accepting Macan apologises for focussing on bands such as Yes, King
Crimson, Genesis and Pink Floyd, it is a pity the book is not longer so as
to examine other bands in greater detail. (For instance, I felt it was a
great shame that the excellent but largely forgotten Californian based band,
Touch was not mention - I have believed for a long time that they have had a
marked influence on early English and US prog rock groups, (e.g. Kansas)).
The discography is limited to a small number of bands, but all those bands'
albums are listed. When you find "Land of Cockayne" included without any
form of critical rating, and therefore included amongst great, even seminal
albums, you discover the book's greatest weakness and hence it just misses
being a comprehensive DEFINITIVE text on the subject. Evenso, Macan has
made me go back and listen to Van der Graaf Generator after a long lay off,
and also want to go seek out the works of some US and European bands. There
is a creditable hypothesis proposing that modern progressive
rock/neo-progressive rock groups are living under a misconception, since the
music is no longer "progressing" at the rate found in the early 70's - if at
all . In many instances new bands are reworking musical styles
explored/discarded by earlier bands, (he even accuses his much favoured King
Crimson, of doing this at the moment). In the last chapter, Macan briefly
reviews three newer bands, including Osric Tentacles, putting them in
context of the past and the present - and implying progressive rock is not
quite dead. Having written that, I'm glad to say I can strongly recommend
it as an enjoyable, broad and deep read on progressive music and a review of
part of my past. More texts on this music please.
Regards,
Dick Heath
----------
From: ToddM@LaserMaster.Com
Date: 7 May 1997 15:56:58CST6CDT
Subject: John Goodsall
First to qualify, Yes, this is an Allan Holdsworth related post because
Goodsall and Holdsworth played together on Bruford's "Feels Good to Me"
record.
I wonder how that session went?
Secondly, Fire Merchants have (or had) two CD releases, the first is
Goodsall/Doug Lunn/Chester Thompson and was on the Enigma distributed
Medusa label (circa 1989).
The second, Landlords of Atlantis was on the tiny Rennaissance Records
label and starred Goodsall/Doug Lunn/Toss Panos and had the late Kevin
Gilbert as producer/engineer (Circa 1995).
Both are fabulous releases and anyone who likes Holdsworth's playing
would do well to seek them out as Goodsall (IMHO) is at least as interesting
as Holdsworth in many cases.
He's certainly as enigmatic and you never get to read Goodsall interviews...
Me.
Todd Madson
PressMate Product Specialist
LaserMaster Big Color Technical Support
Corporate Web Site: http://www.lasermaster.com/
LaserMaster BBS: (612) TEK-LINE
OTIS Faxback Service: (612) 943-3737
----------
Date: Thu, 08 May 97 13:54:50 EST
From: "Mark Jordan"
Subject: The Digest
Hi All
Bruno Bissonnette asked if anyone had heard the PIL album Album (or CD
or Cassette). Yes I bought it when I heard that Steve Vai was on it and
considers the last track (can't remember the name) to be one of his
best ever solo's. I was surprised to see the other participants on the
album. The worst aspect of this album is Mr Rotten himself. Otherwise
it's great.
Fredrik Skaar. I was sorry to hear of your loss of you AH collection.
I would feel especially enraged if that happened to me. I'm curious,
did the thief steal only certain CD's or did he take the whole lot.
You could try CDNOW on the net as I'm pretty sure you can get all the
AH and related CD's from the via Email and I have found their service
to be quite good and reasonably priced. I know what it's to be in the
"Backwoods" and have to struggle to find a source of good music.
Regards
Mark Jordan
----------
Date: Tue, 13 May 1997 09:00:07 +0000
From: alejandro martin
Subject: ...no subject...
Hi all,
I've noticed 'special thanks' to Allan on the liner notes of both the 'Dr.
Hee' and 'Reality Check' albums from Tribal Tech. Is there an interesting
story behind this?
Alejandro
----------
Subject: Chad wackerman on TV
From: Andrew.Munro@cloud.net.au (Andrew Munro)
Date: Tue, 13 May 1997 15:44:00 +1000
Anyone in Australia may have seen CW playing with Roy and HG's house band
last saturday night on Club Buggery.Now sporting a beard,a fine sound
from him on a couple of tunes. This is the second time I've seen him play
on this show.I wish the boys introduced him once in a while unless he
prefers to remain anonymous.
Another bit of useless trivia from me
Andrew.
----------
Date: Wed, 14 May 1997 02:49:05 -0400
To: owner-atavachron@webster.com
From: owner-atavachron@webster.com
Subject: BOUNCE atavachron@webster.com: Approval required
>From jeff@addimension.com Wed May 14 02:49:03 1997
Received: from emout17.mail.aol.com (emout17.mx.aol.com [198.81.11.43]) by jabular.webster.com (8.6.12/8.6.12) with ESMTP id CAA02028 for ; Wed, 14 May 1997 02:49:03 -0400
From: MrBERWELL@aol.com
Received: (from root@localhost)
by emout17.mail.aol.com (8.7.6/8.7.3/AOL-2.0.0)
id CAA29259 for atavachron@webster.com;
Wed, 14 May 1997 02:45:05 -0400 (EDT)
Date: Wed, 14 May 1997 02:45:05 -0400 (EDT)
Message-ID: <970514024504_-1131314318@emout17.mail.aol.com>
To: atavachron@webster.com
Subject: some Brand X dates
Sorry, not much AH info in this post, but info like this can be hard to come
by. SO, here are Brand X tour dates!
Wed. 5/14 London Jazz Cafe
Thur. 5/18 Reading Alley Cat
Fri. 5/20 Leeds Irish Center
Sat. 5/21 Manchester The Music Box
Wed. 5/25 Shefield Leadmill
Thur. 5/26 Oxford Zodiac
Fri. 5/27 Bristol Fleece & Firkin
Sat. 5/28 Colchester Arts Center
ITALY
Tues 6/3 Vignola Town Hall
Wed. 6/4 Rome RAI Radio Live Broadcast
Tues.6/5 Rome Frontiera
Thur. 6/6 Schio Teatro Pasubio
Fri. 6/7 Genova Teatro albatros
GERMANY/Swiss
Sun. 6/8 Bassel. Swis. Atlantis
Mon. 6/9 Stuttgart Altes Schutzenhaus
Tues. 6/10 Munich Schlachthof
Wed. 6/11 Erlangen E-werk
Thur. 6/12 Cologne (Koln) Tunnels
Sat. 6/14 Hameln Sumpfblume
Sun. 6/15 Frankfurt Sinkhasten
Its their first time playing Europe in 17 years, and their first time ever to
play Italy. Check them out!
Mrberwell@aol.com
----------
From: Jeff Preston
Subject: Allan Holdsworth -- FRAMED! / Throwing down the glove
Date: Wed, 14 May 1997 22:34:59 -0600
Yes, it's true -- Allan Holdsworth has been framed... on the
latest version of the Atavachron Web site, that is. Hopefully,
this will prove navigationally-advantageous for most. As of
yet, there's no link to the new site, but for the curious:
http://www.addimension.com/atav/docs/index.html
Those visiting (the "beta testers") are encouraged to drop
me a line with suggestions, etc. and reports of things that
don't work quite right. :) Although I do hate to say it,
the site looks best in Microsoft Internet Explorer (3.02 for
Windows, 32-bit, or; 3.01 for Macintosh). Netscape doesn't
render the table alignments quite the same, nor is the 3.01
version able to render the background graphic that is
embedded in some of the table cells.
Now, for something completely different... in response to
the objections over the years about the bootleg policy
in force on Atavachron (and being quite tired of having
people paint me as a censor and a revisionist), I have decided
to set up a special page on the Web site where people can
discuss the merits of these illicit recordings. HOWEVER, there
will be a few ground rules:
* Any specific reference to a Holdsworth bootleg (or otherwise
illicit recording, whether recorded by someone in an audience
or in violation of a legal contract) will be replaced with
words to the effect of "[illicit A.H. recording]", and;
* Everyone except for me will be posting anonymously -- I
will know what address sent which posting, but the addresses
will not be posted on the Web page.
Otherwise, the gloves are off. Anyone with a strong pro-
bootleg philosophy should be forewarned that there's a good
possibility that you will be quite offended by getting into
an extended discussion with me on this topic.
The page will be up by week's end.
Jeff
----------
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