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[John Lorch <umcp-cs!jhunix!ecf_hydb@seismo.CSS.GOV>]

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Subject: Re: Love-Hounds Digest (Issue L8)
Newsgroups: mod.music
Organization: Johns Hopkins Univ. Comp. Ctr.
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 A few notes on the last issue.
>
>From: Robert Stanzel <alliant!apollo!rps>
>Subject:  Dave Stewart
>
>Also picked up last year's Dave Stewart/Barbara Gaskin album "Up from
>the Dark".  On CD, it's very long; they must have included all the
>singles -- unfortunately.  It's real drivel.  Half the cuts are
>covers, including a very precious one of Dolby's "Leipzig".  There's
>little of the old Dave Stewart, and the National Health sound isn't
>much there, either (most of NH participates).  If this is Gaskin's
>fault (who is she?) then she's more evil than Madonna!  Oh well, back
>to those 15 year old Egg albums...

Is that out? I've been waiting months for that CD! I have all of D.S.'s
singles on Broken Records - 8 in all, the latest being "the Locomotion".
I think they're very nice pop tunes, well done and nicely played. I read
in Keyboard magazine that the CD was to be released in April, but the
co. (Rykodisc) said it had been delayed (of course). It's CD only, btw.
	I'm surprised you know Dave Stewart and don't know who Barbara
Gaskins is. She sang back-up on old Hatfield & the North lps, plus other
stuff from that Canterbury school group.


=====
>>I never said it was a smash success pop album.  That doesn't mean it
>>wasn't a big influence.  Among some circles it caused quite a
>>stir.  You can hear its influence in all sorts of unexpected places;
>>like on Duran Duran, Depeche Mode, Meta Terra, Danielle Dax, Lisa
>>Dabello, The Cocteau Twins.  The trumpets from "Sat In Your Lap" can
>>be heard in something by Tina Turner (which sure irked me, when I
>>heard it!).  Orch-5 can be heard everywhere.  The drum sound, the
>>Fairlight sound, the no cymbol sound, the ethnic eclecticism --
>>they're things that are now becoming quite common, but weren't in
>>1982.
>
>This is a misattribution of the rise in popularity of a few tricks
>of the sampling synth (orch-5 most obviously) to the "influence" of
>Kate's The Dreaming. Keyboard magazine asked her about this sound,
>and she seemed to accept the fact of that sound's popularity.
>It is extremely unlikely that the sameness of sampling sounds among
>ca. 1983 pop music can be attributed to The Dreaming, since there was
>at least one black dance track that came out in mid-1982 which used the
>same Orch-5 sound. It's possible that this kind of minimal and
>superficial influence can be detected in Duran Duran, but not in
>Depeche Mode -- as disposible as this band's music may be, it's not
>fair to attribute their discovery of sampling synthesizers to
>The Dreaming, especially since Kate's LP is miles beyond their pedestrian
>musical understanding. It is far more likely that they were introduced
>to the new range of synthetic sounds through their own interest in
>electronic instruments. The ethnic music fashion in English pop music
>was already quite strong before The Dreaming. In fact, one critic
>commented that Kate seemed to be following the trend herself. Since
>Kate was definitely aware of earlier third-world-influenced rock
>by that time (TH's "I Zimbra" and the RiL LP, for example, as well as
>the Adam Ant/Annabella crap that was permeating UK airwaves about
>then), such an assumption may not be entirely unjust.


I don't know who IED is, but I agree with it's statements here. The 
Fairlight sounds are/were popular mainly because they come already
installed on the instrument when you buy them (presets). They are the
things people discover and play with when they first buy the machine,
and since most people never changes the patches on their synthesizers,
you get the same sounds over and over again. If you get exposed to the
instruments enough, you start to recognize the sounds they make. Yamaha
DX-7's are all over the place.
	Also, since Fairlights are >very< expensive, usually musicians
don't own them - producers or studios do. Since studio time is so 
expensive, people don't take the time to learn how to make new sounds
on the thing. Hence, repetition from the same sounds that grab people
right off. 

=======

>	Michael Hedges is one of the most incredible guitarists I've
>	ever heard. I am finally buying my first Windham Swill album.
>
>				Save your parity bits for big cash prizes!
>						Joe
>

	If you think Michael Hedges is incredible on record, you should
see/hear him live. What you might think is two or three tracks of guitar
on record is actually all done in one track. I'm not usually impressed
by acoustic guitar, but this guy is great.
========

	Also -  I do believe that the guitar Greg doesn't like on "Not this
Time" is actually synthesizer. I'm not positive, but it sure sounds like
one to me. 


John Lorch
Johns Hopkins University
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