About several replies. Some quite helpful, except hofmann of course.

[prs@oliven.atc.olivetti.com (Philip Stephens)]

->You don't list any similar effect with the choppy parts of
->"Waking the Witch" -- does this mean it only happens with the
->"Watching You" track?

Well, I took another listen at just the choppy parts of Wake, and it is a
lot more difficult to interpret... and therefore my interpretation is more 
likely to include my own imaginings.

For the earlier choppy stuff, just after 'look who's here to see you',
I seem to hear 

"... <talk (to me) talk (to me) listen (to me) listen (to me) (you never)
talk to me at all>.  I don't want you to leave, <but you don't listen to me>."

Closely connected to WYWM.

And a bit later, just after the 2nd 'domini' bit, I seem to hear

"A little bit too hot.  I'm <ready/with you> <whenever/where-ever> you are.  
High and white <???>...  <stick-you-up(?)>  <like a table...?...>
Hardly even stand with it, I mean 's without ti(t) "

I don't make much sense of these words, which could be because I miss-heard
them, or it could be they weren't meant to make sense.  But we don't have to
accept that.  For instance, "I'm with you where-ever you are, high and white"
would make perfect sense (except I'm not sure that's what she said), but I
don't see the connection to what I seem to hear before and after.  Oh well.
Reminds me of fever dreams.

By the way, the voice and rhythm of "Hardly even stand with it" reminds me
a lot of the forward (but unclear) "Listen, he takes me by the formagistidden"
(or whatever that phrase is).

A dubious guess: 'too hot' and 'ready whenever you are' could be terms used
often in the recording studio... but that doesn't explain the rest.

->IED is hyper-excited by this idea of yours, and will go home and
->test your allegations forthwith. Unfortunately, he still has
->no recourse but to turn his record backwards by hand on his
->turntable, as he owns no proper tape recording equipment.


Sounds painful.  Someone should market a device to digitize a few seconds of
music and then alternately play it forward and backward.  Or hack a CD to
play backward??  Meanwhile, if you have a friend with a reel-to-reel, you
might be able to use that to copy and then play back backward like Gary did
for me.  Or I could surface-mail you a copy of my backward cassette (Only
WYWM and Wake seem to have anything of interest backward).


And in reguard to the cassette idea in your later posting: sounds good to me.
I wouldn't currently have much to contribute to it, but I would love to get
a wider exposure w/o quite so high expense... I could at least have one
allegedly representitive track from each of several of the bands I've been
hearing *of* but not hearing.  

Thanks also to someone else, sorry I forgot who, who suggested requesting 
college radio play some of the stuff that's been recomended.  Good idea, 
I had never thought of requesting a song I *hadn't* heard, and they probably 
would do it if they have the record.



->Really-From: Dave Hsu <hsu@eneevax.umd.edu>
->>offensiveness, but what little punk I've heard on college stations etc
->>sounds **dumb** to me.  I can't really comment on 95% of whats being discussed
->>since I haven't heard it and am not willing to spend dozens of dollars on
->>stuff I probably won't like just to hear it.
->
->A pity.  Unlike studies of caches and disk storage mechanisms, there
->is nothing that suggests that a "best fit" or "worst fit" algorithm is
->particularly beneficial to the developing musical mind.  If you only
->listened to music of obvious `greatness' handed to you on a silver
->platter, you should tune a walkman to your local top-40 station and

Well, I'm not too fond of top-40-itis, but I hear some good stuff there
occaisionally.  And a lot of mediocre stuff over and over and over.
You're right about 'unlike ... disk storage mechanisms' etc, but I'm
not asking for it all handed to me on a silver platter (well, I would
like that, but don't expect it), just attempting to define what questions
to ask to narrow down the field from thousands of titles at several dollars
each to a few dozen, and reducing the risk from total to moderate
(not zero).  You do have a point, tho...   and thanks for responding.


->
->Really-From: hofmann@nrl-css.arpa (James B. Hofmann)
->
->
->/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/
->\/\/\/\/\/\/\/\/\/\/\/\/\/\//\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/
->
->And that's all for today's comments on 20th century culture, late 80's...
->
->P.S. to Phil Stephens ... tell me, do you really want us to hand
->hold you through all this music you've already developed a closed
->mind to?  I, personally, see it as a waste of my time.  Go waste
->someone else's time, bud.  I got no need to get into a histronics
->battle with some old fart.
->

Obviously I'm not wasting your time at all, you enjoy insulting me so much.

As for the age-ism, did I hurt your feelings little boy?  Why don't you go
play with your transformer robots and leave this to the 12 years and older
crowd?



->
->Really-From: hsu%uicsrd.CSRD.UIUC.EDU@a.cs.uiuc.edu (William Tsun-Yuk Hsu)
->
->
->prs@oliveb.UUCP (Phil Stephens) writes:
->
->comix or whether Lydia Lunch is overweight to worry too much about east
->coast clubs. :-) Oh, you mean TRENDIES! That's different...

Sounds about right.  A smidgen more clarification on trendies, please, so I
may correctly use it as an insult?

->Oh c'mon... there's never enough weirdness in the world :-)... maybe you
->just never had that much tolerance for the outre in the first place.

Outre?  Depends on just why it is "considered to pass beyond the bounds
of what is normal or proper".  Some I like, some I don't.  For instance,
The Adams Family had a bit of class and taste that was missing in the
rip-off Munster Family.

->Well, let see if I can help...
->You'll probably like Birdsongs of the Mesozoic if you like minimalist
->keyboard music (like Glass, yuck) but done with infinitely more energy,
->color and FUN. Definitely check them out if you want to learn keyboards.

Could be, I like *some* of the 'atmosphere' (yuppie Muzac) music played on
a local 'New Age' station, though by no means all.  I'm still trying to
figure out the difference between music of that genre that I like and other
music apparently equally acceptable to yuppies but that drives me up the wall!
One of life's little mysteries.  Sounds like BOTM is worth risking some bucks
on, anyway.

->You'll probably like Diamanda Galas if you like experimental opera, wild
->vocal pyrotechnics and incredible high frequencies that tickle those
->eardrums. 

????

->You'll probably like the Buttholes if you like grungy gutter noise rock
->with a unique drugged-out vision, and take the old '70s dinosaur gods with
->a little (a lot?) irreverence.

???

->>If you can think of a better way of distinguishing what I might find worth
->>listening to, please give it a try.... perhaps poetic-mystic-storytelling
->>would be the key for me.
->
->You could write Hofmann for this little project of his mentioned a long

The guy I just called a little boy?   :-)

->time ago (Nihilius Fililius or some such). I don't think he does any of
->this quasi-mystical verse stuff tho. In fact, it's probably hard to find
->anything approaching old Moody Blues anymore. You see, in the '80s it's
->kind of hard to be that pretentious and sappy and keep a straight face.
->:-) :-)

Which makes it all the more outre, no?    :-)  :-)

->(BTW, also give Laurie Anderson a try. Gently offbeat and probably won't
->rattle your sensibilities that much.)

"Gently offbeat..." Hey, I like that phrase.  I think I'd use it in my 
'personals' ad if I ever got around to placing one.  And it pretty well
describes some of my favorite music.  Thanks.

->Bill

And thanks to everyone (well, almost).  I have seen the error of my ways and
I promise to take a *little* more risk in my musical investment portfolio
(obligitory yuppie joke).


	- Phil		prs@oliveb.UUCP (Phil Stephens)     {really oliven}
	or, if that fails:	{get to 'ames' somehow, then}!oliveb!prs 

Mail welcome, but my mailer seldom cooperates when I try to reply.