Alchemy et al

[(Michael J. Lamoureux) <lamour%smiley@gateway.mitre.org>]

	I'm almost sorry I started all of this.  |>oug's argument is much
clearer than was IED's (wow, that's a switch) on this, but then we don't know
yet if IED agrees with |>oug.  I would like to point out two things in |>oug's
argument though.  His argument doesn't refute my claim that Todd Rundgren had
done this before 1982. And I'd like to excerpt a section of |>oug's argument
and see if anybody else caught this:

> What about *The Dreaming*?  Could *The Dreaming* exist in any
> recognizable form with the massive studio effort that was put into it?
> Without samplers, and overdubbing, and all the weird little sound
> effects, sound processing, and sounds?  I don't think so.  There are a
> couple of songs which might be recognizable in an unproduced form,
> played on more convential instruments, but for the most part, the
> "instrument" the songs were played on is the studio.  *The Dreaming*
> would not of, could not of existed without the studio.

    So I guess she won't be playing any of these songs in concert, eh :-)
That is unfortunate, because I like this album much better than the rest of
them.  Oh, and I think you're wrong.  I think most of the album could be
recognizably reproduced live (The 9th Wave is a completely different matter).
    Well, as this argument seems to be degenerating into that famous net "does
so/does not" attitude, I think I'm going to leave it.  Have fun with it.


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                                                   (( get older that I'll
Michael Lamoureux (lamour%smiley@gateway.mitre.org) (( understand it all, but
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