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Re: [thewire] Digest Number 1594

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  • Matt O'Brien
    prema, talk to me soooN! i must sleep! ... From: To: Sent: Sunday, September 08, 2002 7:46 PM Subject:
    Message 1 of 1 , Sep 8, 2002
      prema, talk to me soooN! i must sleep!
      ----- Original Message -----
      From: <thewire@yahoogroups.com>
      To: <thewire@yahoogroups.com>
      Sent: Sunday, September 08, 2002 7:46 PM
      Subject: [thewire] Digest Number 1594

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      TheWire List Info Page: [getting there]

      There is 1 message in this issue.

      Topics in this digest:

      1. "Musical Artists Not Made For This Economy"
      From: "A.S. Van Dorston" <anthony@...>


      Message: 1
      Date: Sun, 08 Sep 2002 14:17:01 -0500
      From: "A.S. Van Dorston" <anthony@...>
      Subject: "Musical Artists Not Made For This Economy"

      Olias Nil of the recently defunct The Fire Show wrote a nice tribute to
      seven artists who deserved a bigger audience than they had -- The Velvet
      Underground, The Fall, Robert Wyatt, Public Image Ltd., Arto Lindsay (DNA,
      Ambitious Lovers & solo), The Birthday Party and This Heat.


      What should we add to that list?

      Captain Beefheart: Often misunderstood with Trout Mask Replica as a Zappa
      protege delving in weirdness for weirdness' sake, on parts of Lick My
      Decals, Clear Spot, Shiny Beast, Doc At The Radar Station and Ice Cream For
      Crow Beefheart was actually as lucid, sharp, terse and powerful as anything
      in post-punk's oeuvre.

      Sun Ra: Wrongly written off as a loony by many jazz fans, Sun Ra mastered
      big band jazz in the 50s and went on to be a pioneer in avant-garde jazz,
      was a mentor to John Gilmore who was just as good as players like Archie
      Shepp and Ornette Coleman, and a body of work larger than Duke Ellington
      and Miles Davis combined.

      James Blood Ulmer: A protégé of Ornette Coleman, hugely influenced by Jimi
      Hendrix, his unique mix of jazz, blues, rock and avant-garde was hard to
      pigeonhole, and he never fully got the acclaim he deserved. Even
      Beefheart's later albums had more influence among the post-punk crowd than
      Ulmer's Tales Of Captain Black (1978), Are You Glad To Be In America?
      (1980), Free Lancing (1981), Black Rock (1982), Odyssey (1983).

      Fela Kuti: Often maligned by critics for his somewhat rudimentary horn
      playing, and James Brown influence, Fela deserved far more respect than
      that. Inventing Afro-Beat is nothing to sneeze at, he was a dynamo
      performer and band leader, and was regularly beaten and jailed for his
      outspoken politics. Who's willing to go through that for their art these

      Tom Zé: Caetano Veloso and Gilberto Gil founded Tropicália and were jailed
      and deported by the corrupt Brazilian dictatorship. But along with Os
      Mutantes, Zé gave the Tropicálistas their wildly anarchic, creative
      edge. The classically trained trickster was presumed missing/in hiding in
      the 70s, but actually he made four of his most brilliant albums -- Se O
      Caso É Chorar (1972), Todos os Olhos (1973), Estudando o Samba (1975), and
      Correio da Estação do Brás (1978). It wasn't until David Byrne reissued a
      compilation in 1989 that more than a handful of people heard of him.

      Roy Harper: A former folkie who was pals with Pink Floyd and Led Zeppelin
      (who paid tribute to him on "Hats Off To Harper" on III), he put out a
      string of stunning albums that were unknown to the mainstream audiences of
      both bands, and is just now are starting to show influences on people like
      Jim O'Rourke. On Stormcock ('71), "The Same Old Rock" features some hot
      guitar playing by Jimmy Page (playing under the pseudonym S. Flavius
      Mercurius). Lifemask ('73), Valentine ('74) and HQ ('75) are increasingly

      Peter Hammill: Like Robert Wyatt, Robert Fripp and Fred Frith, Hammill is a
      prog player (Van Der Graaf Generator) who transcended the genre in his solo
      albums: Nadir's Big Chance ('74), Over ('75), and The Future Now ('78) are
      dark, intense albums. John Lydon cited him as an influence along with Can
      and Beefheart.

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