Midnight Voices 
The discussion forum for fans of Pete Atkin and Clive James,
their works and collaborators on stage, TV, disc and in print.
Pete Atkin Home | Discography | Julie Covington
| Audio Clips | Visitors' Comments | Join Midnight Voices
Web Digest, week 4 (20.09.97, MV119 - 161) begins | index | prev | next |
-------------------------------------------------------------------------
Date: Sat, 20 Sep 1997 15:06:49 -0400 (EDT)
From: Rob King <email address>
Subject: MV119 Re: MV118/117/116 : Automated or hand made list handling
Re How should members recognise each other at gigs...may I propose that all
the men adopt CJ-type hairstyles?
I imagine for most of us that will not require much follicular work!
Rob
------------------------------------------------------------------------------
From: Cary <email address>
Date: Sat, 20 Sep 1997 22:25:38 +0000
Subject: MV120 Re: MV119 :-recognition
>Re How should members recognise each other at gigs...may I
>propose that all the men adopt CJ-type hairstyles? I imagine for
>most of us that will not require much follicular work! Rob
And turning it around - the women (sorry Ladies) could adopt JC-type
hairstyles requiring much follicular work. ie. hair extensions as per
new pictures on PA home page.
~~~~~~~~~~~~~~~~~~~~~~~
_/\ /\_
Cary a a
Like Mary @
With a 'C' for cat
~~~~~~~~~~~~~~~~~~~~~~
------------------------------------------------------------------------------
Date: Sat, 20 Sep 1997 14:29:11 PDT
From: "Jones,David L" <email address>
Subject: MV121: Recognition signals
>Re How should members recognise each other at gigs
Let's see...
Carry something by Verlaine.
Tattoo crosshairs on brow.
Wear large smoking gauntlets.
Black Funk Rex T-shirts.
Carry Joker card
that's all for now...
Dave J.
------------------------------------------------------------------------------
Date: Sat, 20 Sep 1997 23:18:10 +0100
From: S J Birkill <email address>
Subject: MV122 Re: MV93: Diana
Following on from John's remarks re CJ, which (concerning his TV persona) I
heartily endorse, I invite you all to read Clive's New Yorker article on
his friendship with the late Diana, Princess of Wales, at:
http://www.rwt.co.uk/diana.htm
I've also added some vintage TV piccies to /pa.htm, as already spotted by
Cary.
-- Steve
------------------------------------------------------------------------------
Date: Sun, 21 Sep 1997 00:06:25 +0100
From: Leslie Moss <email address>
Subject: MV123: Monyash
Carole, belated reply to your earlier appeal for support for Monyash 1998 -
include me in please!
How about a mega-relaunch of PA's career to coincide with the thirtieth
anniversary of BOTBS in the year 2000!
Steve, I hate to press an obviously busy man, but any chance of an update to
the Monyash website in the near future?!
All of you, this list has cost me a fortune! Having to replay my old PA
albums made me realise the inadequacy of my ancient turntable so this
weekend I've purchased a new one.
Can the CDs be digitally remastered?
Leslie (I'll be at Islington complete with CJ tonsure)
------------------------------------------------------------------------------
Date: Sat, 20 Sep 1997 19:28:58 -0400 (EDT)
From: Rob King <email address>
Subject: MV124 Re: MV122; MV93: Diana
Clive on Diana? Not more gush! Now I know he is something of a guru for this
group but this peasant-like tugging of forelocks that CJ indulges in with
British royalty does rather strain my loyalty.
Rob
------------------------------------------------------------------------------
Date: Sat, 20 Sep 1997 20:16:47 -0700
From: "Maurice J. Lovelock" <email address>
Subject: MV125 Re: MV116: The list itself
I agree with Francis, Steve. I'm having a helluva time sorting out
converstion order. I know you're probably putting in mucho time on the group
but would it be possible to develop a more logical order for messages. When
time is so limited, it would help tremendously. Thanks and keep up the good
work. MJL PS. I will be making a decision on the "Touch has a memory"
free CD on Friday 26 Oct. All North American members, watch your Emails!!!
------------------------------------------------------------------------------
Date: Sun, 21 Sep 1997 02:27:38 +0100 (BST)
Subject: MV126 Re: MV121: Recognition signals
From: email address (Stephen R Bennett)
>>Re How should members recognise each other at gigs
>
>Let's see...
>
>Carry something by Verlaine.
>Tattoo crosshairs on brow.
>Wear large smoking gauntlets.
>Black Funk Rex T-shirts.
>Carry Joker card
>
You could of course check out Web Site:-
village.vossnet.co.uk/s/stevebee/
look at the Art Gallery in the Cauldron Concepts for
a possible design I could have produced as a mobile
I.D. for all of the "Midnight Voicers".
I have just done the T.Shirts for the Fairport Convention User Group for
CROPREDY FESTIVAL 97.
if anyone is interested in more details please send an E.Mail to me at
<email address>
--
Steve Bennett
<postal address>
<email address>
zzzzzzzzzzzzzzz..COME FRIENDLY BOMBS AND FALL ON-------------------.
Sir J.B.
<phone and fax numbers>
------------------------------------------------------------------------------
From: Colin Boag <email address>
Date: Sun, 21 Sep 97 07:06:16 +0000
Subject: MV127: PA at Charlbury - 20/09
As strange evenings go, this was one of the strangest. Not the man
himself, (since I work in the computer industry and hate acronyms,
Pete will hereafter be referred to as 'the star' rather than the
seemingly preferred PA), but the audience. Leaving Charlbury I hoped
that there weren't going to be too many wipe-outs on the country
lanes as the disciples raced each other home to see who could be
first the first to carry the message to the others (there was someone
at the event who had travelled from the Low Countries, I hope he got
back to Ghent via Aix OK).
It appeared to me as if critical faculties had to be handed in at the
door and relaced by total and unswerving loyalty. If, halfway through
the evening the star had announced that he had a deep admiration for
the Spice Girls and wanted to do a couple of their numbers, I have no
doubt that this would have been cheered every bit as enthusiastically
as the songs we had been expecting.
However, on to the man himself.
In recently discussing the Midnight Voices phenomenon a friend of
mine proffered the view that the star's voice was one which would
probably improve with advancing years and I think that is the case.
One of the things which I liked about live performances 20+ years ago
was that they sounded like the albums and Charlbury simply confirmed
how excellent the star's vocals are. The new keyboard, making its
first ever public appearance we were told, was a great success,
making a whole set of songs come alive in a way that solo guitar
couldn't have done (the version of 'I see the Joker' was as
spine-chilling as I remember it to be).
If one is to be critical, (not the way of this forum but I hope
you'll forgive me), there were, not surprisingly, signs of
ring-rustiness. Times when the star seemed to be searching for the
next line and a couple of occasions when he simply forgot. I know
that this will provoke an outburst from some readers but I wonder
whether some of the lyrics don't need a spot of updating: 'ten quid
from the bank and I got out of town with relief' went unquestioned by
the loyal Charlbury audience but in a different setting I suspect
people might wonder just how far he travelled, how little he was able
to afford to eat and drink etc...). After all, we do want the music
to get to a wider audience and not be restricted to an elitist
group...don't we?
Overall, it was an excellent night which really rolled back the years
for me but let me leave you with this as a thought. Shouldn't we be
careful about too much unquestioning adulation? When the star comes
to Winchester at the end of October I intend to make sure that at
least half of the tickets we sell go to our regulars who will listen
to the songs with a fresh set of ears and where, hopefully, it will
expose the excellence of the music and lyrics to a new and wider
audience. Similarly, the applause which the performance will
undoubtedly get will be a genuine reflection of the star's talent - I
felt that at Charlbury it became somewhat of a clapping contest,
something which I'm convinced the star found embarrassing.
Best wishes
Colin
Boag------------------------------------------------------------
------------------------------------------------------------------------------
Date: Mon, 22 Sep 1997 12:38:48 GMT
From: email address (Dr Jeremy Walton. <phone number>)
Subject: MV128: Where have they all gone? PA at Charlbury
Thanks to Colin for his notes on this. Perhaps I could supplement them
with my impressions (and some anorak-style attention to detail):
Venue: The Hothouse is a small room in what used to be a small primary
school in a small village in Oxfordshire. I think you get the idea -
we're not talking about a stadium gig here. I'd guess that there were
about forty people in the room, sitting at tables, clustered around a
tiny stage, just big enough to hold one man, a guitar and a keyboard.
No amplification, which enhanced the notion that Pete was playing for
you in the comfort of your living room (the venue isn't licenced either,
so you drink your own drinks - again, just as if you were at home).
Setlist:
First set:
1. Luck of the Draw/Where have they all gone?
2. Thief in the night
3. Landscapes from an old affair (?)
4. Frangipanni was her flower
5. I see the joker
6. Perfect moments
7. Song for Rita
8. Over the high side
9. Girl on the train
(all guitar except for 4-7, on keyboard. Not sure about the title of 3
- couldn't find it in the phrase search on the website)
Second set:
1. Prince of Acquitaine
2. Pearl driller
3. Sessionman's blues
4. Canoe
5. Commercial traveller
6. Senior citizens
7. Beware of the beautiful stranger
8. 30 year man
9. Master of the revels
(1,2,5 guitar, remainder keyboard)
Encores:
1. The original Honky tonk night train blues
2. You can't expect to be remembered
(both guitar)
So what was he like? After getting over the "I've waited too long for
this" shock of actually having the man himself there in the flesh (he
just walked onto the stage, said hello, reached for a E9 on the guitar,
started strumming and singing "I once always finished ahead..."), I
found the whole thing delightful. His singing was in fine shape, and
the choice of songs was imaginative and entertaining. Particular
highlights: "Senior Citizens", "Over the high side", "Prince of
Acquitaine", "Canoe" (which he'd kindly included in his set after I'd
requested it) and his final "You can't expect to be remembered", which
he dedicated to the venue (it's closing down at the end of the year,
alas). The audience responded warmly; maybe thinking that the CJ
connection made him a humorous singer, there were big laughs at some of
the lines, and there was enthusiastic applause after each number. At
the end, the compere intervened to protect him from a third encore by
leading the applause with "Pete Atkin - you *can* remember to be
expected!", which struck me as a neat inversion.
Like Colin, I was struck by his apparent nervousness. Perhaps my
expectations had been heightened by CJ's remarks about his unfair degree
of natural on-stage authority, and I'm sure I wasn't the only one in the
audience who was hanging on his every movement (hey, what happened to
the D11 at the end of "Senior citizens", then?) in an over-obsessive
fashion, but I think, in the end, that his slight fluffs made it an even
more intimate and relaxed evening. For example, when he sat down to
play "Thief in the night" he was momentarially fazed by the choice of
having *two* ways in which he could cross his legs. "You can tell it's
been a while since I've done this sort of thing", he announced.
Similarly, when somebody called out for "Beautiful stranger", he
obligingly improvised a keyboard part for the song (he'd forgotten a
capo, so couldn't play it on guitar). When he stumbled and paused after
going straight from the first to the third verse, it was an eager member
of the audience (oh, alright then, me) who called out the beginning of
the second verse.
During the interval, I went up and spoke to him. I don't remember what
I was expecting - probably "Don't bother me now" - but instead, he was
unassuming, pleasant and (a word not usually associated with
entertainers) polite. We chatted about his day job, the BBC, his
resurgence in popularity and access to the chords for the songs (he was
kind enough to indicate that he was willing to help in any way he
could).
After the show, I spoke briefly with him about last year's Steely Dan
concerts. He'd seen them at Birmingham NEC (hey - I was there as well!)
and we both agreed that the size of the venue had been unfortunate - not
the best environment for finally seeing one of your lifelong musical
heroes in the flesh. The contrast with Saturday night at Charlbury was
complete.
------------------------------------------------------------------------------
Date: Mon, 22 Sep 1997 06:03:17 PDT
From: "Jones,David L" <email address>
Subject: MV129: CJ Sightings over the years
Thought it might be appropriate to recall some of the times I saw
Clive in the past...
His short stint as presenter on "Cinema", after Parky moved on
to his chat show. Classic 'two-fisted' commentary and unorthodox
views, such as a whole show dedicated to Marlon Brando being
a genius (at the time there was much head-shaking about his Don
Corleone).
Late-night talking head pieces on whatever satire show was current
("The End of the Pier Show" ?). One where he rubbished pulp
war-comics: "You notice that everybody calls everybody else
by name in every frame. That's because the artwork is so bad it's
the only way you can tell who's who." Another did a mock
psychoanalysis of Richard Nixon: "According to this test, Mr. Nixon
now includes himself in the list of people out to get him."
One (and only one!) appearance as a judge on a TV talent show.
Surrounded by typical TV sycophants (the ever-bubbly Lionel Blair
may have been one) he set out to deal a healthy dose of reality to
the contestants, so where the others handed out plaudits and gave
9 out of 10, Clive dumped on almost every act, getting the odd boo
for his trouble. Needless to say, he was not asked back.
It;'s possible that this marked the point where Clive got the message
about TV.
And finally: March 1996 or so, on "CJ on TV" , or whatever you call
it, he showed what appeared to be an anti-fur commercial from US
TV, in which various beautiful people wearing fur are hunted, shot,
trapped or bludgeoned, ending with the caption
"Fur: you deserve it". Nice try, but it was never a real commercial,
just a spoof on "Saturday Night Live". Oh well.
Dave J.
------------------------------------------------------------------------------
Date: Mon, 22 Sep 1997 11:47:57 -0400
From: John Ramsey <email address>
Subject: MV130 Re: MV124 Diana - Candles on the roof.
Rob wrote;
Clive on Diana? Not more gush! Now I know he is something of a guru for this
>group but this peasant-like tugging of forelocks that CJ indulges in with
>British royalty does rather strain my loyalty.
Well Rob, re reading the first couple of paragraphs, perhaps you have a
point. But I think the rest of it - that's a lot of writing - is genuinely
moving. I did not like Diana particularly and I felt a little detatched
from the great outpourings of the last fortnight, but I felt that CJ was
speaking from the heart about someone he did know and like. I don't think
his piece was forlock tugging - what was it he called her, a dingbat or a
fruitcake? I don't get the sense that many of us on MV think he's a guru,
just someone who can sometimes move us and sometimes make us laugh, and who
gets our thanks for that.
But all this has led me to treasonous thoughts. What if PA rather than the
anodyne Elton John had been chosen to sing a re-written song in the Abbey
that day? She had no great...
But in case people feel very strongly about a line of tired Windsors,
I'll let you develop this in the privacy of your own mind.
John.
------------------------------------------------------------------------------
Date: Mon, 22 Sep 1997 10:24:50 PDT
From: "Jones,David L" <email address>
Subject: MV131 RE: MV94: One Midnight Voice
>.... Pete's own comments on "Faded Mansion"
>I did (and do) think of the chorus as being in F, even though it resolves
>to D. It never occurred to me that because the tune ends in D that
>therefore the tune is IN D, and even though the middle eight goes off into
>G (as if it really was in D). (Have I lost everybody yet?) Something
>else I was completely unaware of at the time, and which is of doubtful
>relevance to anything at all in any case, each time it comes back to F for
>the start of each chorus stanza, it gets there by a different harmonic
>route. (C-C7-F, D-C9-F, G-C9-F) Fascinating or what? Definitely what,
>I'd guess.
I'd say it's (unconscious?) reflection of Clive's lyric style. How many of the
songs have a 'chorus' that is different in detail but similar in form each time it
is sung? It's practically a trademark, and certainly a great hook. I know it's
one of the things that attracted me in the beginning.
Dave Jones.
------------------------------------------------------------------------------
Date: Mon, 22 Sep 1997 15:00:56 -0400 (EDT)
From: Rob King <email address>
Subject: MV132: Musing
Dear fellow Voices,
Forgive me if I sound like a pig in shit, but a package this morning arrived
from the inestimable Tim Benstead, containing three tapes and six albums by
the Master.
Can you imagine the delight of two completely unheard offerings, and others
that have been silent for some 15 years? It is like having a date with
Anghared Rees, winning the lottery and scoring the winner for Tranmere Rovers
in the FA Cup final at Wembley all rolled into one!!
I think Tim should be given a medal; I have told him he can, in the words of
the immortal Jake Thackeray "kiss my wife if she's game", especially as she
is now ex.
The drive from Surrey to Liverpool has never passed so quickly or enjoyably
and naturally I have the odd obseravtion and question.
Does everyone else agree that The Road of Silk is a songwriting masterpiece?
It sounds as fresh and original today as it did in those carefree days. And
Perfect Moments is a perfect song.
One of the things I like about Peter's music and Clive's lyrics is that
something new always seems to stand out long after the tape has finished.
Tonight, as I await the gladiators here at Anfield, it is the image of
"helicopters on the walls of Troy" and the line that made my girlfriend melt
when I recounted it earlier: "I am the sleep of which you are the dream."
I would like to know if Pete had often to change Clive's lyrics to fit the
music? And did Clive ever play or sing on the albums, though we all know he
famously has a terrible voice. But there are so many references that give him
away as a frustrated rock star!
Tim regrettably did not do a full track listing etc so I can no longer recall
without recourse to the web site how many, if any, are Pete's own
compositions, lyrics and all. But since this is a closed group I believe
these are the sort of things which should be listed and discussed here.
One further point. If anyone is a bigger hero than Tim, it has to be Steve
for the huge effort he is putting into this group and it must upset him to
have his work criticised. If people do not have time for all the e-mails,
which take a second to download and do not have to be read after all, they
should offer their regrets and depart, though no-one wants to see anyone
leave.
Anyway, I have more important things to do now, like Big Stan's return to
Merseyside and then another delicious hour or two with those precious tapes!
Rob
------------------------------------------------------------------------------
Date: Tue, 23 Sep 1997 17:01:27 -0400 (EDT)
From: Ian Chippett <email address>
Subject: MV133: Sunlight Gate
Just a few comments to make.
1. Thanks to all those who explained what a Sunlight Gate was. This clears up
over 20 years of bafflement.
2. In my last e-mail I pontificated about CJ's incorrect use of eye-rhymes in
GOAT which was of course a deliberate mistake as the effect of rhyming
"earth" and "mouth" is a half-rhyme and not an eye-rhyme.
3. It was great to have a communication from PA in person. He expressed
surprise that no-one in our group seemed to be a Randy Newman fan. Well, I am
but I can't see the influence he could have had on PA except they are both
great writers (and arrangers), with a sense of humour, and write songs that
no-one else can sing as well as them even though neither of them are really
singers as such. Any ideas?
4. The Stackridge mystery i.e. why do so many of us like PA and Stackridge
may have a solution in a comment of PA. He said that he admired Anthony
Newley who sang with an English accent. So do the various singers of
Stackridge. In fact, I find it hard to take seriously all those singers who
think it necessary to put on a false American accent (like Elton John or Joe
Cocker). Is it to cover up the feebleness of their material?
5. In his message PA took pains to distance himself from Gerald Smith's
brilliant interpretation of Faded Mansion. He pointed out that he had had
very little musical training and that this kind of thinking was far from his
mind when he wrote the song. I see what he means yet this rather tends to
bear out the theory developed in "The Language of Music" by Deryck Cooke that
writers can't help but follow certain rules (as it were) when composing. For
example, the move from G to D minor 6 when he sings "between the
headlands..." has always been used to express a certain kind of emotion
throughout musical history (yearning, as Gerald suggests). What I mean is
that just because PA wasn't aware that he was doing it, doesn't mean that he
wasn't doing it and in fact this probably helped him to be so successful !! I
have probably not made myself clear as usual but I urge you to read this book
(probably out-of-print now) which will explain the matter much better than I
can even for those like me with little or no formal musical training.
6. One question for PA. Which is the song he's most proud to have written?
And can he explain the circumstances in which it was written?
Ian Chippett
------------------------------------------------------------------------------
Date: Wed, 24 Sep 1997 05:11:33 -0400 (EDT)
From: Rob King <email address>
Subject: MV134 Re: MV133: Sunlight Gate
False American accent when singing: Joe Cocker? Feebleness of his material:
Joe Cocker? Have I been on another planet all these years?
------------------------------------------------------------------------------
Date: Wed, 24 Sep 1997 10:39:07 GMT
From: email address (Dr Jeremy Walton. <phone number>)
Subject: MV135 Re: MV128: Where have they all gone? PA at Charlbury
Just a couple of pedantic corrections to my own note:
>Setlist:
>First set:
>1. Luck of the Draw/Where have they all gone?
>2. Thief in the night
>3. Landscapes from an old affair (?)
>4. Frangipanni was her flower
>5. I see the joker
>6. Perfect moments
>7. Song for Rita
>8. Over the high side
>9. Girl on the train
>(all guitar except for 4-7, on keyboard. Not sure about the title of 3
>- couldn't find it in the phrase search on the website)
Actually, 3 is there (in the Unreleased section) called "Landscapes".
>Second set:
>1. Prince of Acquitaine
>2. Pearl driller
>3. Sessionman's blues
>4. Canoe
>5. Commercial traveller
>6. Senior citizens
>7. Beware of the beautiful stranger
>8. 30 year man
>9. Master of the revels
>(1,2,5 guitar, remainder keyboard)
In fact, it was 1,2,6 he played on guitar.
Cheers,
Jeremy
------------------------------------------------------------------------------
From: Colin Boag <email address>
Date: Tue, 23 Sep 97 09:37:25 +0000
Subject: MV136
I am 100% with Rob when he proffers a poke in the eye with a sharp
stick to those who criticise Steve's efforts in creating the website
and also putting in the hours to run this group. As far as I'm
concerned Steve is due a major vote of thanks and I for one will be
buying him a beer when we meet! One minor regret is that it was the
appalling Daily Telegraph which carried the article about the website
- I stress that a friend of a friend bought it, not me!
Finally for Rob, I really struggle with references to this sublime
music being mentioned in the same note as football. Please, please
tell me that not all Pete Atkin fans also love that wretched and
unwatchable game! However, Rob, very brave of you to 'come out' and
own up to being a soccer fan!
Best wishes
Colin
Boag------------------------------------------------------------
------------------------------------------------------------------------------
From: Colin Boag <email address>
Date: Tue, 23 Sep 97 22:48:55 +0000
Subject: MV137 Re: MV133: Sunlight Gate
I'm sorry if I strike a discordant note or, heaven forbid, sound
pedantic, but what does Ian mean in his comment when he describes
Pete (and Randy Newman) as not 'really singers as such'? I actually
think Pete, despite his talents as writer and arranger, has rather
an excellent voice and one which, as my comment on Charlbury said,
has got even better over the past 20-25 years. Furthermore, just
because one writer likes another it doesn't automatically imply that
the former is an influence on the latter - couldn't he just like his
work?
Best wishes
Colin
Boag------------------------------------------------------------
------------------------------------------------------------------------------
From: Stephen Payne <email address>
Date: Wed, 24 Sep 1997 11:37:38 +0000
Subject: MV138: musings
I have a few rambling reactions to the recent messages:
I too have always loved Road of Silk: it contains some of my alltime
favourite songs (Perfect Moments, My Egoist, Care-charmer sleep, The
road of silk). Yet it contains a couple of songs which, alone in the
whole catalogue, I've never learned to like at all. I'm thinking of Our
Lady Lowness (Can't hear it without thinking of Margaret Thatcher), Wall
of Death (yet I love the Richard Thompson song by the same name), and
The Man who Walked Toward the Music. Is there anything very different
about those songs, or am I just missing something?
Must confess to being another Randy Newman fan. Actually, I do hear some
similarities in the music, but then I'm not a (competent) musician. I
really do appreciate the guitar chords though - even if some of them are
too obscure for me! Don't suppose anyone out there would like to
contribute tablature versions? (e.g. I'd love to know how to do
Beautiful Stranger just like the master, and I'm afraid my musicality
just aint up to the job, even given the chords..poor me).
A recent discovery for me is June Tabor, especially her Against the
Stream album, which has fantastic versions of songs by Richard Thompson,
Elvis Costello, and others equally wonderful by writers I don't know. I
wonder if she could be persuaded to do an Atkin/James cover?
I'd like to echo the question to PA of which song he is most proud of.
I was very interested to hear Paul Simon on TV recently pick out
Graceland (the song) as his proudest moment. I was surprised he could
do it, choosing favourites seems so hard. One of my own Atkin/James
favourites is Tongue-Tied. Lyrically it seems so clever: the idea, I
presume, was to stuff a song full of cliches and yet produce something
fresh and beautiful. And then the music seems so in keeping, simple and
innocent sounding, yet fresh and delightful. Mmmmm.
Finally, I agree, let's not take Steve's efforts for granted. I'm
amazed how much I'm enjoying being a "fan". Its great that someone as
under-appreciated as Pete should at last have "the delicious danger" of
having his head turned.
Steve Payne
------------------------------------------------------------------------------
Date: Mon, 22 Sep 1997 21:09:29 +0100
From: Christine Guilfoyle <email address>
Subject: MV139: pete atkin
Apologies for joining in this slightly belatedly - gremlins in the e-
mail, which I think we've now overcome. Having just managed to pick up
the last couple of weeks' messages, I'm astonished by the size/range of
the midnight voices correspondence to date.
Introductions seem to be expected - so briefly...I don't quite seem to
fit the PA demographic because I'm only (?) 37 and I'm fairly computer
illiterate (though my wife isn't, which is how I come to be here). But I
am male and, I suppose, professional - a former management consultant &
author now working for the very ethical Co-operative Bank.
I first stumbled across the work of the excellent Mr Atkin at about the
time Live Libel came out through (if memory serves) a John Peel session
featuring Errant Knight and Stranger in Town amongst others (incidently,
does anyone else remember I See the Joker making it into one of John
Peel's early Festive 50s?). I've got all the stuff he's ever
commercially released (most several times), and I've seen him over the
years at venues ranging from Nottingham University through a late night
benefit gig at the Rio Cinema in Dalston through to, well, Monyash.
Bizarrely, I also once saw him performing a Monty Python sketch with
various ex-Pythons at a Kite Benefit show in Cambridge. I also used to
see him regularly on the 8.30 train from Clapton to Liverpool Street in
the days when we both worked for the Beeb, but never once saw him offer
the driver a cheque...
I've been intrigued by the musical tastes of other Atkin afficionados -
my own are many and varied, but tend to focus on interesting songwriters
- Richard Thompson, Robert Wyatt, Elvis Costello, Billy Bragg, Randy
Newman, Tom Waits, Kevin Coyne, Shane McGowan, Ron Sexsmith et al. I'm
also a little surprised by the resistance to the F-word (not to mention
the dreaded C&W words), given the existence of Nic Jones, Dick Gaughin,
Lyle Lovett, Guy Clark, Jimmie Dale Gilmour, etc. I could go on (and
will, but not here).
The musical taste of Pete's admirers is interesting, I think, because
his/Clive James' songs really aren't like anything else I can think of -
the lyrics' mix of serious content with genuine (if occasionally
slightly forced) Broadway-style wit and craft, and the subtlety of
Pete's melodies and arrangements. I can't think of any other
contemporary songwriter who's even tried to do what they did (even the
best serious modern songwriters from Dylan to Bragg haven't attempted
the formal craftmanship of a Lorenz Hart or a Cole Porter). The closest
I can think of is Stephen Sondheim, who's clearly coming from a very
different tradition but who has (it seems to me) often reached a similar
end-point. I'd be interested in others' views (especially if they can
point me in the direction of some more interesting songwriters). But I
suspect that, ultimately, it's the uniqueness of the Atkin/James
endeavour that proved one of the barriers to their popular success -
there were no reference points for a mass audience because their music
was like nothing else. (Compare and contrast Oasis, which is nothing but
reference points. Discuss.)
Anyway, enough ramblings. It's just heartening to know that I'm not the
only Atkin mild-obsessive out here. Oh, and I'd welcome Monyash II in
any format so long as Pete is performing (and ideally Julie Covington
too). Steve should aim to create the thinking person's Cropredy - the
annual Pete Atkin reunion festival. Perhaps with Masters of the Revels,
a Pete Atkin tribute band...
--
Mike Walters
------------------------------------------------------------------------------
From: Cary <email address>
Date: Tue, 23 Sep 1997 23:30:47 +0000
Subject: MV140 Re: MV136
Colin wrote,
> >I am 100% with Rob when he proffers a poke in the eye with a
> >sharp stick to those who criticise Steve's efforts in creating
> >the website and also putting in the hours to run this group.
>
Have I missed something? I know there was some discussion over the
list distribution but I do not recall anyone critisising the website.
~~~~~~~~~~~~~~~~~~~~~~~
_/\ /\_
Cary a a
Like Mary @
With a 'C' for cat
~~~~~~~~~~~~~~~~~~~~~~
------------------------------------------------------------------------------
From: Benjamin Peterson <email address>
Date: Wed, 24 Sep 97 22:16:55 +0100
Subject: MV141 Re: MV 139 pete atkin
>I'd be interested in others' views (especially if they can >point me
>in the direction of some more interesting songwriters). But I
>suspect that, ultimately, it's the uniqueness of the Atkin/James
>endeavour that proved one of the barriers to their popular success -
>there were no reference points for a mass audience because their
>music >was like nothing else. (Compare and contrast Oasis, which is
>nothing but >reference points. Discuss.)
I dunno... I'm *completely* without reference points for CJ&PA, coming
entirely from a heavy metal / punk / industrial musical background,
and it doesn't make any difference to me -- CJ&PA is the only acoustic
music I ever listen to, but I don't think that's made it any less
accessible for me. I think the main barrier to worldwide fame for
CJ&PA a la Michael jackson is that there just aren't that many people
who have seen/felt the things the songs describe.
Try Bob Calvert for another interesting songwriter. Like PA, I think
of him as uniquely English in his attitude, but he occupied a rather
different territory. Weirder than PA but no less sensitive. Damn, I
wish that guy was still alive.
I refuse to discuss Oasis in a civilized forum such as this :)
Ben Peterson
------------------------------------------------------------------------------
Date: Wed, 24 Sep 1997 23:37:54 -0400 (EDT)
From: Rob King <email address>
Subject: MV142 Re: MV137
I never thought of myself as a lateral thinker until I found this group!
But....
While killing time in Manchester ahead of yesterday's United game against
Chelsea, I found several second-hand record shops and searched diligently for
priceless PA vinyl without success.
However, I did stumble across an unexpected jewel in the form of a Jonathan
Kelly LP; now I know for certain that I must be the only person who remembers
this cheerful and quite unexpectedly entertaining singer, and absolutely
guarantee that I am the only person who still plays and loves his music.
Mind you, I thought that about Pete Atkin. LOL.
Anyway, that find and a listen to A Secret Drinker on the way down the M6,
with Pete's couple of Blues numbers, set me thinking that as we are such an
eclectic lot, maybe there are people out there with copies of the sort of
records some of us poor anoraks spend years searching for in musky basements
and provincial backstreets.
For example, and maybe Pete himself admires this guy and possesses the disc I
am seeking, I have spent ages without success trying to find the tragically
late Duster Bennet's Bright Lights Big City live at the Gin Mill LP.
I am sure members have their own favourites that have been destroyed by the
passage of time or lent and never returned, or simply never bought because a
friend had a copy, and maybe they reside in other Voices collections. We
could start a sort of swap shop.
Of course it could swamp the mail boxes...perhaps Steve could compile a list
of wants and then print replies from those who have the music?
A couple of answers for Colin: I too have struggled to appreciate Lady
Lowness on The brilliant Road of Silk, but I do like the Man who Walked
Towards the Music and the jury's still out on the Wall of Death. The rest is
just wonderful though.
As for any odd references to football (And Colin should by now know my
shameful secret), I have found one strong reference to our national sport in
the PA canon, so I feel I am being legitimate!
Rob
------------------------------------------------------------------------------
Date: Thu, 25 Sep 1997 10:34:48 -0400
From: David Gritten <email address>
Subject: MV143: another midnight voice
Been meaning to write this for a couple of weeks, even if it
confirms me as a walking cliche of a PA fan.
Here goes: 49 years old, journalist since first term at London
university in 1967 -- so 30 years in the racket. Two kids, twice married,
lived in the USA throughout the 80s. Was very influenced by Clive James's
TV criticism, and became a TV critic myself on a Los Angeles newspaper for
three years. First encountered PA when I was rock critic for the Birmingham
Mail in the 70s. Went for a apres-gig drink with him at his hotel -- which
turned out not to serve alcohol. Been in touch with him sporadically ever
since, and now we're reasonably close neighbours in Bristol. I was asked to
contribute my favourite PA songs for the greatest hits collection, Master
of the Revels. Happy to have a name credit on the album sleeve -- even if
my suggestion of No Dice was overlooked!
Now I write mostly about film for the Los Angeles Times and the
Daily Telegraph (yes, that was my piece on PA in the Telegraph's Connected
section just before Monyash).
Went up to Monyash and had a great time. Hope PA can find a way to commit
Search and Destroy to record at some stage.
Some personal favourite artists: the obvious ones like the Beatles,
Stones, Who, Kinks. A lot of 60s soul -- I still find myself browsing
through record shops for obscure artists like Harold Dorman or the Knight
Brothers. (I'll probably still be doing it with a Zimmer frame.) Two
peerless American groups -- the Band and Steely Dan. Frank Zappa was
extraordinary, I thought. And after that it's down to singer-songwriters --
Dylan of course (Highway 61 Revisited my personal fave), much of Leonard
Cohen, Jackson Browne up to and including The Pretender, the sublime Randy
Newman until Little Criminals (though most of his film scores are ghastly).
I was surprised no-one mentioned Jimmy Webb, whose work is very fine, I
think. Or Paul Simon, who has done easily his best work (Graceland, Hearts
and Bones) since he split with Artie. Two albums I love -- No Other by Gene
Clark and Grievous Angel by Gram Parsons.
As I get older I've found myself more and more interested in the
craft of songwriting and in pre-rock n roll. I like most of the great
Broadway songsmiths -- Gershwin, Cole Porter, Johnny Mercer, Rodgers and
Hart. (Most of all I like their work sung by Ella Fitzgerald, Sinatra -- or
the criminally underrated Susannah McCorkle.) For 20-odd years I've also
been a big fan of Stephen Sondheim, who single-handedly keeps that musical
tradition -- expressive music paired with witty, trenchant lyrics -- alive.
All these are established tastes, though. I'm heartened to have
reached 49 and still find myself able to respond to new music. I do not
speak here of Oasis and other Britpop bands -- though my kids like them and
I certainly don't mind them. But I think the Ben Folds Five are the Steely
Dan of the 90s; I was hugely impressed by this year's albums from Wilco and
the Jayhawks; and I find Freedy Johnston and Joe Henry very accomplished
singer-songwriters.
I was amused to see Pete writing that the country music section of
record stores isn't somewhere we find ourselves browsing as a rule.
Actually, it's the first place I look -- partly because many of the artists
I currently like can't easily be categorised, so get filed under country.
These include a group of guys from Lubbock, Texas (Buddy Holly's home
town), many of whom were in a legendary 70s group called The Flatlanders.
They include Butch Hancock, Jimmie Dale Gilmore and Joe Ely, and I honestly
can't recommend any of them too highly -- wonderful, strong songs with a
dash of country, blues, folk, pop, even cajun thrown in -- and terrific
lyrics too. Terry Allen is another Lubbock artist (not an ex-Flatlander)
who's very recommendable; his songs have a dry, laconic wit that sets him
apart from the others. I'd also add the great Steve Earle to this list.
When I visit the States, I often come back with compilation CDs
that are tributes to writers or performers. Some of these are terrific: I
have a wonderful Merle Haggard tribute, a sensational Doc Pomus compilation
(including Roseanne Cash singing I Count The Tears and Shawn Colvin
covering Viva Las Vegas) and a CD of various artists (including Dylan)
singing Jimie Rodgers songs. It would be nice to hear performers paying
tribute to the songs of Pete and Clive on such a tribute album.
Suggestions? I'd like to hear Sade try Pefect Moments, and that Jamiroquai
guy have a go at Secret Drinker. I'd ask Elton John to attempt Faded
Mansion on the Hill (anything to get him to stop singing Candle In the
Wind) and maybe Elvis Costello to cover Hypertension Kid. For some odd
reason, I fancy Tom Waits singing Sessionman's Blues. Can't quite think of
a suitable song for Gary Barlow at present.
One last thought -- Pete rightly mentioned that Anthony Newley
influenced David Bowie in making it OK not to sing in an American accent, a
trait Pete shares. But does anyone else except me think Pete sometimes
slips into an Aussie accent -- notably on Hypertension Kid and No Dice? And
if so, why would that be, do you think?
I've really enjoyed reading what other PA fans have to say. This is
a great forum.
David Gritten
------------------------------------------------------------------------------
Date: Thu, 25 Sep 1997 14:08:37 -0400 (EDT)
From: Rob King <email address>
Subject: MV144 Re: MV141; MV 139 pete atkin
I had a curious thought today, after some 12 hours concentrated listening to
PA up and down the motorways, the complete canon, that Mike Rutherford (Mike
and the Mechanics) comes very close to Pete as a modern equivalent in many of
his songs. Is this a ridiculous idea?
------------------------------------------------------------------------------
Date: Thu, 25 Sep 1997 20:38:05 -0400 (EDT)
From: Richard Gibson <email address>
Subject: MV145 Re: MV143: another midnight voice
This is to David Gritten mostly.
First, welcome to the group.
Next, is it possible to have copies of the Telegraph article you wrote and
any other recent press on PA. I'm planning to canvass National Public Radio
to do a feature on PA and the web forum we've built, so any material would be
valuable.
Also, you mentioned Joe Ely of the Flatlanders, he had a big solo career as
well, I believe.
And, finally, the Australian you hear in PA may be the years in the USA
coming through. I'm often told that my Hertfordshire accent of 27 years
mixed with 7 years of Kansas City midwest and 5 years of Buffalo's Western
New York produces a passable Australian accent, to the Americans that is.
Regards
Richard Gibson
------------------------------------------------------------------------------
Date: Fri, 26 Sep 1997 10:24:07 +0100 (BST)
Subject: MV146: (Fwd) (Fwd) MV121: Recognition signals
From: email address (Stephen R Bennett)
Repost from STEVE BENNETT
>>Re How should members recognise each other at gigs
>
>Let's see...
>
>Carry something by Verlaine.
>Tattoo crosshairs on brow.
>Wear large smoking gauntlets.
>Black Funk Rex T-shirts.
>Carry Joker card
>
You could of course check out Web Site:-
village.vossnet.co.uk/s/stevebee/
look at the Art Gallery in the Cauldron
Concepts for a possible design I could have produced as a mobile I.D. for
all of the "Midnight Voicers".
I have just done the T.Shirts for the Fairport
Convention User Group for CROPREDY FESTIVAL 97.
So take a look and if anyone is interested in more
details please send an E.Mail to me at <email address>
Sorry about the Repost but my Web Pages went 'belly up'.
Provisional cost of the T.Shirt is :
£8.00 with one design (either Front or Back)
£10.00 for both designs (Front and Back)
There is also the possibility of a Sweatshirt £16.00.
All of the above will be produced on a 'token profit'
basis (taking just enough to cover the cost of Travel,
laminates, printer ribbon, etc.)
This was the same arrangement that I used when producing this years (97)
Cropredy (Fairport User Group) T.Shirts.
The only requirement is that I have a mimimum order of either 20 T. shirts
or 10 Sweatshirts for the first order, ( my printer friend needs £150 min
first order) There is no minimum on follow up orders.
Steve Bennett
<postal address>
<email address>
zzzzzzzzzzzzzzz..COME FRIENDLY BOMBS AND FALL ON-------------------.
Sir J.B.
<phone and fax numbers>
------------------------------------------------------------------------------
Date: Fri, 26 Sep 1997 07:08:49 -0400 (EDT)
From: Richard Gibson <email address>
Subject: MV147 Re: MV144; MV141; MV 139 pete atkin
Mike Rutherford and PA? very interesting.
There is more meaning to Rutherford's work than many others, however, I have
always felt that PA wrote and perfomed as if it were to just 10 people.
Rutherford seems to be always writing and performing to 10,000.
Regards
Richard Gibson
------------------------------------------------------------------------------
Date: Fri, 26 Sep 1997 14:06:35 +0100
From: gerald smith <email address>
Subject: MV148 Re.MV145 - Daily Telegraph
Hello Group..
The Daily Telgraph article can be accessed via the webiste
(HTTP://www.rwt.co.uk/pa.htm). At the tail end of the page there is list of
loosely related links. The Torygraph article can be found there. Best of
luck to Richard Gibson in drumming up media interest. From the years I
spent as a PR Exec, I know this can be a soul destroying exercise, but given
the amazing resurgence of interest in the PA/CJ product (which, according to
the article, PA himself finds bewildering !!) I imagine he won't have to
bend editorial ears all that much.
I was up late last night watching a programme on VH-1 (a cable music
channel) which featured an interview with Steve Davis, of snooker fame.
Davis was being pressed to declare his musical tastes. He obviously did not
want to answer probably for reasons best known to himself, but, finally he
said :
"If you have very unfashionable tastes in music, you don't share
them because other people don't want to know".
I think this is absolutely true, and to some extent goes to explain why
PA/CJ did not gain the commercial success which the product deserved. I can
remember playing the albums in my room at uni and having to explain to
fellow drinkers...er, sorry, students, why I was not listening to David
Silvyan (?) and other various ghastly 80s bands. In short, my PA listening
became a lone pursuit, although I think I was successful in converting a
couple of people.
Now then, is this just my suspicious mind working overtime, or do I detect
that most of the members of this list write post their mails from their
desks at work? Have you noticed how quiet the voices become at weekends?
And how many there are in our 'in-trays' by midday and then throughout the
day on most working days? Mmmmm...
Glad to see there's not been any further suggestions of making this an
automated list. That would never do. By the way, for those musos out
there, don't forget there are now quite a few chord transcriptions on the
website, esp the DTMA album.
All best wishes
Gerry Smith
------------------------------------------------------------------------------
Date: Fri, 26 Sep 1997 06:35:22 PDT
From: "Jones,David L" <email address>
Subject: MV149 RE: MV145; MV143: another midnight voice
>From: Richard Gibson <email address>
>To: <email address>
>Subject: MV145 Re: MV143: another midnight voice
>
>This is to David Gritten mostly.
>
>First, welcome to the group.
>
>Next, is it possible to have copies of the Telegraph article you wrote and
>any other recent press on PA. I'm planning to canvass National Public Radio
>to do a feature on PA and the web forum we've built, so any material would be
>valuable.
Let me extend my welcome to David also, and say thanks for the article.
I've captured it from the Electronic Telegraph.
To Steve: is release to the mailing list appropriate?
To Richard Gibson et al: I've already e-mailed "Fresh Air", the Public Radio
program produced by station WHYY in Philadelphia. Feel free to go to the
site at www.whyy.org and do likewise.
Dave Jones.
------------------------------------------------------------------------------
From: Mark Roberts <email address>
Subject: MV150 RE: MV144; MV141; MV 139 pete atkin
Date: Fri, 26 Sep 1997 15:17:46 +0100
>Date: Thu, 25 Sep 1997 14:08:37 -0400 (EDT)
>From: Rob King <email address>
>To: <email address>
>Subject: MV144 Re: MV141; MV 139 pete atkin
>
>I had a curious thought today, after some 12 hours concentrated listening to
>PA up and down the motorways, the complete canon, that Mike Rutherford (Mike
>and the Mechanics) comes very close to Pete as a modern equivalent in many of
>his songs. Is this a ridiculous idea?
>
>
Yes, it is.
------------------------------------------------------------------------------
Date: Fri, 26 Sep 1997 11:52:51 -0400 (EDT)
From: Rob King <email address>
Subject: MV151 Re: MV150; MV144; MV141; MV 139 pete atkin
Well thanks for taking the effort to justify yourself. I was simply trying to
help move on a discussion, I don't think it merited such a curt and rude
reply, but if you did then maybe this group is not for me
------------------------------------------------------------------------------
Date: Fri, 26 Sep 1997 14:05:29 -0400 (EDT)
From: Rob King <email address>
Subject: MV152: CD release
This may well be common knowledge, though I did not know it! But Magpie, the
distribution arm of See For Miles Records, says that "Beware of the Beautiful
Stranger/Driving Through Mythical America" is due out on CD in two weeks'
time and it can be ordered at 12.99 on 01784-242224.
Rob
------------------------------------------------------------------------------
Date: Fri, 26 Sep 1997 11:51:51 PDT
From: "Jones,David L" <email address>
Subject: MV153 RE: MV148; MV145 - Daily Telegraph
>From: gerald smith <email address>
>Subject: MV148 Re.MV145 - Daily Telegraph
>
>Hello Group..
>
> The Daily Telgraph article can be accessed via the webiste
>(HTTP://www.rwt.co.uk/pa.htm). At the tail end of the page there is list of
>loosely related links. The Torygraph article can be found there. Best of
>luck to Richard Gibson in drumming up media interest. From the years I
>spent as a PR Exec, I know this can be a soul destroying exercise, but given
>the amazing resurgence of interest in the PA/CJ product (which, according to
>the article, PA himself finds bewildering !!) I imagine he won't have to
>bend editorial ears all that much.
>
You may have to register at the Electronic Telegraph to see the article.
The link at the PA site is just that: a link. It sends you to the ET site.
I found the article by searching for 'Pete Atkin' at the ET. In amongst
all the interviews of Pete Sampras by Clive Atkin, I found what I wanted
plus a rather nice interview of Clive by Nigel Farndale, from last year.
There was a link to the PA website with the article, which is why it showed
up in the search, but no other mention about Pete.
Dave Jones.
------------------------------------------------------------------------------
Date: Fri, 26 Sep 1997 22:44:50 GMT
From: email address (Michael J. Cross)
Subject: MV154: Media interest/The list
Hi,
In message <email address> Midnight Voices writes:
} >From: gerald smith <email address>
} >Subject: MV148 Re.MV145 - Daily Telegraph
} >
} >Hello Group..
} >
} >luck to Richard Gibson in drumming up media interest. From the years I
} >spent as a PR Exec, I know this can be a soul destroying exercise, but given
} >the amazing resurgence of interest in the PA/CJ product (which, according to
} >the article, PA himself finds bewildering !!) I imagine he won't have to
} >bend editorial ears all that much.
With regard to raising PA's profile with the public and media ... surely
CJ is in a pretty good position nowadays to help with this? Maybe to the
extent of having him as a guest on the New Year's Eve show? Now there's
a thought!
} >Glad to see there's not been any further suggestions of making this an
} >automated list. That would never do.
For those who didn't like the massed ranks of >'s when quoting, perhaps
we could use different quoting chars alternatively? (see above)
If anyone's interested in following up Pete's recommendation of Trisha
Yearwood, there are a couple of detailed sites on the WWW. Namely:
www.trisha.com
www.mca-nashville.com/ty/tybio.htm
The latter has detailed album info, with brief samples from tracks.
I tried the track that Pete mentioned but it didn't do much for me
I'm sorry to say. But then the nearest I get to C&W are people like
Lyle Lovett, Townes Van Zandt, Mike Nesmith, Tom Rush, early Eagles,
Lee Clayton so your mileage may vary.
all the best,
--
Michael J. Cross BSFA Magazine Index at http://www.mjckeh.demon.co.uk
"We hope this music is helpful to modern people who tend to keep their
energy in their heads and dissipate it through excessive thinking,
talking and general restlessness" - Zero, "Chance in a Million"
------------------------------------------------------------------------------
From: Colin Boag <email address>
Date: Sat, 27 Sep 97 10:51:45 +0000
Subject: MV155: Banality
As someone who is relatively new to using this kind of e-mail, could
someone please explain to me why some correspondents feel the need
to have a banal slogan at the end of their e-mail?
There have been a number of examples but the one which particularly
struck a cord went something along the lines of...
'We hope this music is helpful to modern people who tend to keep
their energy in their heads and dissipate it through excessive
drinking, *!?@ing and general tastelessness'
Mystifiedly yours
Best wishes
Colin
Boag------------------------------------------------------------
------------------------------------------------------------------------------
Date: Sat, 27 Sep 1997 12:22:53 +0100
From: gerald smith <email address>
Subject: MV156 re MV153 - Daily Telegraph article
The link from the PA home page took me directly to the Electronic Telegraph
article about PA/CJ. It was not necessary to register or anything like that
brfore being able to view the article.
Gerry SMith
------------------------------------------------------------------------------
Date: Sat, 27 Sep 1997 19:39:56 +0100
From: Helen Dinsdale <email address>
Subject: MV157: Newspaper articles-Independent
Further to the discussion of the mention of Steve's website in the DT, it
also received a write-up in last Tuesday's Independent.
Written by Bill Pannifer the article praises 'the excellent site' and
mentions Pete's upcoming gig's in London and Winchester.
Regards
Helen
--
Helen Dinsdale
<email address>
------------------------------------------------------------------------------
From: Benjamin Peterson <email address>
Date: Sat, 27 Sep 97 20:26:23 +0100
Subject: MV158 Re: MV155: Banality
>As someone who is relatively new to using this kind of e-mail, could
>someone please explain to me why some correspondents feel the need
>to have a banal slogan at the end of their e-mail?
>
It's a .sig, so called because the UNIX mailers call the file it lives in '.sig'
for 'signature'. You could also call it a signature or a sig block.
It's a time honoured net custom designed to waste a few more seconds of time and
bytes of bandwidth per message. Don't fight it -- become a part of it!
-------------------------------------------------------------------------------
<email address>
'If at first you don't succeed, destroy all evidence that you even tried'
-------------------------------------------------------------------------------
My opinions have nothing to do with those of my employer, or indeed with reality itself.
-------------------------------------------------------------------------------
------------------------------------------------------------------------------
From: Cary <email address>
Date: Sat, 27 Sep 1997 23:19:32 +0000
Subject: MV159 Re: MV155: Banality
Colin wrote,
> >As someone who is relatively new to using this kind of e-mail, could
> >someone please explain to me why some correspondents feel the need
> >to have a banal slogan at the end of their e-mail?
Well Colin, it's called a signature and I guess the banality, or
humour of it, comes from your standpoint. Some are pretty neat ....
catch the conversion to USA speak there, something else you may find
happening to you as you continue your adventures in to Email ( no
offence to our USA brethren implied or intended, there are just more
Americans than Yorkshire folk on the internet tha' knows)
And now for the PA content .... I felt like I'd won a prize today.
Searching through the 'A's' in a second hand record store in Leeds
today and there it was .... 'A King At Nightfall'. Not in very good
condition and the cover was disintegrating but I was happy. Haven't
had a chance to give it a listen yet. The guy in the shop said that
there were a couple more albums but he'd recently sold them ....
any of the Voices picked them up. And he did know about Pete Atkin
" didn't he collaborate with Clive James? We do get his stuff in quite
regularly" The album I picked up was obviously well played and well
loved, I wonder why someone would part with it.
On the subject of Clive James being in the best position to raise
Pete's profile ... why doesn't he? I've never heard him mention his
own song writing in any interview. Modesty? He freely admits to being
egocentric so it can't be that. Any suggestions?
And now for *MY* signature .... I like it!
~~~~~~~~~~~~~~~~~~~~~~~
_/\ /\_
Cary a a
Like Mary @
With a 'C' for cat
~~~~~~~~~~~~~~~~~~~~~~
------------------------------------------------------------------------------
Date: Sun, 28 Sep 1997 06:50:15 +0100
From: Leslie Moss <email address>
Subject: MV160 Re: MV159; MV155: Banality
Cary wrote:
>On the subject of Clive James being in the best position to raise
>Pete's profile ... why doesn't he? I've never heard him mention his
>own song writing in any interview. Modesty? He freely admits to being
>egocentric so it can't be that. Any suggestions?
I recall hearing CJ on a radio interview two or three years ago, when a
caller rang in (a Midnight Voice?) and asked about Pete Atkin. Clive was
obviously taken by surprise but was full of warmth for the memories of
'those days'.
Maybe he can be conscripted to our cause. Surely his ego would be flattered
by any suggestion of wider airing of the songs, and even the possibility of
cover versions.
On the different subject of complicated threads. I agree with all those who
think that the group should remain manual and not automated, but I wonder
whether it is possible to have a newsgroup so that the threads can be
separated? (alt.midnight.voices ought to keep the riff-raff off the scent!).
Leslie
--- Nil Illegitimi Carborundum ---
------------------------------------------------------------------------------
Date: Sun, 28 Sep 1997 01:19:01 -0400
From: Chris Harris <email address>
Subject: MV161: Secret vibrations
On the subject of how members of the group could recognise each other at
Pete Atkin gigs the following piece from this weeks New Scientist might
hold the solution.
"Finnish company Creativesco is patenting the Kinsen which silently alert
members of a secret society to each others presence. Transponders are
disguised as pendants, watches or badges, and emit an agreed password
while searching for a match in the area. When a match is found each device
sends out an acknowledegment and alerts its owner by vibrating silently.
Transmission is low power so the alert works only over short distances.
After the signal fellow members can make visual contact with pre-arranged
gestures and expressions"
All we need to agree on is the gesture or expression. Simple, all we need
do is search for the person with the gold medallion and alarmed expression
as if being silently vibrated.
(Or maybe yet another function for the Omega Incablock Oyster Accutron 73?)
On second thoughts I personally find the idea of being silently vibrated in
the middle of a PA song a little disconcerting,-- back to the drawing
board I guess.
Chris.
-------------------------------------------------------------------------
Web Digest, week 4 (20.09.97, MV119 - 161) ends | index | prev | next |
Pete Atkin Home | Discography | Julie Covington
| Audio Clips | Visitors' Comments | Join Midnight Voices
The discussion forum for fans of Pete Atkin and Clive James,
their works and collaborators on stage, TV, disc and in print.
Midnight Voices
Midnight Voices, the Pete Atkin and Julie Covington Websites are operated and maintained by Steve Birkill