Midnight Voices                      
The discussion forum for fans of Pete Atkin and Clive James,
their works and collaborators on stage, TV, disc and in print.

Web Digest, week 8 (19.10.97, MV251 - 290) begins | index | prev | next |
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From: Stephen Payne <email address>
Date:          Sun, 19 Oct 1997 21:31:49 +0000
Subject:       MV251: Concerts and Lyrics

It sounds from the (excellent - thanks) reviews, that Pete likes to play 
different songs at his different concerts.  Good for him.  I'm 
particularly sad to have missed Islington as he played some of my real 
favourites that didn't figure at Monyash.  I'm planning to make it to 
Winchester, and I'll be keeping my fingers gently crossed for Faded 
Mansion and Shadow and the Widower, but I wouldn't go so far as to 
'request' them (!) - it's nice to be surprised.

I don't know about this searching-for-duff-lines stuff.  I appreciate 
the attempt at some post-modern anti-fanship, but I must say I don't 
agree with the votes so far.  I see the Joker most definitely aint no 
bummer in my book.  My only thought is that one or two of the lines get 
me into trouble occasionally when involuntarily singing too loud to 
myself in the wrong place.  For example "Just lying there were ladies so 
old they hardly bled, Thin kids who never needed a red hole in the head";  
is not appreciated out of context by the average Tesco's shopper.

Stephen Payne

==============================================================================
Date: Sun, 19 Oct 1997 17:23:35 -0400 (EDT)
From: Rob King <email address>
Subject: MV252 Re: MV239: My voice will be the only one

I'll take whatever is easiest....CD certainly, double if it goes that far,
and a video if available...

==============================================================================
Date: Mon, 20 Oct 1997 00:25:51 +0100
From: gerald smith <email address>
Subject: MV253 RE.MV247...fewer notes

Hello Group

	???????????


Gerry Smith	

==============================================================================
Date: Mon, 20 Oct 1997 00:40:04 +0100
From: Mary <email address>
Subject: MV254 Re: MV247: fewer notes...

> Isn't it the fact that we are a disparate bunch of people with very
> little in common other than our mutual liking for a
> particular................ goodness knows how slim the chances are
> that any one of us would strike a genuine, lasting friendship with
> someone else on the list. This isn't cynical, it's just the way the
> world seems to work!

Not always. I was on a bulletin board with a far more disparate group of
people without even a mutual likingof anything in particular, and a huge
number of very good friendships grew out of that. Possibly because we
had regular meets so thus got to know each other in the flesh as well as
on the board.

> Whilst I'm on my soapbox I was always uneasy about the correspondence
> which sought to find a way in which devotees could identify each
> other at PA gigs. The question which kept coming to mind was 'why
> would we want to?'

For me, just plain curiosity, but, to put your mind at rest, at the
excellent evening at Islington, I identified not a single midnight
voice, although I kept myself amused at times trying to. Maybe I was
using the wrong criteria, but maybe I was getting it right! I shall have
to try again at Winchester.

> I'll (obviously) be at Winchester on the 29th but since I will be

So I ought to manage to see which you are!

mary

==============================================================================
Date: Mon, 20 Oct 1997 00:54:17 +0100
From: Mary <email address>
Subject: MV255 Re: MV243: PA at Islington 16/10/97

> But, in all seriousness, what a wonderful evening I had in Islington.

And so did I. Thanks for doing such a good write up and reminding me
about it all. I think Pete is possibly at his best in a small intimate
venue like that, he was certainly in fine form and I enjoyed every
minute.

I also thought the black-clad duo with a name involving 'train' (what
/was/ it?!) were amazing. It's one of the joys when you go to a gig to
hear one particular person and find someone you'd never heard of who you
really like - as happened at Monyash with Brent Mason. My daughter will
be impressed too when she hears Gordon Potts was there - he's one of her
heroes!

mary

==============================================================================
Date: Sun, 19 Oct 1997 20:37:48 -0400
From: John Ramsey <email address>
Subject: MV256: Cheerful lyrics.

Mention of "All the dead were strangers" being sung out of place, reminds
me of my son when he was about four years old. He kept on singing a little
tune with the words "We're all dead, we're all dead, we're all dead"  -
ever so cheerfully, but we wondered who had taught him such a morbid song.
Then we realised it was his interpretation of...  well you've guessed what.

My personal favourite PA song, "Faded Mansion on the Hill" seems  to crop
up as other people's choices as well. Any particular interpretations you
would care to share? I find it quite enigmatic personally. I have my own
image of the Faded Mansion which is based on a house above the town on the
Greek island of Halki - but that's probably very much my own idiosyncracy.

John.

==============================================================================
Date: Sun, 19 Oct 1997 22:48:17 -0600 (MDT)
From: Jeff Moss <email address>
Subject: MV257: CD/Video

Steve - put me down for the double CD, and the video if available in N.
American format.
I've been a fairly silent MV - I guess there is a sense of isolation being
across the ocean. I really enjoyed the review of the Islington gig, but it
will be a while before I can put on my pink polka dot tie (or whatever) to
be recognised as a MV at a PA concert. Even those of us here are widely
separated over this vast continent, and are unlikely to bump into eachother
at the local MacDonalds. However, I can join in the discussion on best/worst
lyrics. "All the Dead Were Strangers" (the whole song) never quite worked
for me - almost, but not quite there. For pure poetry - evoking images and
emotions by the use of words - I would vote for, in no particular order,
"The Flowers and the Wine", "30 Year Man", and the underated "A King at
Nightfall"

Jeff Moss  

==============================================================================
From: Colin Boag <email address>
Date: Mon, 20 Oct 97 11:45:26 +0000
Subject: MV258: odd musical tastes

Since there have been worries about lack of mail from the group and
a fear that we've talked ourselves out, here's a long-shot attempt
to generate additional mail 

Are any of the 'Voices' also John Otway fans? I recommend a look 
though the Otway web-sites (official and otherwise) to get an idea 
of the madness of the man. If you don't know Otway then the gig list 
is long and covers most parts of the UK. I particularly recommend 
'A virgin's guide to House of the Rising Sun' (on the unofficial 
site but you can link there from the official one) as a starter!
Also, read the reviews of the Dunkerque trips.

Search on 'Otway' or 'Doremi' to find him


Best wishes
Colin 
Boag------------------------------------------------------------

==============================================================================
From: "Powell, Mike             [MIS]" <email address>
Subject: MV259 RE: MV239: My voice will be the only one
Date: Mon, 20 Oct 97 14:00:00 PDT


*So I have a few options:
*
*1. The 2h 35m PAL VHS recording of Pete's set, complete, from my own
*nervous intro to Bill Blackburne's wind-up, including all 31 songs and
*guest appearances from Julie Covington and (briefly) Brent Mason and Ed
*Driscoll. I wouldn't offer any condensed options on the video -- it's had
*all the editing it's getting!
*
*2. Either (a) All the songs from Pete's set, but none of the links or
*intros, on a double CD.
*   Or (b) A CD of highlights -- a selection of songs from Pete and Julie's
*set.
*


I am definitely interested in one each of the video and 2a.

I know this is an unnecessary complication, but is there not scope for 2b to 
be a double?  I have no versions at all of Julie's songs so it would be a 
pity to have to lose a lot of Pete's Monyash material to get them.  I 
suppose I could buy 2a and 2b...  but that way lies completism.

I will be asking my friends who came with me to Monyash about their 
requirements so by the end of the week I should be able to order more.

Mike Powell
<email address>

==============================================================================
Date: Mon, 20 Oct 1997 14:46:18 +0100
From: gerald smith <email address>
Subject: MV260 Re MV 256 : Faded Mansion

I'm definitely with John here.  Faded mansion is my joint favourite song.
There is simply too much good stuff to determine an absolute favourite, so
'joint favourite' is as close as I can get.  I too have a setting in my
mind's eye for the song.  It's a little closer to home than John's Greek
Island, though.  I don't know if any of you know, or have been to Salcombe
in South Devon, but for the those who haven't, it's a bit of a magnet for
yachting/boating/marine recreation enthusiasts.  One evening, as night
fell, I can remember being on the other side of the sea channel from
Salcombe in the tiny village of East Portlemouth which perches high above
the sea.  I watched the lights in the hotels, restaurants and bars of
Salcombe coming on, and far away below me, the yachts returning to the
marina, whilst the beaches emptied and the night life got underway.  Nearby
on the East Portlemouth side is a huge, rather austere, but quite beautiful
house which overlooks all of that.  That is my faded mansion. The whole
scene reminds me of the line 'the beach the poor men never reach, the shore
the rich men never leave'.

My brother Cliff has postulated, and I tend to agree, that (in a nutshell)
the song is about the empty and futile lives of the idle rich.  

Yes (to Mary), the black clad duo at Islington was a top act.  The harp
player left me fairly bowled over too.

Gerry Smith

==============================================================================
Date: Mon, 20 Oct 1997 15:06:27 +0100
From: S J Birkill <email address>
Subject: MV261 Re: MV259; MV239: My voice will be the only one

Mike's message revealed unintentionally misleading wording in my missive
about videotapes and CDs: "Pete's Set" in 2(a) *does* include all Julie's
songs too! (Pete describes me as an unreconstructed completist). Apologies 
to those who thought it didn't. The problem would have been selecting which, 
if 2(b) had got your vote, but most seem to want the full ...er.. the whole 
nine yards.

Thanks to everyone expressing interest in the recordings, including the six
who chose to notify me direct rather than through MV. Those expecting
replies will get them a.s.a.p. We still haven't reached critical mass for
mass duplication though, so keep the "yes please" messages coming
(preferably for us all to see), and please, send no money till we go ahead
and cost out the whole thing, if we do.

I'll look into standards conversion for our North American members too --
Neil's Video-8 NTSC camcorder tape cost 27 pounds to transfer to PAL (UK)
VHS, as a one-off, so better we convert once than you all do it individually!

Steve

==============================================================================
From: Mark Roberts <email address>
Subject: MV262 RE: MV261; MV259; MV239: My voice will be the only one
Date: Mon, 20 Oct 1997 15:34:13 +0100

>Date: Mon, 20 Oct 1997 15:06:27 +0100
>To: Midnight Voices <email address>
>From: S J Birkill <email address>
>Subject: Re: MV259 RE: MV239: My voice will be the only one
>
>Thanks to everyone expressing interest in the recordings, including the six
>who chose to notify me direct rather than through MV. Those expecting
>replies will get them a.s.a.p. We still haven't reached critical mass for
>mass duplication though, so keep the "yes please" messages coming
>(preferably for us all to see), and please, send no money till we go ahead
>and cost out the whole thing, if we do.

Yes please. Anything you produce.

Thanks,

Mark Roberts

==============================================================================
Date: Mon, 20 Oct 1997 11:19:49 -0700
From: Graeme Aldous <email address>
Subject: MV263: SHADOW & THE WIDOWER

Useless Information Dept:

Ian Chippett refers to Gerard de Nerval's 'El Desdichado' ("Je suis le
tenebreux...." etc) in MV236.

Donald Swann performed his musical setting of the words in 'At The Drop
Of A Hat' (with Michael Flanders) in 1957, and it's included on the LP
of the show.

Now, THERE's oblique for you!
-- 
GRAEME ALDOUS.
<postal address>
<phone and fax numbers>

==============================================================================
From: "Martin Nail" <email address>
Subject: MV264 Re: MV239; MV243: PA at Islington 16/10/97
Date: Mon, 20 Oct 1997 18:23:19 +0100

Mary <email address> wrote:

> Subject: Re: MV243: PA at Islington 16/10/97
> 
> > But, in all seriousness, what a wonderful evening I had in Islington.
> 
> And so did I. Thanks for doing such a good write up and reminding me
> about it all. I think Pete is possibly at his best in a small intimate
> venue like that, he was certainly in fine form and I enjoyed every
> minute.

I'm glad the gig went well.  I am really peeved that illness prevented my
being there - especially as it was my suggestion that the club should book
Pete again.

> I also thought the black-clad duo with a name involving 'train' (what
> /was/ it?!) were amazing. 

They are called Reuben's Train (must be the name of a song?) and I agree
they are great performers.

> My daughter will
> be impressed too when she hears Gordon Potts was there - he's one of her
> heroes!

Gordon will be flattered when I tell him!


Martin Nail
<email address>
Internet resources on English folk and traditional music:
http://web.ukonline.co.uk/martin.nail/Folkmus.htm

==============================================================================
From: "Martin Nail" <email address>
Subject: MV265 Re: MV239: My voice will be the only one
Date: Mon, 20 Oct 1997 18:47:10 +0100

Steve

I would buy either CD (as long as it didn't have spoken intros - these
always pall), but not a video.

What I would really like (and I think it would be more viable as a short
run for enthusiasts than as commercial job) is a CD of 'While the music
lasts'  and 'The party's moving on' (would they fit on one CD?) to replace
my ancient vinyl.  Would this be technically (and legally) feasible?  Would
you have the time and inclination to do it?  Would there be any demand from
other members of the list, given that the LPs are very unlikely to turn up
second hand?


Martin Nail
<email address>
Internet resources on English folk and traditional music:
http://web.ukonline.co.uk/martin.nail/Folkmus.htm

==============================================================================
Date: Mon, 20 Oct 1997 19:36:24 +0100
From: Leslie Moss <email address>
Subject: MV266: Rock Follies and Guys and Dolls

Trvia Dept: Earlier this evening  I followed the link from Steve's Julie
Covington page to Cary's Rock Follies page (Julie was a leading Lady in that
mid-seventies series). Causually reading down the cast list I noticed that
as well as JC, the cast of the series also included Ian Charleson (of
Chariots of Fire fame) and Bob Hoskins (of The Long Good Friday and BT
advert fame). So what, you ask? Well, all three of them went on to take
leading roles in the wonderful National Theatre 1982 production of Guys and
Dolls - Julie as Sarah Brown, Ian as Sky Masterson and Bob as Nathan
Detroit. Spooky?

 Ian Charleson died an untimely death several years later and my wife Gill
and I were fortunate enough to attend a special gala performance of G&D at
the National in memory of him and to raise money for AIDS treatment.
Unfortunately, Julie was unable to reprise her role that evening as a result
of illness.

Just thought you'd like to know.

Leslie

==============================================================================
From: email address (Simon Reap)
Subject: MV267 Re: MV261; MV259; MV239: My voice will be the only one
Date: Mon, 20 Oct 1997 21:07:54 GMT

On Mon, 20 Oct 1997 15:11:15 +0100, Steve wrote:

>Thanks to everyone expressing interest in the recordings, including the six
>who chose to notify me direct rather than through MV. Those expecting
>replies will get them a.s.a.p. We still haven't reached critical mass for
>mass duplication though, so keep the "yes please" messages coming
>(preferably for us all to see), and please, send no money till we go ahead
>and cost out the whole thing, if we do.

Yes, I admit it.  I was one of those repressed types who could only
ask for the Video and double CD privately ;-)  As they say, admitting
your completist tendencies publically is the first step to recovery.
Only 11 to go, then.

And to Cary in MV246 - in 'Joker', I misheard the line as
'legitimately, through rantsing in the street'.  And no, I didn't ever
look up what 'rantsing' meant!

Simon
-- 
Simon Reap           - <email address>
                     - http://www.pipemedia.net/~sar

==============================================================================
Date: Mon, 20 Oct 1997 22:09:52 +0100
From: Mary <email address>
Subject: MV268 Re: MV254; MV247: fewer notes...

> Colin wrote:

> Does this mean you plan to be at Winchester? If so, I recommend that
> you reserve a ticket. I'll happily mail you a ticket and give you an
> address to send the cheque to.

How strange. I've just got back from posting a letter to you with a
cheque in it, and two tickets are already sitting here  ;-)

> I must work on my disguise....

It'll do you no good  <eg>

mary

==============================================================================
Date: Mon, 20 Oct 1997 22:51:11 +0100
From: Mary <email address>
Subject: MV269 Re: MV260; MV256: Faded Mansion

> Island, though.  I don't know if any of you know, or have been to
> Salcombe

I go there at least once a year to visit my yachting/boating long-time
friend  :-)

> on the East Portlemouth side is a huge, rather austere, but quite
> beautiful
> house which overlooks all of that.  That is my faded mansion. The
> whole

I can't quite bring it to mind, but there certainly are some wonderful
houses around there.

I seem to be in the minority in not numbering Faded Mansion among my
favourites. One that I really like is 'Be careful when they offer you
the moon' (There must be a shorter title?), although I don't /always/
feel that cynical...

> Yes (to Mary), the black clad duo at Islington was a top act.

Can you remember what they were called? Do they do CDs, I wonder?

>  The harp player left me fairly bowled over too.

It was a little sweet and lovely for my taste. Must be my Welsh
upbringing <g>  Her first song was one of my favourite Welsh songs, but
I've always known it as 'The Gentle Dove' rather than 'The Blackbird',
which threw me somewhat.

mary

==============================================================================
From:	"Maurice J. Lovelock" <email address>
Date:	Mon, 20 Oct 1997 21:01:58 -5
Subject: MV270 Re: MV261; MV259; MV239: My voice will be the only one

It's cheaper to get standards conversion done on this side of the 
Atlantic.  $25 Cdn for two hours.  Good quality line and field 
interpolation.  Can't tell its been converted rather than originated 
in that format for most purposes.  I will get done if we reach 
"critical mass".  Cheers.  M.

==============================================================================
Date: Tue 21 Oct 1997 03:43 EST
From: Ian Lindsay <email address>
Subject: MV271 Re: MV261; MV259; MV239: My voice

I would be thrilled to take two copies of anything and everything which is
available and to pay however much I am asked to pay for it ( unless it looks
as though I`m being UNDERcharged in which case I will try to negotiate the
price up).
Incidentally, my only disappointment with this mailgroup is that after 25
years of thinking I was Pete`s greatest fan, I know realise that I am not.
Ian Lindsay

==============================================================================
From: B & J Cotterill <email address>
Subject: MV272 Re: MV239
Date: Tue, 21 Oct 1997 09:00:10 +0100

Yes please, I'd like a video and a CD (2a).   Just say when you'd like the cheque.

And thanks for all this Steve - I thought, like many other Midnight Voices that 
I was out here on my own (apart from husband, kids and a few select friends),   
It's a dream come true. And Islington was marvellous.

On the favourite/unfavourite line:  difficult to pick just one best one.   
My least favourite has to be "I can't even get the Lone Ranger" .  It seems so 
obvious that he was desperate for a rhyme.   But I really like "The army that 
you fed now feeds the crows".   And all of Senior Citizens and Faded Mansion, 
and ... just about the whole lot actually.

Regards

Jenny Cotterill 

==============================================================================
Date: Tue, 21 Oct 1997 09:25:30 +0100
From: john <email address>
Organization: Professional Legal Studies, University of Bristol
Subject: MV273 Re: MV264; MV255; MV243: PA at Islington 16/10/97

> > I also thought the black-clad duo with a name involving 'train' (what
> > /was/ it?!) were amazing.
>
> They are called Reuben's Train (must be the name of a song?) and I agree
> they are great performers.



From the web:
               "Reuben's Train," under a dozen different titles, is among the best known and
               most characteristic of mountain dance tunes. Woody Guthrie popularized a
               version of it in the cities, with the title "900 Miles."

- Last heard, twice on the same stage in one afternoon, at this year's Guildford
Festival, one version by Show of Hands.

All of which is beside the point... I'm pleased I caught Reuben's Train too, and
if anyone (Martin?) knows how to acquire a recording of them I'd be even more
pleased.

As for the PA part of the show - can anyone tell me where Stranger in Town comes
from? I'm sure I haven't heard it before. It may be a silly question, but who wrote the
words?

==============================================================================
Date: Tue, 21 Oct 1997 12:11:48 -0400
From: Chris Harris <email address>
Subject: MV274: NTSC tapes  and things

Steve,
        Re the Moneyash tapes. Yes put me down for a Video and CD of the
event in whatever form it materialises (Sorry I haven't got 
your "reference" number E-mail stored on this P.C) 
I might be able to help with the making of NTSC (U.S.A)  versions of the
tapes as the equipment that is used for  the conversion is my area of
speciality and I could "borrow" the equipment including the VTR's  for a
weekend or two if needed.  I would be able to convert small quantities
between VHS (PAL-UK) and VHS (NTSC-USA) or alternatively if demand is high
enough perhaps it would be worth you making a Betacam copy of the master
onto a couple (or three) of one hour  tapes. (Betacam is a high quality
Sony tape format used by most broadcasters - resulting in better quality o
the final VHS). Costs would just be those of the raw material (tapes).  
When you get to the point of deciding to go ahead and know how many NTSC
tapes are needed  let me now and I could give some idea of timescales.

Anyway  - what's everyone got against Live Libel. How come so many people
have got  a copy of it if it's so out of favour ?
Personally I think some of the songs do bring a new meaning to the word
"average" (By P.A/C/J standards that is), but considering the (presumably)
self imposed (or record company imposed?) restrictions to the subject
matter a few still stand out as brilliant parodies of songs in their own
right. *(Or should that be write?) Like all humourous songs I guess they
don't have the staying power of the more serious and evocative PA classics.
However the Live Libel L.P still takes me back to the 70's if only by
virtue of the cover with it's Trog charactertures of the Great Elevated
Two. Trog was regularly featured on the cover of PUNCH magazine around that
era and the two are irrevocably linked in my mind.  Mind you L.L was a damn
sight funnier than Punch ever was.
(I believe that you can now buy double sided yellow jigsaws. did they
patent the idea I wonder?) 
I've always imagined that  the songs divided into two sorts - those written
specially for the album as parodies of specific artists/styles and those
already around which were comandeered to serve the purpose and then
associated with related artists . (In the former I'd include the James
Taylor and Lenord Cohen songs and in the latter I'd include Errant Knight).
This is my  theory - shoot it down.     
    
==============================================================================
From: Derrick Palmer <email address>
Subject: MV275 RE: MV267; MV261; MV259; MV239: My voice will be the only one
Date: Tue, 21 Oct 1997 12:19:47 -0400

Yes, Please!  Can't wait!  

Derrick

==============================================================================
From: Benjamin Peterson <email address>
Date: Tue, 21 Oct 97 17:29:57 +0100
Subject: MV276 Re: MV262; MV261; MV259; MV239: My voice will be the on


>Thanks to everyone expressing interest in the recordings, including the six 
>who chose to notify me direct rather than through MV. Those expecting 
>replies will get them a.s.a.p. We still haven't reached critical mass for 
>mass duplication though, so keep the "yes please" messages coming 
>(preferably for us all to see), and please, send no money till we go ahead 
>and cost out the whole thing, if we do.

Yes please.  Except for the video.

Does anyone feel like compiling a glossary of all the drug terms in 'Little 
Sammy Speedball'?  I'm sure it'd be an important social document.


Benjamin

==============================================================================
From: Cary <email address>
Date: Tue, 21 Oct 1997 20:48:47 +0000
Subject: MV277: Rock Follies Web Site

My Rock Follies web site is now open!! Fanfare please.
Steve has kindly provided a link to it from his Official Julie 
Covington Home Page ( www.rwt.co.uk/jc.htm ) .... or you can access 
it directly at:- 
                    http://monet.xoom.com/Follies
Rock Follies along with Evita introduced me to the talents of Julie 
Covington. From there I was led to Pete Atkins music. You could say 
then that without Rock Follies I would not be here - here as in 
Midnight Voices I mean!! Evita is covered in many places on the 
internet. Julie Covington will now be covered by Steve. Rock Follies 
has its mentions but there seems to be a big gap. I hope my site 
will fill that.

Please feel free to comment/criticise. This is my first attempt at a 
web site or any form of publishing. Critics, constructive one's, help 
the learning process. After all Pete's lyricist is a rather well 
known critic. Mistakes to should be pointed out on any site. Kindly I 
hope, but at the end of the day no one wouldn't want mistakes to stay 
online. I'm learning fast about web publishing so again would welcome 
being told that on a particular computer the graphics etc. don't 
work. Most of my friends do not have computers so the only way they 
see the site is as it is on MY screen which I know looks right. One 
friend on AOL tells me that the colours are a bit strange on the AOL 
browser. Apologies to any of the first visitors who viewed in a 
screen res of more than 600 X 800. The background graphics were not 
supposed to repeat the way they did. That problem is now fixed. One 
last comment - apologies for the commercial Guestbook with the advert 
banner. I know there's a way to constuct your own Guestbook - when I 
work it out it will replace that one.

If you've read this far, thank you ..... if you haven't, ...... well 
you should have !!


 ~~~~~~~~~~~~~~~~~~~~~~~        
                _/\     /\_
    Cary       a    a
 Like Mary    @ 
    With  a     'C'    for cat
 ~~~~~~~~~~~~~~~~~~~~~~
(should show a cat - if not ... 
picasso eat your heart out!!)

==============================================================================
Date: Tue, 21 Oct 1997 21:47:29 +0200
From: David Griffin <email address>
Subject: MV278 Re: MV239: My voice will be the only one

Count me in for the double CD

David

Midnight Voices wrote:

> What I need is an indication, nay, commitment even, so I know whether
> to do
> 50 or 100 videos, CDs or double CDs, or just stick at the handful of
> prototype CD-Rs and VHSs I've made here. You'll understand I can't
> stretch
> the latter into double figures (so don't ask for a copy!) -- it's just
> too
> demanding of time.

==============================================================================
From: IChippett <email address>
Date: Tue, 21 Oct 1997 16:24:36 EDT
Subject: MV279: Live Libel and other things

Why doesn't anyone like "Live Libel"? I admit it's not quite up to the usual
standards but "Black Funk Rex" is wonderful and made me laugh out loud when I
first heard it. Is it because Pete could not stop himself from being
"perverse" as he says? In some of the tunes he dispels the banality he so
cleverly invokes by adding an unexpected chord progression (Like in "Song for
Rita" or "Lonesome Levis Lane") Anyway, I still enjoy it.

Lines we could live without? How about "the kids, gas and stoppages, the
upkeep and the rates"? 

Pete recently said that his conception of "Last Hill" was different from Clive
James's. I can remember reading in "Melody Maker" CJ saying he had conceived
it as a lament but Pete had turned it into a "furious lament". Does this mean
they worked on it separately? 

And, talking of this album, could anyone enlighten me as to what the title
track of "A king at Nightfall" is all about? I've always loved the song but
does it have a specific meaning?

By all means put me down for a double C.D.

                            Ian

==============================================================================
Date: Tue, 21 Oct 1997 16:54:40 -0400
From: John Ramsey <email address>
Subject: MV280: Recordings

Yes please, the lot.

John.

==============================================================================
From: Edmund Chattoe <email address>
Subject: MV281: Black Funk Rex
Date: Tue, 21 Oct 97 22:00:25 GMT

Dear Midnight Voices,

How can anyone slag Live Libel with the cumulative brilliance of Black Funk
Rex? Whether you love or hate T. Rex (and I definitely do :), it is hard to
beat as a pastiche. The musical "metallic boogie" is presumably pretty easy
to copy, but the vocal style and lyrical style are much harder.
Furthermore, the words manage to sound superficially like T. Rex while
actually being much sharper. And it's got some wicked internal rhymes:

It's the Middle Earth between L.A. and E.C. 4
And your middle ear has never suffered like this before ...

I realise the "ear" and "ick" rhymes go on a bit, but that's part of the
point I imagine ...

Can I clog up the airwaves a bit by recommending another interesting
singer/songwriter called Philip Jeays:

http://www.soc.surrey.ac.uk/~scs1ec/jeays.html

who is a bit like Jacques Brel meets T.V. Smith (Adverts).

ATB,

Edmund

==============================================================================
Date: Wed, 22 Oct 1997 00:11:18 +0100
From: Mary <email address>
Subject: MV282 Re: MV268; MV254; MV247: fewer notes...

To Colin...

> I've now worked out the link!

It can't have been difficult!

Would it be possible for you to let me have another ticket for
Wednesday? My daughter has agreed to let me try to convert her to
Atkinism, on condition we eat the food she cooks us, and transport her
from Southampton. Shouldn't be too arduous. You may have seen her -
Winchester is her favourite busking spot. She's the one with the
hammered dulcimer  :-S

Anyway, shall I send another cheque, or could I pick the ticket up on
the door? What would you prefer?

mary

==============================================================================
From: Colin Boag <email address>
Date: Wed, 22 Oct 97 10:43:01 +0000
Subject: MV283: A king at nightfall

In response to the question asking what 'A king at nightfall' is 
about, isn't it about a (deposed) king at nightfall?  

There also have been a few comments recently about which are the 
best/worst songs/rhymes. My view, for what little it is worth, is 
that I like the whole body of work on the five main albums. Of
course some work better for me than others do and I'm pretty sure 
that my favourites don't fit with everyone else's views e.g I would
have 'The Road of Silk' as my favourite album and my favourite songs
would include 'Wall of Death', 'The Shadow and the Widower' and 'The
Man Who Walked Towards The Music', all of which have variously
been slated. Conversely, 'Faded Mansion on The Hill' and some other 
mentioned as favourites appeal to me less. I also like Live Libel 
although my favourites are also the songs which seem to get few
mentions e.g. Uncle Seabird.

As for the negative comments about some rhymes - you know the sort,
'he must have been desperate to have used that one...' - doesn't
that also miss one of the attractions of a lot of the songs, a sense
of humour?

I wonder whether we're not taking ourselves a bit too seriously 
sometimes...(the best cook-book I've read recently is Nigel Slater's
where he demystifies some of the nonsense of other cookery writers 
with the comment 'after all, we're only cooking supper'. Perhaps we
should remember that, much-loved though they are, they're only 
songs/albums!      


Best wishes
Colin 
Boag------------------------------------------------------------

==============================================================================
Date: Wed, 22 Oct 1997 13:28:55 +0100 (BST)
Subject: MV284: (Fwd) MV279: Live Libel and other things
From: email address (Stephen R Bennett)

 could anyone enlighten me as to what the title  
track of "A king at Nightfall" is all about? I've always loved the song but
 does it have a specific meaning? 
 
I have always felt that the song alludes to past and present deposed
despots. 
 
particular references to "King Richard II "  are as follows: 
            'you spun the crown away into a ditch' 
 
as supposedly happened at the Battle of Bosworth Field. 
 
           'ther'll be a price on you annointed head' 
 
Speaks for itself. 
          
          'Tommorows men who chase you from the field  
             will be in it for the Bread' 
 
A Peasant revolt, or perhaps alluding to Mercenaries, 
 Bread = Cash. 
 
                   'stick out your hand for shaking,not for                
     kissing' 
 
The tradition of kissing the Royal ring as and act of Servitude. 
 
 also the ring on the string, ' lovely but it doesn't                      
                   mean a thing'  
  
perhaps signifying a change from Royalist to republican regime. 
         
            'and shade your face to miss the multiplying                
eyes of the New Order' 
 
Perhaps a king/prince/Czar being replaced by a Facist/Communist regime.
(Spain/Russia/China etc)    Multiplying eyes = Secret police/red guard. 
 
Just some thoughts, probably totally off base..... 
       
Steve Bennett 
zzzzzzzzzzzzzzz..COME FRIENDLY BOMBS AND FALL ON-------------------. 
                                 Sir J.B. 

==============================================================================
Date: Tue, 21 Oct 1997 15:54:44
From: N White <email address>
Subject: MV285 Re: MV239: My voice will be the only one

I'd love to order two copies of a PA CD - preferably without intros - the
video would be no use as we don't have a television.  

On the subject of recognition at gigs, why not just go up to anyone middle
aged (well, 40 or 50ish) and say hello, are you a Midnight Voice?.  If
they're already Midnight Voices, then just start talking. If not, and they
have e-mail, they may like to join.  And what better way of introducing
yourself to complete strangers!  

I ordered BOTBS after hearing 'Have you got a Biro I can Borrow' on John
Peel and have been hooked ever since.  My sister is an equally ardent fan,
and I've converted my husband to the first couple of LPs.  I've looked out
for Live Libel for many years now, and always kick myself for not buying it
so very long ago.

Thanks to everyone for some interesting reading.

Helen

==============================================================================
Date: Wed, 22 Oct 1997 17:49:53 GMT
From: email address (Michael J. Cross)
Subject: MV286 Re: MV279: A King at Nightfall

Hi All,

In MV279 Ian Chippett asked for an explanation of "A King at Nightfall" ...

I think it's about a recently-deposed king, attempting to make it out
of the country whilst being pursued by, or at least avoiding, the 
'multiplying eyes of the new order'. He has his royal (signet?) ring
but has thrown away the crown, and is getting used to keeping a very
low profile.

As we've been talking about favourites .... this is one of mine, along with
'Faded Mansion', 'Flowers & the Wine', 'Girl on the Train', 'Last Hill ..'
and 'Thirty Year Man'.

And for least liked lines ... 'slight but considerable danger' always 
makes me cringe.

all the best,
-- 
 Michael J. Cross    BSFA Magazine Index at http://www.mjckeh.demon.co.uk
    "Beware of the Beautiful Stranger/Driving Through Mythical America"
       by Pete Atkin & Clive James, CD reissue 10/97 on See For Miles
   For more info on all PA/CJ releases, see http://www.rwt.co.uk/pa.htm

==============================================================================
Date: Wed, 22 Oct 1997 14:04:31 -0600 (MDT)
From: Jeff Moss <email address>
Subject: MV287 Re: MV283: A king at nightfall


>In response to the question asking what 'A king at nightfall' is 
>about, isn't it about a (deposed) king at nightfall?  


I have always wondered if CJ had any particular king in mind. Bonnie Prince
Charlie, after Culloden, would fit, and I guess he saw himself as the
legitimate king. Any other contestants (pretenders??). My knowlege of
earlier British history is limited, but no one else comes to mind. Perhaps
PA could be asked.

Jeff Moss

===============================================================================
Date: Wed, 22 Oct 1997 22:35:32 +0100
From: S J Birkill <email address>
Subject: MV288: Driver to the West End

Tom Holt's alternative lyric to a familiar and popular song:

>You were sure it was all right to leave the car there,
>And no-one would mind if we parked on yellow lines -
>So I am the driver to the West End
>With the matching set of wheelclamps and the ticket on the windscreen
>And the sheaf of fines.
>
>And you'll know me
>By the sign of the driver to the West End;
>Which is not the shattered ribcage
>Or the broken arm in plaster and a sling;
>Just some deeply-scored abrasions in the paintwork
>And some scratches in the wing.
>
>You were sure you knew a short-cut round the hold-ups
>That would save us an hour; you knew it in your bones -
>So I am the driver to the West End,
>Past the big sign marked DIVERSION and the roads closed 'cos of bomb-scares
>And the rows of cones.
>
>And you'll know me
>By the sign of the driver to the West End;
>Which is not the famished visage
>Or the lips devoid of water, cracked and parched;
>Just a feeling of confusion after going
>Seven times round Marble Arch.
>
>You were sure the traffic jams would soon be over
>And roadworks in Holborn were nothing to be feared;
>So I am the driver to the West End
>With the overheating engine and the crumpled, sweaty clothing
>And the growth of beard. 

-- I've asked if Tom would like to join MV -- Steve

==============================================================================
From:	"Maurice J. Lovelock" <email address>
Date:	Wed, 22 Oct 1997 18:21:21 -5
Subject: MV289 Re: MV288: Driver to the West End

Excellent version of "Rider to the Worlds End"  Maybe Pete will 
record it on a CD of new material.  Favourite lyrics:
"I could screen you your life to the very last twitch".  Fond 
memories of working at the Beeb with Steve.  M.

==============================================================================
Date: Thu, 23 Oct 1997 08:42:49 +0100
From: S J Birkill <email address>
Subject: MV290: More from Tom: Impractical Man

Tom Holt has an 'improved' final verse to 'Practical Man':

So I said yes, please to the practical man
And signed the contract where I was told.
The plain fact is, there are birds a-plenty
(The going rate is a quid for twenty)
But a first-class agent is worth his weight in gold.

----------------------------------------------------

But here's quite another song, 'Impractical Man':

Last night I met the impractical man
To try and sort out the book he wrote.
My jaw was set and my chin was jutting;
I said it could do with a little cutting -
I said the book; I really meant his throat.

"It's good," I told the impractical man
(Behind my back I had fingers crossed.)
"If we trim the bits that are just too wordy -
That's pages twelve to a thousand-thirty -
We might just find the sales offset the costs."

"Oh no you don't," said the impractical man,
"You cut one word and I'll break your spine.
I don't mean p'raps and I don't mean maybe.
I love that book like my own sweet baby.
You paid me for it, but th book's still mine."

"Try this," I told the impractical man,
"Instead of cutting the boring part,
We lose the bits that are repetition
And save them for the large-print edition.
That ought to suit my bosses and your art."

"I'll see you damned," said the impractical man,
"Before you butcher a single word.
This bit here, though you mean to bin it,
Has ninety per cent of my soul crammed in it.
I won't let you touch that, you heartless turd."

I'd have liked to thump the impractical man,
But something stopped me, I don't know what.
Perhaps it was pity, perhaps compassion,
Or maybe his skull was too thick to bash on,
Or just some cause that since I have forgot.

"All right," I told the impractical man,
"If you won't budge then I have no choice.
Though my heart's as soft as a cuddly bunny,
The deal is off and you owe us money."
You should have heard the iron in my voice.

"You're all alike," said the impractical man.
"It's scum like you that bleed authors dry.
And as for cash you must take your chances;
I'll pay you back from next year's advances.
I hope you rot in hell," he said. "Goodbye."

So I took my leave of the impractical man,
Glad that his effort was off my list.
He talked of art and he talked of honour,
Like every other damn primadonna.
The next time I see him, he'll get my fist.

I've had enough of the impractical man;
He's brought me nothing but grief and strife.
He's a pain, a pest and an endless quibbler,
A second-bite-of-the-cherry-nibbler,
But most of all, he's a two-bit scribbler -
There's plenty more like him, you bet your life.

------------------------------------------------
   -- all in sincere admiration of the originals!

-------------------------------------------------------------------------
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