January (?) 1999
Hello again, it's Steve here with another Network mag. This is a bit soon after the last one, but with the news of a new album on the way I thought I had better get one out sooner rather than later.
The information I have is as follows. The new album has been recorded and Big Paul was around at the time. He has played on it but I am not sure if that means on all of it or some of the tracks. Jaz was here on Christmas Eve and Boxing Day and turned up again a week ago (17th) and we chatted for a while. He says it is a powerful album and the usual types of things when there is a new one in the bag. Like brilliant, fantastic, best one since / to date, etc. etc. I am looking forward to it because it will be good to hear the basic nitty gritty of KJ and that thunderous sound they get. Especially if it is the original four playing together. It is strange how when I hear of a new album coming out there is still that little rush I used to get as a teenager when there was a new offering from the (then) current bands I was into. Saying that, I am not as brave as Youth who said his first one was David Essex. My lips are sealed. Hmmm. Anyway, it is great to hear there is a new one on the way and it should be good with all four together. It will also be good to get some raw, high energy, powerful, gut wrenching, head-banging music rather than another classical piece. No disrespect here. The guy is talented in everything he tries out musically. I love the Black Onyx and his work on the Zepp. arrangements. But there is something about a new KJ album that you know is going to be so powerful. Let's hope there is a bit of the same oomph that Pandemonium and Extremities had. Or even like BTATSuns in places. (I don't actually have one favourite album - tracks from each one, yes, but the whole things no). When, or rather if, I get to hear of a release date I will post it on to everyone. Unless another issue of the magazine is going out at that time in which case you will get the news that way.
While on the subject of Jaz's visit it is good that Patrick came with him. I now have the jalaba (or white cotton robe thingey - as I call it) that Jaz was wearing for the promo stuff for Victorious City. He has written something on the front of it as well. I still have those Tarot card type things from Democracy so now two parts are with me. All I need is the competition from Patrick and we are away. I think it may involve something to do with the classical and KJ work. By next issue it will be sorted. There were one or two of you who wrote and asked if they could have the cards. Well, sorry - but I suppose everyone should have a chance IF they want these cards and jabala (got it right that time).
Fact. I think the band are rather in favour of getting royalties for the music they have created. It is the same to them, I guess, as our weekly or monthly wages but stretched out over years rather than a lump sum for a job done. that could make them slightly against blatant bootlegs. Check out further into the issue about one that is being bragged about on the internet. There is also a look at the Who classical CD Jaz did a couple of years ago. Believe it or not, he did not even know it had been released. That made me stop and wonder. If no-one hears about a KJ release until it is history then what about the people making it? Do they actually know when it is due? So how the heck we find out is left to chance and fate. Grrrrr. However, must go so have a good read and I will be back at a later date with more something about the band. Like I say, this was done in a bit of a hurry so if I hear anything I will let you know. Cheers.
London Symphony Orchestra
"Symphonic Music Of The Rolling Stones"
Yet another ambitious "classical rock" project from the London Symphony Orchestra (who did 2 truly great camp LPs on K-Tel in 1978 with big sympho versions of rock classics). This one, with all songs from the Stones, is not as good IMHO. "Paint It Black" becomes very fascinating and exotic during a too-short fragment thanks to Arabic style percussion and violin; "Under My Thumb" is sung by Michael Hutchence, who hasn't a singing voice strong enough to hold this (or any other) song; "As Tears Go By" is sung by Maire Brennan (the voice of Clannad); "Sympathy For The Devil" is accompanied by a choir & children's choir, which sound very impressive indeed, but the first vocal is by Jerry Hadley who suffers from the same problem as Michael Hutchence; "Ruby Tuesday" is brought by Marianne Faithfull, and "Angie" even by Mick Jagger himself, who can't rescue the uninspired arrangement. The best tracks are those without solo vocals, but WITH a choir: "Dandelion" and "Gimme Shelter". The producers made a HUGE mistake by bringing in all those solo vocalists. Symphonic arrangements of rock music get their exotic or camp charm from the huge distance between them and the originals; by including solo vocals, this distance becomes much smaller, and instead of symphonic versions of rock songs, you get rock songs with a symphonic accompaniment, which is something completely different. Also, the arrangements (by Jon & Virginia Astley, Jaz Coleman and Matt Clifford) are not very inspired (or bombastic, for camp sake), even tame.
Conclusion: all in all a disappointing disc which has some (too few) fine moments.
London Symphony Orchestra: "Symphonic Music Of The Rolling Stones" CD, RCA 09026-62526-2, USA (P) 1994, 52:07 minutes
1. Street Fighting Man
2. Paint It Black
3. Under My Thumb
4. As Tears Go By
5. Sympathy For The Devil
7. Ruby Tuesday
9. She's A Rainbow
10. Gimme Shelter
11. Jumpin' Jack Flash
"Who's Serious - The Symphonic Who"
The London Philharmonic Orchestra
RCA Victor/BMG Classics #0902663111
Released February 10, 1998
I Can See For Miles
Pinball Wizard/See Me Feel Me
Love Reign O'er Me
Who Are You
Listening To You (from We're Not Going To Take It)
Tracks 1 and 10 feature the Daltrey sings Townshend band from 1994:
Billy Nichols (Musical Director), Zak Starkey (drums), Simon Townshend (guitar), Geoff Whitehorn (guitar), Phil Spalding (bass), John 'Rabbit' Bundrick (piano & organ), Jody Linscott (percussion), Peter Gordeno (keyboards)
Tracks 2-9: Performed by the London Philharmonic Orchestra, Conducted by Peter Scholes:
The Choir (Tracks 2,4,9,10): Ian Wilson, Simon Townshend, Billy Nichols, Alistair Gordon & Steve Butler.
Orchestral Recording Produced by Jon Astley
Co-producer: Billy Nichols
Recorded at Air Lyndhurst Studios by Rupert Coulson
The Band recorded at Metropolis Studios
The Choir recorded at Revolution Studios
Mixed by Andy Macpherson and Jon Astley at Revolution Studios
A fully digital recording mixed to 24-bit digital
Mastered by Jon Astley at home
Tracks 2,3,6,9: Arranged by Jon Astley
Tracks 5,7,8: Arranged by Jaz Coleman
Track 4: Arranged by Peter Scholes
"Special thanks to Ted Astley for helping on Jon's arrangements."
You Say It's Your Birthday: Youth of Killing Joke
Youth was one of the producers of The Verve's Urban Hymns.
Today is the birthday of former Killing Joke bassist Youth, born Martin Glover on this day in 1960 in Africa. Killing Joke's efforts to bridge the gap between punk and disco mixed with their energetic stage-show were trail-blazing in the early '80s and helped establish industrial rock as a legitimate genre. The group formed in 1978, just as disco and punk were beginning to take off. Legendary DJ John Peel was so impressed with their first single that he incorrectly assumed it was by a bigger act performing under a pseudonym. The energetic music delivered on Killing Joke's first three albums - 1980's Killing Joke, 1981's What's THIS For ...! and Revelations earned the group a devoted cult following in the UK and even in the US, where their albums were only available as imports. Both "Psyche" and "Follow The Leaders" landed on the Billboard disco charts in spite of the group's punk spirit.
The group briefly disbanded in 1983 but came back without Youth on 1985's Night Time. Original Killing Joke keyboardist and vocalist Jaz Coleman moved to Iceland. When Youth returned to London, he began working as a producer. Killing Joke continued on in varying forms but never again packed the power they once had until Youth returned for the Pandemonium album. Youth still produces records in addition to running his own UK indie label, Butterfly. Thus far, he was produced such artists as Tom Jones, The Orb, Paul McCartney and Heather Nova. In addition, Youth collaborated with Coleman on two symphonic albums: 1994's Symphonic Music of the Rolling Stones and, most recently, Us and Them: Symphonic Music of Pink Floyd. Youth was also a co-producer of The Verve's highly acclaimed Urban Hymns.
Classical Music and Led Zeppelin Skillfully Combined
by Stephen Jacobetz
The Signal (College of New Jersey)
March 24, 1998
Artist: Jaz Coleman and the London Philharmonic Orchestra (Peter Scholes conducting)
Title: Kashmir: Symphonic Led Zeppelin
Label: Point Music
Cat. No. 454 145-2
I know what you're thinking. Symphonic Led Zeppelin? Led Zeppelin and a symphony orchestra are two things which seem to go together just about as well as Madonna and celibacy. On top of that, I gave it a perfect five-star rating. This may be a first for a Signal music reviewer. Has he gone out of his mind?
Well, I assure you that I am perfectly sane. Being a hardcore Zeppelin fan who owns the entire Zep CD catalogue, I was as sceptical as one could be. Nightmarish soundbites of a cheesy elevator music version of "Stairway To Heaven" played over and over again in my mind's internal stereo when I first heard of the album. I felt that this was probably going to be terrible.
Yet, I had an overwhelming desire to go check it out. I read a glowing article on the project from a reviewer on a Led Zeppelin web site which mentioned that the arranger and scorer of the project, a guy named Jaz Coleman who goes by the name of The Black Jester, had previously produced CDs of symphonic interpretations of the music of The Rolling Stones and Pink Floyd which received considerable public acclaim before this Zeppelin project came out in late 1997. "Maybe this guy does know what he's doing?" I said to myself wonderingly.
So I decided to plunk down the fifteen dollars or so for the CD. "Everyone seems to like the symphonic CDs," the guy at the cash register of the music store said as he took my money. That may be so, I thought, but I'll be sure to keep track of my receipt just in case the album fails to live up to my expectations and I want to return it.
There was no need to worry about that. The music I heard coming from my stereo at home surpassed even my hardened and rigid expectations as a Zeppelin purist. I was instantly turned into a believer of Coleman and his friends, called the Youth. I sat absolutely still in front of the speakers for 72 minutes and 11 seconds in an awed, trance-like state as my ears soaked up the beauty of this work from the first downbeat until the last note faded away.
In an age where all popular bands tend to sound basically the same and the rotation on pop radio stations like WPST (a local pop station near the campus) is maddeningly monotonous, this CD was the most creative and original piece of musical artwork I had come across in a long time. Even the artwork on the environmentally friendly cardboard cover and the liner notes is original and beautifully done. It was a refreshing revelation to my soul that someone was still doing something with music which was imaginative and innovative. The daring, creative spirit of Beethoven and Wagner does still exist.
What's more, Coleman got the project exactly right. By weaving pre-recorded samples in with the music of the orchestra, Coleman was able to capture the soul and spirit, the heart and essence of Zeppelin's music. He knew the essence of Zeppelin lies in the band's well-publicised fascination with the dark, taboo underworld of the occult and mysticism.
Coleman shares the creators' love of Occidental (North Africa, Egypt, Morocco, etc.) and Oriental (Far Eastern Asia, China, India, Indonesia, etc.) music, as well as a love for the folk music of Ireland's ancient Celtic past. Bits and pieces of samples are mixed in with the music to give the piece that extra touch of flavour and atmosphere. This idea was a great little artistic touch which is very skillfully done. Take it from a very discerning music critic who has considerable experience in both the rock and classical genres and is not impressed easily: the final result is of a classic calibre. This is a work of genius, a masterpiece - a work for the ages.
Another credit for Coleman is that he did his homework for the project. He actually met and consulted with Led Zeppelin's legendary guitarist Jimmy Page while he was still in the planning stages of the work so he could better understand the artists' original intent and state of mind when the members of Zeppelin first wrote the music. The insider's perspective gained from these meetings with Page is very evident in the authenticity of the final product.
Coleman knew the difficulties inherent in the project that he had decided to undertake. "I came under considerable fire from colleagues, friends and at least one gossip column for boldly endeavouring to sail chartered waters where no man of good taste would dare to navigate," Coleman wrote in the CD's liner notes. "Only a madman or a genius would have the nerve to challenge the invariable wrath of both rock and classical orthodoxy," he said. Coleman is definitely in the latter category.
The work starts with a short introductory piece entitled, "Dawn At The Great Pyramid." Immediately, the commotion of an ancient Egyptian marketplace is heard. "The time is 4:00 am, and we are in Cairo, Egypt at the end of Haj," Coleman writes. We are vicariously witnessing the sunrise at the Great Pyramid. This piece flows straight into the album's title track, a rendition of the Zeppelin classic "Kashmir," as we are transported back in time to 10,700 BC, Coleman says. Authentic Arabic percussion played by virtuosos sets the proper aesthetic feel.
"Kashmir was chosen as the title of this work as it came to symbolise both the occidental and oriental blood running through my veins," Coleman wrote. "Also, I remember with much amusement [Coleman's deceased friend] Terry Cox's record player being set on 'auto return' - thus 'Kashmir' would play repetitively for hours on end, nearly driving us to the brink of insanity as it turned into a kind of hypnotic mantra."
That piece leads directly into a version of "The Battle Of Evermore," as real Irish pipes once again played by a genuine virtuoso set the mood along with the background sounds of birds chirping, a stream running, and the ritual chanting of Tibetan monks. Coleman writes that the pipes symbolise the emerald green of Belfast, while the piccolo symbolises the orange.
Next is the inevitable symphonic version of "Stairway To Heaven." "Initially, I was reluctant to score this piece as we all know it is the most covered song after Sinatra's 'My Way'," Coleman said. "It wasn't until I actually listened to all the symphonic abortions of this sacred Celtic anthem that I felt a sense of authority to complete the mother of all 'Stairways.' That profound themes such as death and enlightenment could be expressed in one song through both lyric and melody is testament to the genius of Robert Plant [Led Zeppelin lyricist and vocalist]," Coleman wrote. Once again, Coleman hit the mark dead on, calling his version, "the penultimate '90s version."
An interpretation of "When The Levee Breaks" follows. While all the other songs on this album have clear symphonic overtones in their original versions, "Levee" is a blues song straight out of the Mississippi delta which has just drums, guitars, harmonica and vocals. Therefore, this piece underwent the most radical transformation of them all. The essential drum beat is imitated adequately with orchestral percussion. Coleman writes, "How do we honour [the late Led Zeppelin drummer John] Bonham with orchestral percussion? Faith!"
The work proceeds to a rendition of the Zeppelin ballad "Going To California," a song that lends itself easily and comfortably to the symphonic medium. Coleman adds on a flute and strings ending to the piece to convey his sadness about the reintroduction of the death penalty in California.
An obscure but appropriate selection is next - the Zep tune "Friends." Coleman said that John Paul Jones adapted the string part in the original version from the Mars section of Gustav Holst's Planet Suite. Therefore, Coleman decided to out-Holst Jones and do a Holstian interpretation of "Friends." His mission was successfully accomplished.
The last major work of the project is a version of another Zeppelin classic, "All My Love." This version isn't too remarkable, but it does feature a brass solo, which was played on a keyboard using a synthesised French horn in the original, being played on a real French horn. That alone makes the piece worthwhile. This piece was originally written to commemorate Robert Plant's son, who died in his childhood. On this note, Coleman comments, "Knowledge pales in significance to the heart. The dead live by love."
The program concludes with a piece called "Kulu Valley," which is a remix done in the new ambient style. A synthesized keyboard effect creates the feel of a never-ending river flowing on through eternity as snatches of all the previous pieces make a final appearance, accompanied by the same wildlife and Tibetan monk chant sounds first heard at the beginning of "The Battle Of Evermore." Slowly, the keyboard fades away into this soothing backdrop of sound as the work ends. This remix is reminiscent of the work of American minimalist composer Phillip Glass. Not coincidentally, Glass is an executive producer on the album.
So ends this CD, which I unhesitatingly claim to be the best musical purchase I have made in several years. It has been a long time since I had such a love affair with an album. I recommend it highly to everyone, especially those who have an ear for art music of the highest quality. This is not dancing music. This work is meant to be listened to closely and intently, savouring every last morsel.
They may not be quite like peanut butter and jelly, but this work shows that Led Zeppelin and a symphony orchestra can peacefully coexist. Rock can be translated into classical if it is done sensitively and skillfully, as it is here.
Prepare yourself for an auditory adventure through time and go for it. I am confident that you won't be disappointed.
Songs From The Victorious City
Anne Dudley: Jaz Coleman
by Ian Peel
At the end of last year, China Records (motto: only dead fish swim with the current) released "Songs From The Victorious City" - a "unique" collaboration between Jaz Coleman of Killing Joke, Anne Dudley (now ex) of The Art Of Noise and a 30-strong Egyptian orchestra. Jaz Coleman was classically trained on violin, keyboards, orchestral arrangement and composition before "getting in with a bad crowd" and forming Killing Joke in 1979. The group went on to gain a reputation for energetic/totally mad live performances, having been formed in the punk era, and achieved a few chart hits including "Empire Song" and "Love Like Blood" whilst on the EG label. In 1983, Jaz visited Egypt for the first time and had been studying oriental music, in particular that of the Middle East and India, ever since. Jaz: "I have made many friends in Egypt over the years and have had many profound experiences in various parts of the country. Apart from the fact that Egyptian music is the purest form of Arabic music, my interests in the country, and especially Cairo, are the prophecies concerning it. One of my major interests over the years has been studying and comparing parallels in prose, holy writings and legends from various cultures concerning the destruction of the world by fire (and its subsequent regeneration). Cairo as a city features predominantly in several writings. It is referred to as 'Al Khihire' which means 'The Victorious City.' If one considers Egypt's precarious geopolitical position in the Middle East combined with the existing current archaeological quest (i.e., the as yet undiscovered hall of records which is said to point to an earlier civilisation), then such prophetic suppositions start to fire the imagination." Jaz, whose ancestral background is Hindu and Persian as well as English, adds: "I identify musically and spiritually with the modern scales and atmospheres of Eastern music" and has created his own unique style of violin playing from these influences. He describes his interest other than music as "a life-long search for the roots and traces of the Cyclopean or pre-literate civilisations. My studies have included five trips to South America, six trips to Polynesia and umpteen visits to the Middle East."
It was at the time of one of those visits that Jaz came up with a score of Arabic style music. In 1990 he took it to the China record label with a view of getting it on record. Adrian Sear, the label's manager, told Outside World: "We handed it over the Anne who found it was along the same lines as what she was working. Within a week they were writing together and in April 1990 they travelled to Cairo to record with an Egyptian orchestra, soloists and percussionists." What resulted were ten songs of Dudley and Coleman's themes of Egyptian music set to a western "pop" backing based, as Jaz says, on "our impressions and experiences in this beautiful country. It is actual as opposed to conceptual." From the album's opening tracks, the ability of this blend of music to evoke special 'pictures' and atmospheres is apparent. The majestic dawn of "The Awakening" moves into the celebration of "Endless Festival". "Minarets And Memories" follows next, which was remixed by Anne Dudley for an accompanying single release (cat no. China 26); although failing to make the Top 40 in Britain, it reached Number 1 in many North African states, including Tunisia and Morocco. The 'western pop' aspect works to effect on 'Force And Fire' - a track most probably inspired by Jaz's aforementioned studies. Side One of "Songs From The Victorious City" ends with "Habebe", a piece which was coupled with "The Conqueror" for a second single release on December 10th 1990 - an odd choice for a single being one of the more atmospheric/ambient tracks on the album.
Side Two opens with "Ziggurats Of Cinnamon" and that 'vocal strobe-light' effect, added to "Minarets And Memories" for its single release but sadly absent from its album version, is present. "Hannah" sees an uncredited male singer (Jaz?) singing the title to a traditionally scored backing. It's one of the album's high points. "The Conqueror" follows and a rare low point on the LP occurs when the song's sweet flute melodies are shoved aside by very heavy, AoN-"Beatbox" style drums (their only occurrence on the album). Acoustic/traditional Egyptian drumming may have been more in keeping with the rest of the set as these feel out of context. The last two tracks return to the album's best qualities and provide an excellent platform for the Egyptian instruments/instrumentalists and the mood they create. From the pipes, flutes and heat-drenched landscapes of "A Survivor's Tale" to the percussive skills of Hossam Ramzy underpinned, like most of the album, with looped synth basslines on "In A Timeless Place". With similar themes and majesty to the album's opening track, this last piece brings "Songs From The Victorious City" to a close. The 30-piece Egyptian orchestra includes many bizarre instruments such as the nai, kowala and qanun. As well as violin, Jaz contributes cobra pipe and flute. Anne Dudley provides keyboards.
"Songs From The Victorious City" was released, according to its sleeve, as "The first in a new Art Of ... series". The slogan was going to be stuck on the front of the sleeves but in the event it was just mentioned as small print on the back. According to China's Adrian Sear this was so listeners would "compare and connect" it with Anne Dudley's previous Art Of Noise work so that people would recognise who she was instead of assuming that Anne and Jaz were "some obscure ambient outfit". Legal problems may have occurred if "Anne Dudley from The Art Of Noise" had actually been put on the record cover (instead of just the promotional material) as JJ Jeczalik may have objected to "Songs" being 'passed off' as a proper AoN LP. As it is, the Art Of ... series was invented just for this release and won't be continued by anyone - Anne, JJ and Jaz included. On February 5th, Channel 4 screened a play as part of their 'Hidden Faces' series which featured four songs from "The Victorious City". The film, which was shot over a five week period, centred on the daily lives and traditions of contemporary Egyptian women and was filmed in Cairo, El Mina and a remote village named Hor. Anne and Jaz, who say they will definitely work together again, are keen to meet up with the Egyptian orchestra once more, as they would like to get "Songs From The Victorious City" performed live in both London and Cairo. TV backing will be sought for the English end but, according to China Records, dates for this are still "in the air" due to the crisis in the Gulf. A third single release has not been ruled out, although there are no definite plans as yet. Following the release of "Songs", Jaz has toured with Killing Joke for their first dates in four years to promote their latest LP, "Extremities, Dirt And Various Repressed Emotions" - said to be a classic return to form. He has also been asked back to Egypt to write a concerto for one of the country's top violinists and has set to music the Latin version of Genesis Chapter 18 Verse 6 for the 800th anniversary of an English abbey. The continuation of "The Victorious City" project stems from the special relationship Anne and Jaz found with the musicians in Cairo. Anne: "I was afraid that once we took it (the score) to Cairo and gave it to these musicians, they'd either turn their noses up at it or they wouldn't understand it, or somehow they'd be hostile to it. But none of that happened." Jaz agrees, along with many on hearing the LP: "They were blown away!"
Minarets And Memories
Force And Fire
Ziggurats Of Cinnamon
A Survivor's Tale
In A Timeless Place
Fanfare For The Millennium
Jaz Coleman is said to have the most diverse career in the music industry, oscillating between the white heat of Killing Joke (the post-punk experimental group which he founded) and the symphony orchestras of the world.
I. Fanfare For The Millennium
Written in 1991 in anticipation of the last 5 minutes of the year 1999, Symphony No. 1: Idavoll is comprised of 5 movements which take the listener through various stages of evolutionary development.
1/ The Triumph Of Innocence - the resurrection of nature and all living things.
2/ The Island - a purified humanity achieving a perfect state of integration with nature's designs
3/ Remembrance of Expiation - Humanity's attitudes to the follies of the past.
4/ Pilgrimage - the vital alignment of man and nature
5/ The Construction Of The Holy City - the final stage of evolution
Jaz Coleman - brief history:
Us And Them Symphonic Pink Floyd (1995) shot to No. 1 on the Billboard classical charts upon its release last year.
Symphonic Rolling Stones (1994), featuring Mick Jagger and recorded with the London Symphonic Orchestra was an immediate hit, making No. 2 on the Billboard chart.
Coleman has written for artists ranging from Enigma to Metallica and is currently having tremendous success with Kashmir: The Symphonic Led Zeppelin.
Jaz Coleman: Pacifica
Composer/Rock Star Jaz Coleman, since coming to this region, seems to have become enamoured with the surrounding beauty, following the release of his symphony Idavoll (which supposedly concerned an island of enlightened people on the edge of an apocalyptic world) with this collection for string quartet devoted to conjuring up images of various Pacific Islands and peoples. The sensations of the Pacific certainly sweep through the music, giving it a majestic and constantly flowing dynamic which, while austere in initial appearance, grows softer on repeated listens. "Kahu" in particular is chillingly solemn, while "Aotea" and "Mururoa Pts 1 & 2" drift along in powerfully timeless fashion. The strings are arranged with care and precision, and to these are added various local percussion instruments and harmonising voices. The whole thing seems fairly free of pretension or egotism, but that could be just the seamlessness of Coleman's reinvention. Remember, this is the man who spent most of the early '80s waiting for society to crumble so he could dance on its burning grave. So what do you do when Armageddon gets postponed? Put your feet up and buy a recording studio, I guess. And wait. (6)
The London Philharmonic Orchestra plays the music of Pink Floyd
2. Brain Damage
3. Another Brick In The Wall
4. Comfortably Numb
5. Breathe In The Air
7. The Great Gig In The Sky
8. Nobody Home
9. Us And Them
In regards to people talking about influences and Crowley and such, it's pretty much entwined. If the influence of another's teachings or knowledge become subjects one also writes about, talking about that particular influence is just as pertinent. Even though I find Crowley rather brash and Jaz more eloquent, the subject matter is of a similar nature. I find Crowley difficult to read, with the exception of The Book Of Thoth, but it's as fair game to discuss as Killing Joke is, just for the fact that the influence is there. It's just going beyond the lyrics and deeper into why the lyrics are there. Especially with words as rich as Jaz's. There is much more than what is just on the surface.
Sorry that you sound so down on The Network in Issue 6. Please keep up the great work. It is nearly impossible to find out any Killing Joke information here, even though Geordie supposedly lives about 20 minutes from me!
How much do I owe you for my dues? (I am in the USA in Michigan)
I think you should send the promo Democracy Tarot cards to me because I am apparently one of the few subscribers on the American side of the ocean - I saw those once on some mystery web page and they looked quite cool, although it took about an hour to download them on the failed computer I was using at the time.
I really enjoyed the reviews you printed of the various albums from some internet source (I think). Like the writer of those reviews, I am a big time fan of Fire Dances and think it's the best Killing Joke album next to Extremities, Dirt And Various Repressed Emotions. Where did you find this stuff? In fact, do you have any reliable sources on the internet? I have yet to find a useful KJ site or source on the web; maybe I'm not looking in the right places.
What is the best way for me to pay you? International money order, American check/cash or English cash? Last time it cost me about twice as much in bank charges to send you the Pounds Sterling International Money Order.
I'd rather avoid having the pigs at the bank profit any more off me, but if that is the best way to go I will do it. See how devoted to the Network I am? Truly deserving of the Tarot cards and/or the cloak, I must say!
That's about it for now. Have a happy holiday season.
Cheers. I hope the next few are OK as well. With the money, cash is easier in any currency. My bank hit me for changing any cheque not from within the UK.
I got my issue and when I read that it appears to be the last, I was confused. Does that mean my 18 pounds only got me that one issue? I fully understand if you have to cease the production; it must be hard work from the looks of it. The issue was a damn fine one. But what to do about new subscribers like me? Naturally I'd rather see it continue and wait for future issues than get old news. Even as a bare bones item.
By far you seem to be the best connected source to Jaz and Geordie and as such I would be happy if you just supplied a 1 page summary sheet of whatever conversations you've had with them - just to lighten the load on yourself. I can assure you I'd consider to be that well worth my money. Not that I don't like the format - it's nice, but I gather it is a burden to produce.
Direct info about KJ is unbelievably scarce - and maybe Jaz likes it that way, but whenever you have news please make it easy on yourself and pass it along in a bare-bones format. The devoted believers are counting on you!
That said, if you do want essays, reviews, concert experiences, I'd be happy to submit a few paragraphs of my experiences.
Don't panic. I will carry it on for a few more issues. There is no way I wanted it to sound like the last. In fact, I have just got a message from Mike Coles and he is in favour of the mag, as it is not one of the usual 'crawling' efforts. Also Jaz will call in within the next few days and I will find out more about the new tracks they have just laid down.
Or, to put it another way: The Network continues ....
Steve, I'm most impressed. It's good to read and doesn't sound too grovellingly pratty like some fanzines. I'll sort you out some stuff after Christmas, including the sleeve I wanted to use for the Democracy album but which was unfortunately outvoted.
No one's been in touch with me about the new album, but I hope I'm in the frame for the artwork. I sent Youth a CD of animations I've been doing but haven't heard from him (it probably got log-jammed at Big Life - they're not as bad as you make out by the way!). If you see Jaz tell him to get in touch with me. All the best for now - hope Santa doesn't let you down!
Now that sort of letter can make me feel really made up, but being nice and modest I will not the ego out of its sack. It is good to get mail from you Mike and I am looking forward to the post-Christmas post. On yeah, I did apologise for what I said about Big Life. I was having a crap day and had just spent too much on the engine that went bang on my way home from seeing Jaz.
I am not sure but I think we met a few years ago (the talk by Jaz near Regents Park). At the time, you (if it was you) were thinking of starting some type of information service ... years pass ...
I am now computer connected and found your e-mail address on I-Music and see you are running a KJ network. How do I get involved? If my memory serves me (!) you and your partner set up the talk, after we sat in the bar and got pissed (I was with my wife).
Hi there Mark,
I can't put a face to the name, but if we are talking the Columbia then yes I was there. This is the magazine I was mentioning, which is a fanzine type thing. So far I have done 6, and it seems that a few people like it enough to ask me not to stop. I was thinking of knocking it on the head when I got no joy obtaining promo bits from Big Life to give away. However, I have calmed down since then. Not only that, Jaz is a mate, so what the fuck? I am carrying on for a few more issues.
I am charging 13 in the UK and 18 everywhere else. That is for at least four issues. It was the same idea last year but ended up as 6 plus the transcript of The Courtauld Talks. Depending on the response I get this time round depends on how many I can do. I work for free, the costs are for postage, envelopes, printing and all the usual stuff that goes with it.
Steve, thanks for putting me into the last issue and thank for Trevor Grace's address. Sadly only three people have been in touch but I have picked up a few things so not to worry. Any chance of putting in a wants ad for me in the next issue?
Yes! (What else can I say?)
Thanks for the last issue (No. 6) of the Network which was forwarded to my new address. Somehow by moving I managed to miss the last one and would like to buy one if you have any in stock.
I hope you can carry on with the network as it is my lifeline to Killing Joke, who have always been the main band since their evolution. More than just a band, as you know.
I am sending you an overdue subscription plus a little more for the back issue which I would really like. I hope you struggle on with the network because I'm sure it is appreciated and the fire must be kept alight if only by a few.
The only information I would like (apart from touring and release of the new album) is a concise listing of the orchestral works available by Jaz from the shops so that I know what there is out there and what to order. Please don't stop the good work in keeping us illuminated.
Struggle on? Believe me, I don't struggle with it. If anything, I enjoy doing the whole thing when I have the time and inclination to get my act together.
The albums that I know of are all in this issue with the catalogue numbers. The Who is import only from the US (and Jaz was surprised it had been released at all when I showed him the pages further back in this issue). The only other one is Pacifica which is only available on import as well. Unfortunately I do not know the catalogue number. As I still have about 4 of the last issue there is one enclosed with this issue. Cheers.
It took me some time to find your e-mail address in the Networks that I have, but I finally found it. I just hope you'll continue with the Network. I'm a Dutch KJ collector - very hard to find good stuff in Holland though. Maybe you can put my e-mail address in the Network; perhaps there's some fans out there who can help me with my wants. I met Jaz and Geordie in Holland in '96, the gig in Paradiso Amsterdam. Talked with them for a few hours, took a lot of nice pictures of them. There's a lot of other bands I like, but KJ is the old love, it never dies. Just carry on like you did with the Network.
Edith van Schijndel
OK, I got it in the mail today, my friend, and I loved it. I knew I'd like it, but I really loved it. I know you don't know me real well but I'll tell ya, I don't give praise real easily and I'm not one to say I like something when I don't so you can take what I say straight to heart. And I wasn't expecting the booklet of the Courtauld Talks so that was an xxxxtra bonus, especially since I don't have it. The interviews and contributions were fun and gave me a good laugh at points, and I hope you don't get upset with me, but when I get excited over something I like to share it with whomever may listen to me rant and rave. So I went to the Imusic board and kinda threw up all over it and put your e-mail address up to try and persuade others who haven't subscribed to do so. Just thought I'd warn you, I probably should've asked you first but sometimes I get a bit impulsive. I'm not real easily impressed over things so I hope you take it as a compliment to you, which indeed it is. I wish I could contribute to it in some way, but have no idea what I could possibly do. I don't have these extensive collections like a lot of these people have (I think I told you why), so that would be a dead end. I do love to write, but could not possibly have any info or anything anyone else already has or knows. I don't know, maybe if you have some sort of vision or something that you think I could do for you, pass it along. I would love to help or contribute if I could, even if it's just a bit. I'm going to force myself to stop because if I don't it's going to go on and on, so I will save it for a future letter and it's 3:14 am and I try to get to bed before 3:30 am or so. I work until at least 2 am so I keep that schedule all week in case you happen to wonder why I'm always up so dreadfully late, and even if you don't wonder now you know haha. But you have a super weekend and I'll hopefully talk to you soon. >>>>>>>>>>>>>>>>> cheers :):):):):):) Beverly
Thanks for the mail and thanks for putting the mail address on the web site. But even better, thanks for the praise. I feel kind of guilty about wanting to chuck it in now. The people who have written back are all 100% into the magazine and hopefully any newcomers will be too. As for e-mailing me, then do so anytime. It will be read when I am in front of the machine, which is every day. The chances are I will write back the same day. Ask Katrin Fritsch in Germany. We had a good little repartee going for a few months and it was fun while it lasted. Not only that, it will keep you busy between getting home and hitting the sack.
So on that note, I shall depart until next time I am out to play. I hope you liked this issue and will stay with me for the next few months. (Last time I said months it turned into 2 years). Take care and remember: if I hear anything I will let you know.