[][][][][][][][][][][][][][][][][][][][][][][][][][]
A C A D I E
The Internet newsletter for Daniel Lanois
Number 31, Monday, 22 July 1996
Today's Topics:
DL and reverb
Lanois
Last 2 lyrics for Acadie
Re: More Lanois influences
The Hamilton Guitar Sound
the maker
Tuning Reverbs
Wynona cover
White Mustang II transcription
Cool Water CD For Sale
[][][][][][][][][][][][][][][][][][][][][][][][][]
POSTS: Please send all posts to lanois@sfbayconcerts.com
WWW: http://www.sfbayconcerts.com/lanois/home.html
[][][][][][][][][][][][][][][][][][][][][][][][][]
From: J Pekka Makela
Subject: DL and reverb
Date: Tue, 16 Jul 1996 02:04:00 +0300 (EET DST)
Lars Hollen wrote:
>
> In an interview in a Swedish music paper (from 1993) DL Says that
> he always tunes his digital reverbs. And I wonder: how??? How can
> you tune a reverb? I know how to set the delay time so it corresponds
> with the song's tempo, but a reverb? Does anyone know?
> "I tune them [the reverbs] to frequences that harmonize with the music."
> He says that he doesn't want a reverb to sound like an added resonance.
> It must have a *musical* value. So, how does he do it?
Well, basically, he seem to cut off quite a bit of reverb
frequencies, especially the high end, so the reverbs don't
steal as much attention from the actual music. Of course,
as the digital reverbs usually simulate a room, he might
program them to simulate a room with measurements that resonate
with the music...
Or it could be that the writer has sort of mistaken what DL said,
or didn't understand the concept of delays corresponding the
song's tempo. At least in Finnish they sometimes use the same word
meaning both the reverb and the delay.
J. Pekka Mäkelä (ä's are a's with umlauts) Pekka.Makela@Helsinki.fi
-----------------------------------------------------------------------------
Lintupolku 9 as. 1; 01450 Vantaa; FINLAND
tel.+358-0-87 22 014 http://www.Helsinki.Fi/~jpmakela
[][][][][][][][][][][][][][][][][][][][][][][][][][][][]
From: ac77@usaor.net
Date: Mon, 15 Jul 1996 23:37:25 -0400
Subject: Lanois
Dear Kenley,
Im not quite sure how to get this to ACADIE, but my question is,
when I listen to Daniel`s lyrics I seem to hear a strong biblical-
christian influance. am I loosing my mind or do other people hear
this also? I hear it more on ACADIE than on FBY. just curious.
Thanks for your time, ac77
[][][][][][][][][][][][][][][][][][][][][][][][][][][][]
Date: Sat, 20 Jul 1996 02:54:48 -0700 (MST)
From: "Antonio S Abeyta" <21113@ef.gc.maricopa.edu>
Subject: Last 2 lyrics for Acadie
...And finising up with Acadie, here's the last two lyrics...
Once again, thanks to everyone who has sent suggestions! Looking forward
to doing "For the Beauty..." :)
***St. Ann's Gold
With feet so cold
I feel no pain
and the Western Cross
on snow white plain
Look over yonder
the pines are down
they've laid them well
on sequoia ground
I hear the howling timber wolf
I hear the howling timber wolf
Sleepy eyes
fading light
snow white Suzy
you're my desire
You carry me back home
You carry me back home
***Amazing Grace
Amazing grace, how sweet the sound
that saved a wretch like me
I once was lost, but now I'm found
said I was blind, but now I see
Through many dangers, toils and snares
I have already come
twas grace that brought me safe this far
and grace shall lead me home
I once was lost, but now I'm found
said I was blind, but now,
now I see the light
###
[][][][][][][][][][][][][][][][][][][][][][][][][][][]
Date: Wed, 17 Jul 1996 13:00:44 +0200
From: Stephen.Fruitman@idehist.umu.se (Stephen Fruitman)
Subject: Re: More Lanois influences
In his 8 July posting, Tony Dunne discusses Pierre Marchand´s production of
Sarah McLachlan´s album "Fumbling Towards Ecstacy". I recall having seen
Sarah at the Mariposa Folk Festival in Toronto many years ago, and am glad
to hear that she is now reaching an international audience. She is far too
unique to have her audience restricted to a few lucky Canucks, and instead
deserves to join the pantheon of superb female Canadian singer-songwriters
who have global appeal, like Joni Mitchell, k.d. lang, Holly Cole, Jane
Siberry, Alanis Morrisette, Mary Timmins of Cowboy Junkies and Mary
Margaret O´Hara (who have I forgotten?).
Another pair of Canadians worth checking out is Kate & Anna McGarrigle.
Debuting in 1976 with a self-titled album, they quickly won the praise of
reviewers on several continents. Throughout the remainder of the seventies
and the early eighties they continued to produce excellent, folk-flavoured
records, liberally blending the French and English they acquired in their
hometown of Montreal. Then, after a seven-year silence, they returned in
1990 with "Heartbeats Accelerating", a work much darker than previous
releases. The production - which immediately struck me as being
unmistakeably Daniel Lanois´ handiwork - proved to be the work of the
above-mentioned Marchand. Fans of Lanois´ work with Emmylou Harris would
surely be richly rewarded by investing in this record.
Stephen Fruitman
Dept of the History of Science and Ideas
Umea Universtiy
Umea, Sweden
[][][][][][][][][][][][][][][][][][][][][][][][][][][][]
From: LISAPEARL@aol.com
Date: Mon, 15 Jul 1996 21:45:57 -0400
Subject: The Hamilton Guitar Sound
Dear Tony,
I just read your posting in Acadie and I think I can offer an explanation
regarding the
similarities in the guitar work. This is the work of my favourite guitarist,
Bill Dillon.
You'll note he's in the band on "For the Beauty of Wynonna". He plays the
guitorgan
most often. It looks like a large guitar, and can be played like one.
However, it also
contains some kind of computer that changes the sound to that of an organ.
This
information I received from Mr. Dillon himself when I met him in New Orleans
at
Kingsway. When the guitorgan is being played as an organ, the strings are not
plucked or strummed, the strings are manipulated by fretting with the left
hand .
Mr. Dillon does not play the guitorgan on all of the tracks of FTX where you
notice
the Hamilton Guitar sound. He does also play a regular guitar, but the sound
is
very much like Lanois'. (I've almost forgot to mention that Mr. Dillon is
from Hamilton,
but you may have already guessed that.) There is a band from Hamilton called
Junk-house (which I mentioned in my own posting to Acadie) whose guitarist,
Dan Achen, also sounds like Lanois. Hence my designation of 'The Hamilton
Guitar Sound". I discussed this with Mr. Achen on the occasion of our second
meeting and he agreed
that the Hamilton sound does in fact exist. He told me that it's because all
of these
guitarists have known each other for years and influence each other's style.
Mr. Dillon also played on Robbie Robertson's self-titled and Storyville CDs
and on the
Counting Crow's August and Everything After CD. I recommend these CDs to
anyone
who enjoys the Hamilton Guitar sound as I do.
Hope you don't mind I'm submitting this letter as a posting to Acadie.
Lisa Pearl Krolasik
lisapearl@aol.com
[][][][][][][][][][][][][][][][][][][][]][][][]
Date: Wed, 17 Jul 96 09:26:18 UT
From: "Bruce Walters"
Subject: the maker
I especially like the song The Maker. It has such a balance between
alienation/hope -but mostly, a sense of mystery "dark waters, ..from a
distance." I have long pondered the last verse's meaning (I finally looked up
"East of Eden" in Genesis).
-Bruce Walters
[][][][][][][][][][][][][][][][][][][][][][][][][][][][]
From: Genepool@aol.com
Date: Wed, 17 Jul 1996 14:25:06 -0400
Subject: Tuning Reverbs
<<73513.3043@compuserve.com>
Subject: White Mustang II transcription
The following is an interpretive transcription of white mustang II from
Acadie. It doesnt really have a steady meter and Daniel isn't always
playing the bass note on the beat although he does start out that way. This
is not a complete transcription but it does complete one verse. The
strangest thing about this song is the tuning, DADAEG, low to high. I'm
not sure how he woud have arived at this tuning other than by accident. I
would not reccomend this tuning on a guitar with really old strings because
the tension on the first and second strings is so much greater than usual.
I decoded this tuning by picking out the sound of the open strings and by
harmonics he plays through out the song. If anyone has questions feel free
to ask. I encourage experimenting with this tuning and using chord shapes
from standard tuning as some work out nicely.
Billy
G---------------0-----------0-------------------------------------
E------------0-----------0-----1--------1--------1-----1p0--------
A---------0-----------0--------------0--------0-----------------0-
D-----------------------------------------------------------------
A-----------------------------------------------------------------
D---12/0-----------0--------------0--------0--------0-------0-----
G------0--------7-----5--0--------------------0-------------------
E---0--------------7--------0--------1-----------1--------0-----0-
A------------------------------0--------0-----------0--------0----
D-----------------------------------------------------------------
A-----------------------------------------------------------------
D---------------------------------0--------0-----------0--------0-
G---------------------7-----5--0--------------------------0-------
E---------1--------8-----7--------0--------1-----------1----------
A---0--------0-----------------------0--------0-----0-------------
D---------------------------------------------------------------0-
A-------------------------------------------------------------1---
D------0--------0-----------------------0--------0----------------
G---------0-------------------------0----------------0-----------0
E------0-----0-------------------0-----0----------------0-----------0---
A---1-----------1-------------3-----------3----------------0----------0-
D------------------0-------2-----------------2--------------------
A---------------------1/3-----------------------(5)---------------
D-------------------------------------------------------------0---
G---------------0--------------------------0------------------
E-0----------0--------------------------0---------------------
A---0-----1-------------1-p(0)------0-------------------------
D------0-------------------------2----------------------------
A----1----------------1-----0---------------------------------
D----------------------------------------------0--------------
[][][][][][][][][][][][][][][][][][][][][][][][][][][][]
SUBJECT: Cool Water CD For Sale
[Editor's Note: Due to the subject matter, I pulled this message off
the Sylvian list with permission.]
Date: Sun, 21 Jul 1996 05:27:43 +0800
Errors-To: listman@arastar.com
Errors-To: sylvian-owner@arastar.com
Reply-To: sylvian@arastar.com
Originator: sylvian@arastar.com
Sender: sylvian@arastar.com
From: camuscar@globaldialog.com
To: Multiple recipients of list
Subject: Daniel Lanois
X-Listprocessor-Version: 6.0c -- ListProcessor by Anastasios Kotsikonas
X-Comment: David Sylvian/Japan Mailing List
content-length: 549
Hi Friends of DS,
In the interest of my financial well-being, I am auctioning off one of my
most precious CDs, Daniel Lanois, 'Cool Water', an exquisite German import
recording of an intimate Toronto club date at which Daniel is accompanied
by a background guitarist and singer. 'Cool Water' contains gut-wrenching
renditions of the best from Wynona and Acadie, and features some of the
most blistering electric guitar I've ever heard, in a style that makes
Crazy Horse-style N.Y. sound tame by comparison.
Start the bidding!
Mike Scheibinger
camuscar@globaldialog.com
[][][][][][][][][][][][][][][][][][][][][][][][][]
The views expressed in ACADIE are those of the individual authors only.
ACADIE is released for the personal use of readers. No commercial use may
be made of the material unless permission is granted by the author.
Kenley Neufeld, ACADIE editor
[][][][][][][][][][][][][][][][][][][][][][][][][][][][][]
