Alienation and Despair - Faves
Alienation and Despair - Faves| Volume 1 , Number 8 | Yo La Digest | May 6, 1994 |
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Alias really fucked the band over ...Gerard Cosloy
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gangway for tengo, i thought by now, this list would have dried up and blown away. who knew? we may be hitting a bit of a dry spell between the end of this tour and the release of a new album - just bear with. i've collected plenty of ylt filler to plug the gaps. and you lurkers, send in with your yo la experiences. yours, tim tim@vestek.com please welcome to the list: --------------------------- George Wehrle <wehrle@cps.msu.edu> Sam Adams <sadams1@cc.swarthmore.edu> Marc Odo <desslok@u.washington.edu> Pat Hall <pathall@uclink.berkeley.edu> Jerry Boonstra <boonstra@bnr.ca> Cam <PATTERSON@cvlab.harvard.edu> Satyajyot Sharma <ssharma@ucrengr.UCR.EDU> Mike McNally <mcnally@eecs.umich.edu> Michael Pemberton <mrpember@gibbs.oit.unc.edu> David Greene <dgreene@bu.edu> Greg Schmitz <gschmitz@luna.cas.usf.edu>
April 19, 1994 Dear Tim, Nice to hear directly from you. Our spies along the internet informed us of your existance a while ago. It's safe to say we were taken aback. I don't think we'll be correcting any falsehoods and misinformation because that stuff is among our favorite parts! I will tell you that "Let's Get Rid of New York" was originally recorded by the Randoms on Danger Lovie Records, the b-side of A-B-C-D in 1977. John Doe played bass. It was reissued on some Danger Lovie compilation on BMG not too long ago. A family tree is certainly a possibility, though w/ the trillions of members we've had, it would be quite a forest. Quoting our newsletter - Well, don't give it all away. We want people to get it from us. Hope you get a chucle out of issues #1 + #2. Take care. Best, Ira + the YLT [i'm sure the label isn't called "Danger Lovie", but maybe it is, nothing like a indie foulup to keep ira smiling - tim]
from: Derek Weiler <dxweiler@watarts.uwaterloo.ca> Subject: Yo La Tengo--Alias split and more Hello; Just a little bit of information you might find interesting. Interviewed Gerard Cosloy (Matador records) over the weekend and one of the things that he mentioned was that Yo La Tengo's split with Alias Records was by no means an amicable one. Seems the band didn't feel that Alias was interested in their stuff, and a lot of the people who were with the label when Yo La signed had left. Anyway, Cosloy said they had to pay a lot of money to get out of their Alias contract-- most of the money they got from Matador had to go directly to Alias. In Cosloy's words, "Alias really fucked the band over." Have you heard anything about this? [does this mean that i'll have to toss my "none of our bands suck" t-shirt - tim] Cosloy also seemed to put sales figures for Painful at somewhere between 25--40,000; great for Matador but "a blip on the radar" for Atlantic. "The time and energy Atlantic have to spend helping Yo La Tengo go from 25,000 to 40,000 is equivalent to the time and energy they have to put in to help the Lemonheads go from 300,000 to a half million. The math isn't hard to figure out...." Also, was reading a story about Brave New Waves (which is a late night alternative music show on the CBC-- Candian public radio) and the host Brent Bamberey (sp?) mentioned that for him the "classic bad interview" of his career had been Yo La Tengo. Didn't get into specifics, but he did mention that they were on a level with Thurston Moore as "jerky interviews" go. A friend of mine interviewed Moore about five years ago, and he says "jerky" is probably as kind a word as one could possibly use, so I guess it's not the greatest company to be in. Did anyone hear the Brave New waves interview? Cheers, DW.
from: gerard cosloy via alt.music.alternative >Can you tell us whether Atlantic has been pushing for the distribution >of Liz Phair's material (present and future)? One would expect so, if >only from a business point of view. > >Furthermore, what does Atlantic receive from this distribution deal? Do >the artists lose anything (other than indie-rock cred, which is a tricky >subject at best)? > 1) Atlantic had no rights to the _Exile_ album, since it was released under a deal signed prior to our Atlantic deal being signed. Also, it was a one-off between us and Liz. Now that Liz has resigned to us as part of alonger term agreement, her future albums will probably come out as Matador/Atlantic joint releases. We have no plans to reissue _Exile_ through Atlantic...so far, we've done pretty well independently. 2) Atlantic receive 50% of the profits, if there are any (so far, we have not made any money for Atlantic. But I think that will change someday... certainly Liz is very responsible for lowering the debt). The artists still have as much control as they did before...although they sometimes get frustrated if they have to start dealing with a larger company, record co. folks they don't know, etc. So we try to avoid those situations whenever possible. I know that sounds very hard to believe (the part about the artists having control), but the next time any of you see Pavement, Liz, the Fall, Yo La Tengo, Bailter Space, Unsane, etc. and have a chance to talk to any them, just ask them how much interference they get from Atlantic (or that matter, Matador) when it comes to stuff like recording, songwriting, picking singles, designing record covers, making videos, etc. Matador releases look and sound the way the artists want them to. Matador artists are not paid less dough if and when their stuff goes through Atlantic and WEA...our royalty rates are on the high side compared to most other indies or majors (once again, you can ask the bands about this one). As far as the whole indie cred thing goes, that's for everyone to decide for themselves. Certainly most major label records are a pile of shit, that's why there's so much guilt in being associated with them. But I'm not sure there's anything great about "indie" if it means stuff like the Supersuckers, Lucy's Fur Coat or the Drop Nineteens. (sorry if anyone is a fan of those bands, I'm not). I think most people who buy our records do so because they're interested in the bands themselves, not 'cause of the label. But if anyone chooses to blow us off because of an association w/ Atlantic, I can understand why. But I also think if you look at the handful of records we've released through Atlantic, you'd be hard pressed to name one that sounded like a typical major label album...or to cite an example of a band changing their approach to appease a wider audience. GC
from: glenn susser <p01400@psilink.com> Thread Waxing Space, NYC Sat, April 30 COMBUSTIBLE EDISON -- Missed the first few minutes, but they played for a solid hour. They not only play lounge music, but play the part very well. The guys all wore matching white Las Vegas-like tuxedos, while the gal, "Miss Lily Banquette" wore a very lounge-like evening dress. And their stage presence was something else, with "The Millionaire" (guitar) doing the announcing while Aaron Oppenheimer (vibraphone, drums) moved around in a very lounge-like way. Most of the songs were from "I, Swinger". They were all excellent craftsmen, Lily's voice commanded attention, and there were a myriad of instruments played. I thought it was lots of fun. SPLENDORA -- We missed about half the set thanks to my ravenous appetite landing us in the pizza joint. We came back to find people being turned away -- they reached the 500 person capacity. Splendora is 5 females -- 2 guitars, a fiddle, cello (?) and drums. In the riot grrl tradition, they were loud and intense - they were all more than technically competent. But my mind was on the next act. YO LA TENGO -- Surpise (yet again.) 2 drummers. That's Georgia and "Rick" (as if Georgia's incessant pounding wasn't enough!) Great great addition, though Ira made it sound as if it were a one-time thing. It was mostly songs from "Painful" with a few from "May I Sing With Me", "President Yo La Tengo" and "New Wave Hot Dogs." They seem to get better with every show. The sets are tighter and seem to be more rehearsed, but doesn't sound at all redundant, while the songs flow into one another. Ira has become the consummate showman, making all sorts of _painful_ expressions while doing all sorts of weird stuff with the guitar, ala Jimi Hendrix. As Ira might say, this was a Friday afternoon kind of show, i.e., loud. They opened with "I Was The Fool Beside You For Too Long" and followed with, though not necessarily in order, "From A Motel 6", "Double Dare", "Superstar Watcher", "Nowhere Near", "Big Day Coming", "Upside Down", "Out The Window", "Drug Test" and "Alyda" plus a few others I can't recall. The highlight for me came with the second song of the 3 song encore set. Sue (Garner??), formerly of Fish 'n Roses and now of the Shams, came up to jam on guitar to cover Art Attack's (?) "Neutron Bomb." But everyone took a backseat to Rick, the _guest_ drummer, who had been looking kind of nervous all night. Rick, still looking a bit nervous, came up to the mike, shot glass in hand, and brought the house down with his vocals. Great ending to a great evening.
from: Sam Adams <sadams1@cc.swarthmore.edu> Swarthmore Show/This is Art Got an addition to the discography for you. it's a double seven-inch comp out on Radiation records called This is Art and it features live tracks by four different Hoboken bands, one of which is, of course, yo la tengo. They do a vastly slowed down and kind of haunting version of Some Kinda Fatigue. Other bands are cell, lovechild, and someone else i can't remember at the moment The show yesterday was fantastic. They played the whole thing with a second drummer--no idea what his name was, but he used to play in Fish and Roses. Started w/a really slow version of Upside-Down, then into Double Dare, and then, the kicker, their version of I Can't Seem to Make You Mine (the Seeds; Alex Chilton). (I'd requested it before the show, and Ira had said they didn't have time to play it, but they did it anyway. Cool.) Then it was I Was the Fool Beside You (featuring a mean double-drum section); Let's Compromise (a quiet vs. sung by Georgia); Out the Window (which they just stopped halfway through); Sudden Organ; Laughing; and a cover of the Art Attacks' "Neutron Bomb" (no, me neither) to close. On this last, they were joined on guitar by Sue (formerly of Fish and Roses) who, in time-honored Yo La Tengo guest instrumentalist fashion, squatted down behind the organ and just made noise throughout the entire tune. A short set, but wholly satisfying. (Ass Ponys were great, too). Anyway, that's about it. Sam
Contacting the Band Yo La Tengo can be reached at: Yo La Tengo
P.O. Box 6028
Hoboken, N.J.
07030 USA
DISCOGRAPHY Yo La Tengo Discography Version 1.25(*additions and changes) Updated May 3, 1994 Maintained by: Tim McGinnis tim@vestek.com 1640 Golden Gate #4 SFCA, CA 94115 If you spot mistakes or omissions, please send any available information. Brief Discography 1985 7" The River of Water 1986 Album Ride The Tiger 1986 Comp Luxory Condos Coming to Your Neighborhood Soon 1987 7" Asparagus Song 1987 Album New Wave Hot Dogs 1989 Album President Yo La Tengo 1989 Comp Human Music 1990 Album Fakebook 1990 7" Speeding Motorcycle 1990 EP Here Comes My Baby 1991 Album That is Yo La Tengo 1991 7" Walking Away From You 1991 Soundtrack Matter of Degrees 1992 Album May I Sing With Me 199X Comp Love Is Like A Poke In The Eye With A Stick 199X Comp Mountain Stage Vol 3 199X Comp Ruta 66 1992 EP Upside-Down 199X Comp Freedom of Choice 1992 Comp Delicacy and Nourishment Ernest Noyes Brookings Vol 3 1993 Soundtrack True Fiction Pictures 1993 EP Shaker 1993 7" Shaker (diff version) 1993 Album Painful 1993 7" Big Day Coming 1994 CD Single From A Motel 6 1994 Double 7" *This is Art Videography 19XX Mouthful of Sweat 19XX The Summer 1/28/94 Conan O'Brien NYC 1992 Upside Down 1993 Big Day Coming 1993 From a Motel 6 Bootography [this is a compilation from traders lists. due to it's length, the Bootography will be available by request only in the future] 12/18/85 *Folk City NYC 45 min 6/26/86 *TT The Bears Cambridge 40 3/22/87 *TT The Bears Cambridge 35 5/19/87 Backnang Germany 90 11/21/87 *Patronaat Haarlem/NL 60 11/22/87 Vera Groningen Holland 90 11/25/87 *Waaghals Records Nijmegen/NL 25 11/30/87 *Kir Hamburg 110 12/17/87 *Alsos Athens Greece 60 3/23/88 *Siberia NYC 45 4/23/88 *Nightshift Nantucket Ct 55 7/9/88 *Hagen Pop Fest Haaksbegen/NL 50 sum/88 *CBGB's NYC 35 2/1/89 *Pterodactyl Charlotte NC 45 2/4/89 *Einstien A GoGo Jacksonville Fla 40 2/7/89 *Button South Hollandale Fla 40 3/3/89 WRSU (int/perf) New Brunswick NJ 20 3/16/89 *Green Station Boston 55 5/6/89 *Ku-Ba Hanau/D 85 5/9/89 *Old Daddy Duisburg/D 75 5/16/89 *Forum Enger/D 110 5/18/89 *Tafelhalle Nurnberg/D 65 5/19/89 *JeZe Backnang/D 95 5/20/89 *Ratschenmuhle Geislingen/D 110 6/6/89 *Live Station Dortmund/D 45 10/13/89 *Maxwell's Hoboken 30 12/2/89 *Brewery Raleigh NC 45 2/23/90 *CBBG's NYC 55 3/1/90 *Speakeasy NYC 80 3/11/90 *Paradise Boston 40 5/3/90 *WUTL New Orleans 15 6/24/90 WXRK NYC 45 6/28/90 *Marquee NYC 35 7/5/90 *Cabaret Metro Chicago 40 7/13/90 *Marquee NYC 50 7/17/90 *Tramps NYC 40 8/12/90 *Rose Club Kokn/D 85 8/15/90 *Forum Enger/D 115 8/16/90 Negativ Frankfurt Germany 135 8/18/90 Nerorock Belgium 45 8/26/90 Slim's San Francisco 45 9/10/90 Liberty Lunch Austin 45 9/21/90 *Knitting Factory NYC 115 9/23/90 *JC Dobb's Philly 50 10/1/90 Decade Club Pittsburg Pa 55 10/3/90 *Twister's Richmond Va 40 10/6/90 *Pier Platters Hoboken 20 1/27/91 Mountain Stage West Virginia 25 2/8/91 *Dobb's Philly 65 2/14/91 *Cotton Club Atlanta 45 2/19/91 *WUCF Orlando Fla 20 3/2/91 *Maxwell's Hoboken 25 3/22/91 *Maxwell's Hoboken 65 4/26/91 WPRB (int/perf) Princeton NJ 20 5/3/91 *CBGB's NYC 60 5/5/91 *Terrace Lawn Princeton Univ 60 5/19/91 *OOC Venlo/NL 85 5/20/91 *Burgerweeshuis Deventer/NL 80 5/21/91 VK Brussel Belgium 60 5/26/91 *Bloom Mezzago/I 60 6/3/91 *Theater Fabrik Munchen/D 65 6/4/91 *L.G.A Nurnberg 70 6/6/91 *Odeon Munster/D 60 6/8/91 *Freizeit West Dortmund/D 75 6/11/91 *Batschkapp Frankfurt/D 80 6/29/91 Summer Stage NYC 55 7/14/91 Knitting Factory NYC 45 8/17/91 *Delta 88 NYC 100 10/1/91 *Blue Bird Bloomington 70 10/4/91 *JC Dobbs Philly 60 10/5/91 *Knitting Factory NYC 35 1/4/92 *Maxwell's Hoboken 30 2/18/92 WFMU (dj/perf) East Orange NJ 270 3/21/92 *Maxwell's Hoboken 80 4/10/92 K-ROCK (int/perf) NYC 65 4/18/92 Cattle Club Sacto Ca 90 5/92 *WXRK NYC 45 5/2/92 *Knitting Factory NYC 145 5/19/92 *The Borderline London 65 5/21/92 Democracy Gent, Belgium 90 5/22/92 *Patronaat Haarlem/NL 75 5/23/92 *Bad Hannover/NL 80 5/26/92 Loft Berlin 90 5/27/92 *Luxor Koln/D 75 5/28/92 *Ede Wolf Oldenburg/D 90 5/29/92 *Kulturfabrik Krefeld/D 90 5/30/92 *Forum Enger/D 95 6/16/92 Batschkapp Frankfurt Germany 90 6/19/92 *Effenaar Eindhoven/NL 75 7/3/92 Warfield Theater San Francisco 45 4/30/93 The Flood Zone Richmond Va 90 6/12/93 Black Session Paris 45 9/20/93 Slim's San Francisco 50 11/8/93 *Filling Station Bozeman, Montanna 11/10/93 Ralph's Moorhead, Mn 67 1/8/94 Botanique Brussel Belgium 120 2/6/94 Trocadero San Francisco 50 2/19/94 Cat's Cradle Chapel Hill 95 2/25/94 Liberty Lunch Austin 50 Detailed Discography (additions and changes only. complete detailed discography available by request). 1994 *This is Art Some Kinda Fatigue (live) Radiation Records
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