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Date: Mon, 17 Nov 1997 04:25:43 +0100
To: *Arithmetic Extract mailing list*
From: Patrick Asselman
Subject: Arithmetic Extract
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******************************************
* Extract of the Arithmetic mailing list *
******************************************
~~~~~~~~~~~~~~~~~~~
~ In This Extract ~
~~~~~~~~~~~~~~~~~~~
Foreword
- my little rant
New releases:
- Summertime two-part single
- Cry two-part single
Tour dates:
- a full schedule of the US tour
- a concert review
Interviews and reviews:
- Rolling Stone wk41
- San Diego Union-Tribune Sept 25
- Sundays bio from Geffen
-
-
- Contra Costa Times - "Teamed in art, teamed in life"
Other News:
- lyrics of Summertime album
- chords of Summertime album
- latest chart info
- lots of useful web links
~~~~~~~~~~~~
~ Foreword ~
~~~~~~~~~~~~
Hello dear readers. My name is Patrick Asselman and i am the guy that will filter through all the posts on the mailing list to get only the most useful messages to you. In future there will be no more ranting from me but i thought a big message like this
in your mailbox would need some explanation.
*What will be in these extracts?
Only factual things, such as:
- information about new releases
- info on tour dates
- interviews and reviews
- other things such as lyrics, guitar tabs, useful web links or people selling things
*How often will you receive this extract?
I will send an extract once a week. Usually on a Sunday (of course!). If you didn't receive an extract in a certain week that probably means i was too busy to create one that week, or i might be away for the weekend, and so you will have to wait a week lo
nger.
All that remains to be said is that this first extract is much bigger than usual, because the content is the result of a whole month of messages instead of just one week. This is done in order to get you up-to-date on all the recent news on the Sundays. I
n order to save some space I've done more editing than usual.
Oh yeah, just one more thing. In the headers you will see email addresses denoted as site.domain!sender This is due to the way my mail system is set up. To reach that person simply transform the address to sender@site.domain
---PAtrick---
~~~~~~~~~~~~~~~~~
~ New Releases ~
~~~~~~~~~~~~~~~~~
I thought I'd add this one just so you know:
Summertime 7" $5.99 Red vinyl 7" B/W "Nothing Sweet". Release Date:
8-Sep-97
Summertime (Part 1) CDS $9.99 From the "Static & Science" full length,
featuring bonus tracks "Nothing Sweet" & "Gone". Release Date: 8-Sep-97
Summertime (Part 2) CDS $9.99 Plus a Peel Session version of "Skin & Bones"
and live radio session version of "Here's Where The Story Ends". Release Date:
8-Sep-97
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Date: Sat, 25 Oct 1997 01:52:56 -0400
From: Craig Parker
Subject: "Cry" singles track list
Here's the track listing for the "Cry" singles from
SirenDisc (http://www.sirencd.com/) :
Cry (Part 1) CDS $9.99
Plus demo versions of "Can't Be Sure" & "You're Not The Only One".
Release Date:10-Nov-97
Cry (Part 2) CDS $9.99
Plus "Through The Dark" & "Life Goes On".
Release Date: 10-Nov-97
Craig
~~~~~~~~~~~~~~~~~~~~~
~ Tour Dates & Info ~
~~~~~~~~~~~~~~~~~~~~~
Here is the tour schedule, taken from http://www.stanford.edu/~ccytsao/arithmetic/cool/dates.html
On the web page you can also see which ones of the arithmetic subscribers will attend at the venues.
THIS TOUR SEASON!
The SUNDAYS will be undertaking a full UK and European tour starting late January 1998.
Nov. 04, 1997: Assembly Rooms Edinburgh Scotland. CANCELLED
Nov. 05, 1997: MDH Manchester England. RESCHEDULED
Nov. 06, 1997: Union Chapel London England. RESCHEDULED
Nov. 08, 1997: Manchester University
Nov. 11, 1997: London Union Chapel
Nov. 15, 1997 Moore Theatre Seattle, Wash. $18.00 + charges
Nov. 17, 1997 The Fillmore San Francisco, Calif. $24.35
Nov. 19, 1997 Mayan Theatre Los Angeles, Calif.
Nov. 20, 1997: 'Canes, San Diego, CA $15.00
Nov. 22, 1997 Ogden Theatre Denver, Colo.
Nov. 24, 1997 First Avenue Minneapolis, Minn.
Nov. 25, 1997 The Vic Theatre Chicago, Ill.
Nov. 26, 1997 Clutch Cargo Pontiac, Mich.
Nov. 28, 1997 The Guvernment Club Toronto, Ont. $28.00 Canadian
Nov. 29, 1997 Avalon Ballroom Boston, Mass.
Dec. 1, 1997 The Supper Club, New York City, NY $26.50
Dec. 2, 1997 The Electric Factory, Philadelphia, PA
Dec. 3, 1997 9:30 Club Washington, D.C.
Dec. 5, 1997 Variety Playhouse Atlanta, Ga.
Dec. 7, 1997 Dallas, TX
More dates (for the NY area) should be announced soon.
Booking Agent : Monterey Peninsula Artists
Full UK and European tour starting late January 1998.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Date: Sun, 16 Nov 1997 03:29:44 -0800 (PST)
From: bmilner
Subject: Seattle review (& setlist, guitar info etc.)
Hey everyone:
I thought I would just jump in a write a lengthly review of the Sundays
show here in Seattle tonight. It will contain, facts, opinions, setlists,
equipment reports and such. So you if you like suprises and don't want to
have all the sense of mystery ruined, you may want to stop reading now.
I warned you...
At the end is the set list and the guitar tech info for us geeky musician
types.
There is an opening act. Her name is Garrison Star and from
the way she was talking, she is playing on most or all of the tour. She
plays solo and I thought she was pretty good. More straight ahead and
American sounding than the Sundays with much more twang but she's got a
strong voice and a couple of strong songs. I'd be interested in checking
out the album. I would show up on time and catch her set if I were you.
(She also wins the award for longest delay of resolution to the "I" chord
in a song. Other musicians on this list will know what I mean...)
Vinnie (who played on the most recent Cocteau Twins tour) is NOT playing
drums with them on this tour. Patch is, though I didn't recognize him at
first with his longer hair.
There is a 2nd guitar player with them this time around. He mostly
plays acoustic while Dave plays all the winding arpeggiated lead stuff. I
didn't recongnize him and they didn't introduce him so if anybody knows
more about him, they should fill me in.
So, on to the show. I have to admit, I was scared at first. The mix
wasn't great (all drums and voice) and the energy of the performance was
seriously hurting for the first few songs. Harriet looks mostly the same
with her trademark hair and gentle, slightly self-effacing presence. But
they didn't sound like the Sundays I remembered, more like a band covering
Sundays songs. Harriet had some pitch problems and there were some curious
tempo surges. They just didn't have it dialed in.
But, by the sixth or seventh song, the mix cleared up a lot and they
started to get a rhythm going. By the end of the show they had it
completely in focus, rocking out songs like Another Flavour and
recapturing old grandeur with material from the 1st two records. They
still took too long to tune between songs though....
Dave's playing on the new songs was really strong. I gained
a lot of respect for his writing when I heard his guitar parts without all
the added coloration of string sections, horn samples and flute melodies.
I would really love to hear some of these songs acoustic in an even more
stripped down fashion.
Don't expect any improvising. They played every song note for
note off the album. Patch recreated every drum fill exactly from the CD
and Harriet's inflections were 98% from the recorded versions. Dave
didn't improvise even one note! I find that amazing. How could you not
change even 1 note in a 5 year old song? Especially when you have a 2nd
guitar player with you to give you freedom to go off a little and add
something new or different. That really frustrated me though I respected
their consistancy.
Overall, it was a really good show. Any rough spots at the beginning got
ironed out in the first 20 minutes. The crowd was loving it too as they
got called back for two Encores.
------
SET LIST
------
Total time = 80 minutes
can't be sure
What do you think?
cry - I still don't like this song
homeward
I kicked a boy
Medicine
When I'm thinking about you- the mix got really good! No strings, Dave
played the piano part on guitar
Leave this City - much nicer than the album version without the strings.
Another Flavour - this song should really be the next single. It just
rocks and the vocals were soaring.
Your Eyes - Dave played the guitar part solo for a moment. I wish they
played the whole song that way. This is another really strong
song, especially without the flutes.
Monochrome: great version. my 2nd favorite song. Cool wah-wah by Dave. I
could have sworn I heard a pump organ in there for this
song. I watched fingers closely to see who was playing a part
like that it but no one was... weird. I'm not talking about
the main organ part from the CD either. *That* was played by
Dave on guitar. It was chords behind the words and such that
had this strange keyboardy sound behind it.
Finest Hour
Goodbye
ENCORE 1:
She - where was the stick click on the 2 & 5 of each 6/8 measure coming
from? Patch wasn't playing it. Same place as the pump organ in
monochrome? Hey, wanna know how to play that impossible sounding
distortion part over the choruses? It's all harmonics! You don't
have to move more than one finger to play it. He's in some
alternate tuning though.
Here's Where the story Ends-
ENCORE 2
Joy
Summertime - very fun song live
-------
TECH GEEK INFO:
-------
Dave G: Played a Gibson ES335 for most of the clean / jangle songs like
"Can't be sure" and "I kicked a boy" He played a standard Tele (not the
custom w/ humbuckers) for most all of the new songs from S & S. He
whipped out the Tele Custom for for the rockers like Another flavour,
& Goodbye. Amps were two Vox AC-30's. They were old one's too... pretty
beat up. Effects used were one Alesis Quadraverb in a rack. On the floor
was a coloursound wah (also used by Prince). Boss Super Overdrive, Some
Purple Tremolo pedal I didn't recognize, some old silver electro harmonix
pedal I didn't recongnize, a blue Ibanez Sound tank pedal I didn't
recognize (sorry...I couldn't see them very well). There was also a older
Boss chorus pedal.
Paul: Played a Fender P-bass (I think, the light was dim) through a Trace
Elliot amp.
2nd guitarist: Played guitars through a brownface Fender Deluxe with a
Alesis Quadraverb in his rack. I didn't see what pedals he had.
Harriet: played her voice :)
---------
~~~~~~~~~~~~~~~~~~~~~~~~
~ Interviews & Reviews ~
~~~~~~~~~~~~~~~~~~~~~~~~
Date: Sat, 11 Oct 1997 20:01:35 MDT -0600
From: TRYING TO MAINTAIN MY SANITY
To: hamaki.lanminds.com!arithmetic
Subject: Rolling Stone
I don't know if anyone's read Rolling Stone this week but there's a review of
S&S in it. It's given 3 of 5 stars and reads:
"Since the Sundays' previous record, 1992's Blind, songwriters David Gavurin
and Harriet Wheeler have hatched a recording studio and a baby. The young'un
running around the mixing board hasn't changed their sound on Static and
Silence, though; Gavurin's airy guitars are still coupled with Wheeler's clear,
angelic voice. Aside from the perky rhythm and wah-wah guitar of "Summertime,"
most of the songs here are so gentile, they seem as if they might just float
away - from the wistful "Monochrome" (about watching the '69 moonwalk on TV) to
the breezy "She" to the delicate "Folk Song.""
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: webtv.net!BenFrancis (Ben Simpelo)
Date: Tue, 14 Oct 1997 08:44:06 -0700
To: hamaki.lanminds.com!arithmetic
Subject: S&S review
Here is a review of S&S taken from the Night & Day section of the San
Diego Union-Tribune dated September 25.
STATIC & SILENCE
THE SUNDAYS
Geffen
3 out of 4 stars
(4=excellent, 3=worthy, 2=mixed, 1=poor, dog symbol=dog)
Five years is a long time between albums, but the Sundays have rewarded
their devotees for being so patient. The British alterna-pop foursome
fronted by vocalist Harriet Wheeler and guitarist David Gavurin has
crafted its most accessible work to date. It even has a hit single in
waiting (the buoyant "Summertime"). This is pretty lofty stuff for a
band that, though it has two gold records to its credit ('92's "Blind"
and the 1990 debut album "Reading, Writing and Arithmetic") is primarily
a word-of-mouth fan favorite.
"Static & Silence is more linear lyrically than the Sundays' previous
efforts, which wandered into the oblique at times. And strings, horns,
even chirping-bird sounds on one track enhance the "poptimistic" feel
that pervades this album. A constant throughout is Wheeler's
distinctive, heartfelt warbling, backed up by Gavurin's thoughtful
acoustic guitar playing. "Static" is top-heavy with ballads (the best
are "Leave This City,""Homeward" and "When I'm Thinking About You"), but
that is Wheeler's millieu. It's good to have her back.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: EDiekhans
Date: Tue, 21 Oct 1997 15:22:10 EDT
To: hamaki.lanminds.com!arithmetic
Subject: Sundays Geffen bio
Organization: AOL (http://www.aol.com)
Sender: lanminds.com!owner-arithmetic
I never bothered to read the bio on the Geffen www page because I thought it'd
be dry and dull. Turns out it's actually quite interesting and gives some
insight into the making of S&S.
Eric
The Sundays' musical career kicked off like a latter-day fairytale back
in the summer of 1988. Songwriters David Gavurin and Harriet Wheeler had
recently moved from Bristol to London, where they'd written some
material for a four-piece band and teamed up with bassist Paul Brindley
and drummer Patrick Hannan. The plan at this stage was simply to gain
some live experience before even thinking about trying to attract record
company interest.
But at the band's first-ever gig - a support slot at the Camden Falcon -
music journalists there to review the headliners ended up focusing on
the opening act. After rave reviews in the New Musical Express, Melody
Maker and the now-defunct Sounds, the Sundays' career was launched.
"We knew next to nothing about the music business," recalls Wheeler,
"and felt we had to act as our own managers to educate ourselves, if
only so we could tell a decent manager from a duff one further down the
line." Facing them were the seemingly bizarre tasks of refereeing an
avalanche of record company offers and trying to slow the wave of
publicity engulfing them. "We definitely weren't complaining about the
press or the music business interest in us," says Gavurin, "but we'd
barely played a gig - let alone recorded a note - and we didn't want the
hype to turn people off."
The Sundays signed to the independent Rough Trade label and recorded
their debut single, "Can't Be Sure," in 1989. The track became an
Independent charts #1 and was listed at #1 in influential DJ John Peel's
Festive Fifty of that year. An American deal with DGC Records came next,
and in early 1990 the band released their first album, Reading, Writing
and Arithmetic. The rest of the year was spent touring worldwide.
Meanwhile, the album went gold on both sides of the Atlantic.
Following the financial difficulties and eventual collapse of Rough
Trade, the Sundays moved to the U.K.'s Parlophone Records, which
released their second LP, Blind, in late 1992 (the band remained on DGC
in the U.S). The album prompted a second world tour and another gold
record in America.
Gavurin and Wheeler then took some much-needed time off. They
rediscovered their social life, had a baby, painted the bathroom red and
put together their own studio, where they wrote and recorded the bulk of
Static & Silence, their self-produced third album (released Sept. 23,
1997). "Having our own recording setup was something we'd been thinking
about for a long time," Wheeler explains. "We'd never particularly
enjoyed performing in a studio. Live gigs are one thing, with adrenalin
flowing and an audience in front of you. But 11:00 in the morning in
front of a row of faces in the control room is another thing
altogether."
Adds Gavurin, "There's something satisfying about understanding the
process you're involved in, not just being shunted off into the live
room and told to start playing." The major downside of taking this route
was time consumption; the band had to investigate what gear to buy, have
it installed and learn how to use it - all with a one-year-old running
around trying to drink tape head cleaning fluid. "To be honest," Gavurin
concedes, "promptness has never been our strong suit, and once we
decided recording ourselves would allow us to experiment and perform
more freely, we just went for it."
The resulting album does not represent a radical shift in musical style
for the Sundays - no jazz or jungle here - but more a difference in mood
and sound. "It's an atmospheric record," says Wheeler. "It's less
grounded in ambient music than Blind, and while Static & Silence, like
Reading, Writing and Arithmetic, is very song-based, it's not as
youthfully 'pop' as the first album." Assesses Gavurin: "It's a slower,
more emotional record than our other albums. We didn't set out with this
in mind - it just turned out that way."
And though they didn't have a particular musical agenda for the new
album, the Sundays did know they wanted a more direct, less
effects-based sound. "We regard the songs as quite simple and intimate,"
Gavurin continues. "We wanted the treatment they received to reflect
that. Even where we've used orchestral instruments, it was never as an
afterthought, a 'production idea' intended to add a touch of grandeur to
a basic song." Wheeler picks up the thread: "It was more a case of
having a musical idea in our heads already and being open-minded about
its instrumental form."
Despite the largely introspective, sometimes melancholic nature of
Static & Silence, the Sundays insist the making of this album has been
the most enjoyable experience they've had in terms of writing and
recording. "Right from the start, the songs seemed to come in a very
natural way," says Wheeler. "In the past, we'd usually write the me
lodies after the music. We generally liked the results, but the process
sometimes felt a bit clinical. This time - either when we'd work things
out with me singing along, or when Dave had already written a song line
while coming up with the chords - the melodies were created at the same
time as the music and so, in turn, could shape the way the music
developed. The whole process felt really fluid and organic."
The writing of lyrics, a duty Gavurin and Wheeler share, took a similar
path. "We didn't really search for a specific lyrical style," Wheeler
recalls. "The mood and sound of the music suggested one for us - one we
hadn't really explored before." Whereas Reading, Writing and Arithmetic
featured a fairly light, frequently ironic tone and Blind favored
largely abstract, impressionistic lyrics, those of Static & Silence are
more straightforward and expressive. "This doesn't mean they can't be
poetic or evocative," Gavurin hastens to point out. "But they're quite
simple; we've never been into the willfully obscure or ornate."
The Sundays' current stylistic methods thus uncovered, Gavurin notes:
"We don't feel part of the current trends in British music, be they
Britpop, New Grave, Big Beat or whatever. We're just plowing our own
furrow somewhere to the side of what's going on."
"We like to think we've got our own style, our own character," Wheeler
comments. "But nobody writes in a vacuum and music continually seeps
into our consciousness, whether it's an old Sly and the Family Stone
track or the latest Oasis single. Still, there's no particular artist or
style we're trying to emulate. If anything, we're influenced by the mood
of certain records more than the style of the music itself. With the new
album, we didn't set out with the idea of writing more emotional,
personal songs, but we'd been listening to a lot of Van Morrison toward
the end of the Blind tour and had really gotten into songs like 'Sweet
Thing,' 'And It Stoned Me' and 'Have I Told You Lately' - music that
really touched us."
Ever candid, the couple conclude their discussion of Static & Silence
with some explication of its title: "Firstly," Gavurin illuminates, "we
were really pleased with the imagery of that line in the song
'Monochrome,' remembering when we were children watching the moon
landings, how those moments of nothingness - when the screen went fuzzy
and the sound died - seemed only to heighten the excitement and sense of
anticipation." Says Wheeler: "It also works as a description of a more
general, shifting state of mind - one minute all is confusion, the next
minute there's peace. Oh, and of course, we liked the sound of it."
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: earthlink.net!sesor
Date: Thu, 23 Oct 1997 18:23:03 -0700
Subject: Long Sundays article
Before I start, I must warn you that this journalist can be annoying and
this magazine is in dire need of some better editors.
There's something very old-fashioned about the Sundays. Not
old-fashioned as in, say, "Ozzy... sorry, David and Harriet are throwing
a party, so put on your flares and your Wishbone Ash albums"-they're
old-fashioned as in that essence of unwritten history which the English
should bottle for sale to American tourists.
There's that same sense of utterly irresistable clutter, the debris of
decades heaped up on the sideboard, faded yellow portraits of the dead
in their prime, cracked mugs and bric-a-brac, and the smell of boiled
cabbage. In that, and several other respects, the Sundays are the most
mesmerizing band that Britain has produced in a decade, a rare moment of
passionate, uplifting beauty in a land better acquainted with gray,
depressing hit songs, bitter, sad-sack "pop" stars and, last but never
least, unbelievable stupidity.
"Actually," says David Gavurin, "I liked 'Unbelievable.'"
Yet the Sundays' appeal isn't that of the cutting-edge wunderkind,
bellowing their band name over someone else's records. It comes from
places much deeper than that, the secret places where you go to hide
when suddenly the past seems much better than the present.
Part of it-of course-is Harriet Wheeler's voice, a bitter-sweet beauty
which sounds like it by-passed her diaphragm altogether, and spent a few
weeks up in the attic instead, trying on grandma's old clothes with the
ghosts.
But it's the melodies as well which contain not yawning, but yearning
chasms of sadness, over which the mind builds tenuous bridges towards
half-filtered memories of childhood melancholia. The cover of the
Sundays' first album, 1990's Reading, Writing and Arithmetic, echoed a
plate from an old book of fossils, and even the title was an old school
maxim. So I asked them, what do the Sundays mean to you?
"I love Sundays," vomunteers Gavurin, apparently unconscious of the
terrible pun. "I watch the soccer on TV, then I go and beat Harriet
up." Wheeler, meanwhile, makes some toast. "Sometimes during the
soccer, sometimes while he's beating me up," she elaborates. "We like
to vary the routine."
Painlessly timeless, painfully nostalgic, the Sundays share with the
Kink's Ray Davies alone an uncanny knack for being, well, "English" is
too restrictive a phrase, and "quaint" is what you call a nicely
thatched cottage.
But both words work. Songs like "Hideous Towns" from their first
album, and "Love" from the latest, Blind, are more than simple words,
tunes and drum beats. Evocations, invocations-on one level they're
twee, but on another level they're perfect pocket-sized capsules of an
ideal England, where we put up with the miserable weather and food, and
we all like our football on a Saturday and roast beef on Sunday's
alright. "History at your door," sings Wheeler. "Who could ask for
more?"
Four years ago, the Sundays were just preparing for their first London
gig, airing the songs Gavurin and Wheeler had been writing since they
met at college six years earlier, but which bassist Paul Brindley and
drummer Patrick Hannan were still only learning. A few passing
journalists caught the show and raved; the next day, four record
companies were on the Sundays' case.
Or so the story goes. The truth is somewhat less prosaic.
"No, it's not," snaps Wheeler. "That's exactly what happened. The
only thing is, the gig was awful."
"Absolute shit," Gavurin follows up. "But no one seemed to notice, and
things just went from there."
A one-off single deal with Rough Trade spawned the achingly lovely
"Can't Be Sure". Gallantly entering the increasingly caustic British
chart, the single eventually came to rest at 40-something. The Sundays
toured with the Throwing Muses; NME put them on its first cover of the
90's. They could have become stars on the hype alone.
But no, they had to ruin it. The first time I heard "Here's Where the
Story Ends," I hated it. With a passion. Squeaky meekly ickle girl
oogling, I'd heard of the Cocteau Twins, but the Quadruplets? Come on!
It was a tenacious little bugger, though. Everytime I switched on the
TV, there it was. And suddenly I was hooked. By the time Reading hit
the stores, I was landed and though it took me two years to arrive,
Blind left me instantly gutted and cooked. Critical distance becomes
abject adoration- hey Harriet, may I kiss your feet?
"It's funny you should say that, because..."
Because, because?
"Because most people thought the first album was a lot easier to get
into than Blind. We keep hearing that this one takes a few listens."
"Some people have said that it's very different to Reading," adds
Gavurin, "but others have said it's not that different at all. And it's
odd, because I never thought that people listened to records like that.
Sometimes the only thing they have to say about whether or not they like
it is whether or not it's the same."
As for whether it's a progression from its predecessor, Gavurin is
adamant. It might be. "Surely you only progress if you didn't do it
properly the first time? We could just hold something back each time,
so that the next one sounds like we've discovered something new, but
where does it end?"
Wheeler, on the other hand, is unequivocal. "What kind of stupid
question is that meant to be? The last album had ten songs on it, and
this one's got 12. How much more progress do you bastards want?"
The original plan was to follow up Reading in fairly short order. Back
from tour by the end of 1990, the only other thing on the calendar was a
short hiatus while Wheeler and Gavurin moved house. (He and Wheeler
have been-uh, co-habitating for nearly a decade. Every so often,
David's mother suggests they get married, "If only for the presents,"
she says, but so far the church bells are silent.)
And then came the demise of Rough Trade. Meetings with various other
labels followed and that, Wheeler explains, "took ages because
basically, we were trying to find a company that as similar as possible
to the company that we hadn't wanted to leave."
They wound up with Parlophone (they're with DGC here), still best known
as the home to some other Fab Four. And according to Wheeler, "the
first thing we asked them was whether we could have the same label
design on our records as they used for the Beatles and everyone else in
the '60s.
"They have this really groovy, modernistic label design now, but we
weren't having any of that. We wanted the old black and silver one,
with the old logo. And they said yes."
"The other thing," Gavurin continues, "was making sure that they'd let
us do-or not do-what we wanted. The big thing in Britain right now,
which everyone wants, is the multi-format disc, where the same record
comes out every three weeks with a different b-side each time. So that
was the other thing we had to watch, that we weren't signing to a
company who would want us doing that."
Despite the format (gimmick?) adding up to 60% to a new single's sales?
"It just wouldn't work for us because we never record enough songs to
do that with." And the idea of simply remixing the a-side a few times
fills the Sundays with horror.
"Who needs 50 different versions of 'Love' [the new single]? If you
don't like it the way we did it ourselves, we're certainly not going to
get some producer in to play with it, in the hope that you now will."
"I'm not so sure," ponders Wheeler. "It could work if it was done
properly." And they're off, describing their vision of releasing one
album 20 times, each version remixed by "someone you know-family
members, school teachers, people like that." She turns to Gavurin,
"What about your gran?"
"Yeah, the Sundays metal album! She'd turn everything up very loud
'cos she's deaf."
As for why the Sundays recorded a cover version of the Rolling Stones'
"Wild Horses," it seems it was all just a horrible accident.
"It's just something we strayed upon. I don't think we ever intended
to record a cover version, and certainly not 'Wild Horses'. But we were
playing it amongst ourselves and it was becoming more and more detailed,
something we were getting into ourselves, and we just thought 'Fuck it,
let's do this.' So we did."
But where does it leave them in the communal feeding trough of rock 'n'
roll? The last ladleful I looked at smelled suspiciously strongly of a
'70s revival. And "Wild Horses"... well you couldn't get much more '70s
than that.
Gavurin insists their intentions are pure. "What's depressing about
revivals is that you have an entire decade being compressed into about
six months, which somehow takes the depth out of it. It's over so
quickly-the whole idea of a revival is to pay homage to a particular
period in time, but it gets run through so quickly that it's actually
more like a dismissal."
And the Sundays won't dismiss anything, even my suggestion that they
tape the next video in sepia, and issure the album with a free cracked
old mug.
"A few other people have called us Victorian," says Gavurin. "I don't
know what it is-maybe it's Harriet's mustache. It's very
distinguished. You can't see it in this light so well, but..."
"It's incredibly good," Wheeler agrees. "When we get powdered up,
which we have to increasingly often these days for videos and TV, it
comes out in a fantastic way. So check it out!"
Ugh... that was long.... Anyway, I hope you all enjoyed it. By the
way, for all you people going to the Sundays show(s), don't dance too
roughly if you're near the front of the stage. At the show in Irvine,
CA in (I think) 1990, people were slam dancing in the mosh pit and
Harriet yelled at them to stop "being so fucking stupid." You go girl.
With fingers too tired to type anymore,
John
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Date: Tue, 28 Oct 1997 21:04:37 -0500
From: ash
Subject: Another review
Hey gang,
Here's another review that my brother pulled off of the wire service.
One of the more intelligently written reviews I've found. Enjoy :)
Peace,
Scott
STATIC & SILENCE, The Sundays (DGC)
The Sundays defined the alternative waif movement in 1990 with their debut album "Reading, Writing and Arithmetic" and single "Here Is Where the Story Ends."
Women in modern rock have grown a lot tougher since the English quartet's 1992 follow-up ("Blind"), but the oblivious Sundays return from a five-year hiatus with a wistful "Static & Silence.
The long break which gave lead singer Harriet Wheeler and guitarist David Gavurin a chance to have a baby didn't much change The Sundays. The arrangements, typically featuring a folky mix of strings and acoustic guitars, are gently seductive, and Wheeler
still sounds like a soft-spoken angel.
There's also the same undercurrent of melancholy that has forever lingered in The Sundays' lyrics, words that seem at odds with the beauty in the air.
On the first single, "Summertime, Wheeler is preoccupied with the idea of love but wondering, "Have I read too much fiction?" And on the romantic "When I'm Thinking About You, her line, "Hope I'11 never wake when I'm thinking about you," implies true lov
e is just a dream.
For many singers, the waif act sounds manufactured and hollow. And judged solely on its lyrics, "Static & Silence" seems similarly affected Wheeler comparing herself to "a butterfly in the wind" on "Homeward," for example.
But it's the vocalist's simple emotion that gives The Sundays' their strength.
Despite the chirping birds on "I Can't Wait," she has a disquieting presence as she sings, "And the days and the hours and the years keep turning in my mind/I've been waiting forever." Meanwhile, her powerful understatement on "Cry" is pure heartbreak ("
You're with me so much/ Though you're never with me anymore/And it makes me cry").
As diversions, there are fidgety rock guitars in "So Much" and "Another Flavour," although they don't fate the nebulous Wheeler. Plus The Sundays tackle a few topics other than relationships bittersweet memories "Monochrome" and "Leave This City") as wel
l as the fickleness of fashion ("Another Flavour").
Yet "Static & Silence" is characterized by its plain and direct intimacy, giving it timeless appeal.
Even if it is a little sappy.
Rating: XXXX (out of XXXXX)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Date: Fri, 14 Nov 1997 07:51:56 -0800
From: chanfam
Subject: "Teamed in art, teamed in life"
Here's a little article, written by Paul Freeman, and printed in today's
Contra Costa Times. (the title of the article is above)
I will pre-apologise for any typing blunders; i have to type this
very quickly.
-----------------------------------
Title: Teamed in art, teamed in life
Vocalist Harriet Wheeler and guitarist David Gavurin - the
guiding force behind the Sunday - share too much: music, love, family
life.
The only bonds they have avoided are of the matrimony variety.
"It's really never been an issue with us, " Wheeler says. Gavurin adds,
"My mum once tried to get us married by saying 'David, think of all the
presents you might get!' Our accountant tried to get us married as
well, for some sort of tax reason. We held out. I don't see it
happening in the near future. It seems too daunting."
Also daunting is the prospect of taking their 2 and 1/2 year-old
daughter Billie on tour for the first time.
"God knows what that's going to be like," Gavurin says. "We are
somewhat concerned. We don't want her being the archetypal rock'n'roll
child who hangs out with adults all the time. We like the fact that, in
her normal life, she sees other kids."
The Sundays, who perform at the Fillmore Monday night, are
touring to promote their third album, "Static and Silence." Their
songwriting is evidence of how much in sync Wheeler and Gavurin are.
"We communicate very well," Wheeler says. "Wehave a similar aestic
sense. But that can be true of songwriting teams that don't live
together. Lennon and McCartney didn't do too badly."
Gavurin says thaere are pluses and minuses to working with one's
significant other.
"We akmost never argue about things like which chord we want to go to
next. But, when you're under pressure, you can take it out on each
other. At such moments, you think, 'Wouldn't it be great if you could
just come home to someone who had not been part of your world at all?'
"At the sae time," he adds, "it's been absolutely brilliant to eel
that, as a result of our combined effort, we've created music that
people want to listen to."
They never had to struggle to get people to listen. In 1988, Wheeler
and Gavurin moved from Bristol to London. There they got together with
bassist Paul Brindley and drummer Patrick Hannan. Thus the Sundays were
born. After their first gig, before they'd recorded anything, tons of
positive press built anticipation. Wheeler recalls, "I said to a
photographer, 'We're nobodies. This is all going so fast.' He said, '
Theball's started rolling. You can't stop it now, so you might as well
just go with it.' There was so much hype. It felt ominous and out of
conrol."
In 1989, "Cant' Be Sure" became a big hit. Then their debut album,
"reading, writing and artihmetic," gained the band even more success.
Still, Wheeler and Gavurin managed to maintain a healthy attitude.
"We didn't imagine for a second that the position we were in at that
time guaranteed us lifetime succes," Gavurin says.
After the band's second album, "Blind," - which did not garner as much
critical acclaim or album slaes as did "Reading"- Gavurin and Wheeler
took some much-needed time off. Besides revivng their dormant social
life and having the baby, they put together their own studio. That's
were they wrote and recorded most of "Static and Silence." The title of
the album, which is a line in their song, "Monochrome," was inspired by
recollections of watching the moon landings when they were children.
The new album should succeed. With sweet vocals, lilting guitar licks
and gently swirling melodies, the songs seem perfectly in tune with
today's music climate. The Sundays do not, however, make any conscious
attempt to keep up with the mercurial British pop scene.
Gavurin says, "We just want to sound like ourselves. if, quite by
chance, it fits the latest fashion, that's great."
by Paul Freeman
(times correspondent)
------------------------------------------------------
cheers,
Ambrose
~~~~~~~~~~~~~~
~ Other News ~
~~~~~~~~~~~~~~
Date: Thu, 11 Sep 1997 10:10:59 +0500
To: arithmetic@hamaki.lanminds.com
From: willb26@earthlink.net (Perfect Sound Forever)
Subject: S&S: Complete Lyrics 1.0
Okay, so here's the whole deal -- lyrics to every song on "static &
silence," including the US bonus tracks and B-sides thus far. "I Can't
Wait" and "Monochrome" are partially corrected and others are revised from
the original posts. Anyone that gets an official copy of the lyrics please
correct this document and send it back to me, and I'll forward it to the
list. Of course, until then any suggestions or corrections are welcome.
-W.
===========================================================
SUMMERTIME
do some people wind up with the one that they adore
in a heart-shaped hotel room -- it's what a heart is for
the bubble floats so madly -- will it stay sky-high?
hello partner, kiss your name bye-bye
oh, sometimes
romantic piscean seeks angel in disguise
chinese-speaking girlfriend, big brown eyes
liverpudlian lady, sophisticated male
hello partner, tell me love can't fail
& it's you and me in the summertime
we'll be hand in hand down in the park
with a squeeze & a sigh & that twinkle in your eye
& all the sunshine banishes the dark
do some people wind up with the one that they abhor
in a distant hell-hole room third world war
but all i see is films where colourless despair
meant angry young men with immaculate hair
oh, sometimes
get up a voice inside says there's no time for looking down
only a pound a word & you're talking to the town
but how do you coin the phrase though that will set your soul apart?
just to touch a lonely heart
& it's you & me in the summertime
we'll be hand down in the park
with a squeeze & a sigh that twinkle in your eye
& all the sunshine banishes the dark
& it's you i need in the summertime
as I turn my white skin red
two peas from the same pod, yes we are
or have i read too much fiction?
is this how it happens?
how does it happen?
where does it happen?
when does it happen?
& is this how it happens?
(oh, right now...)
(Thanks to for posting official lyrics modified here)
HOMEWARD
well you've stolen my heart
& i want you to remember
& now what'll i do, living alone?
& you've stolen my heart
& it hurts me to remember
'cause now where'll i go to, living alone?
& a butterfly in the winter is drifting like i do
it's dumb -- i know what i want to say
but i can't even take one breath
& as night falls
i hear voices on the radio
oo, & i'll follow their dreams & wake up alone
& a butterfly in the winter is drifting like i do
it's dumb -- i know what i want to say
but i can't even take one breath
so now -- still floating silently away
it's dumb -- we've never been there
FOLK SONG
summer sky & a throat bone dry
& the fields are all gold
dusty lane with a song on my brain
& it stoned me to my soul
i climb high -- move towards the fire
blaze on (?)
silver trees & a whispering breeze
am i sight? am i sound?
& the thought of heaven couldn't drag me from the path
when i'm wandering here alone
i climb high -- move towards the fire
blaze on (?)
watching till it dies
slow falling from the sky
evading summer/hey fading summer
now who...
now who...
now who...
SHE
she's all weak when her heart beats so
she can't speak with the lights so low
just to be one of a crowd
her feet skating across the floor
spinning lights round & round
in its adolescent whirl
she craves noise & the music blares
girl calls to a boy & his stingy stares
(& my heart is true, oh (?) to you.)
just to be one of a crowd
her feet skipping across the floor
spinning lights round & round
in its adolescent whirl
she was crying (?) kick like crazy
& arms tangling up her hair
shaking him up & down again
& hearts pounding everywhere
she slows down
has the music gone, or has she stayed too long?
WHEN I'M THINKING ABOUT YOU
over the rooftops a plane in the sky
beat of a bass drum -- cars passing me by
under a bridge, dark then back into light
river of raincoats & a forest of faces
stay for a moment then red into green
slow shuffling shoes whisper, sight unseen
rope on roof houses (?) -- return an empty stare
let me daydream for a little while longer
hey -- i hope i never wake
when i'm thinking about you
yeah yeah -- hope i'll never wake
'cause i know i'm thinking about you
turbulent (?) hailstorm, then melts into rain
i will send you a rainbow -- it's sunny again
swallows overhead & while the traffic snarls below
could i, could i keep dreaming for a little while longer?
yeah -- hope i never wake
when i'm thinking about you
so that you know -- i never want to wake
'cause i know i'm thinking about you
when you're searching your soul
when you're searching for pleasure
how often pain is all you find
when you're coasting along & nobody's trying too hard
you can turn around & alight where you are
hey yeah -- & i hope i'll never wake
when i'm thinking about you
& i close my eyes, yeah -- now i'll never never wake
'cause why should i stop thinking about you?
I CAN'T WAIT
lying awake -- dead of night & eyes that never close
flowers decay -- you're still alive
calls for a change
i can't wait forever
i can't wait forever
miles away -- dead of night & it's quiet as a grave
when there's more in your head/hand than you find in your life
calls for a change
i can't wait forever
& the days & the hours & the years keep turning in my mind
i've been waiting forever
CRY
& i'm standing on a platform
& i'm staring from a train
& all the trees roll back aside (?)
when i'm so oblivious to the dark, to the light -- it's all the same
you gave me so much
& now it's all we have
& it makes me cry
& it makes me cry
it makes me cry
it can make me cry
& you're standing here beside me
in a picture in a frame
& your voice could never fade, it's so familiar
things you said in my head every day
& you gave me so much
& now it's all we have
& it makes me cry
it makes me cry
it makes me cry
it can make me cry
you're with me so much
though you're never with me anymore
& it makes me cry
& it makes me cry
& it makes me cry
it can make me cry
& it makes me cry
& it makes me cry
yeah & it makes me cry
it can make me cry
ANOTHER FLAVOUR
fashion -- the timing's all wrong
they taste another flavour & pretty soon you're gone
fashion -- this time it's too late
you knew you'd have to pay for this one day
who loves me more?
who loves me more?
who loves me once again?
the usual story, another surprise
oo yeah -- oo yeah
fashion -- this time it's all right
they tickle you with a feather, they tell you you're sublime
turn on -- to each their own
the usual story, another surprise
oo yeah -- oo yeah
fashion -- the timing was wrong
your friends are fair-weather, you knew it all along
turn on -- to each their own
it's doing my mind in, another surprise
oo yeah -- oo yeah
oo yeah -- oo yeah
don't let them black you out for the evening
shouldn't (?) have to suffer/after supper -- oh no, no, no
don't let them crack you to try not to feel it
as long as they're watching your show there's time
LEAVE THIS CITY
gone forever -- the writing on the wall
& they've boarded up the cinema
strawberry dreams in the dust-filled beams
shut down in a modern town
see you walking
see you talking
recollection on streets you used to know
forgotten pleasures smoulder
the images fade but the town won't let them go
sleepwalking
see you talking
feel this city inside you
leave this city behind you
drive wherever the roads will take you to
down beside a river frozen brown
january days in the scarecrow trees
so cold -- feel your ears burn
see you walking
see you talking
feel this city inside you
leave this city behind you
past & present -- they converge on every side
the wires all get tangled
we now & then collide
bittersweet taste of a time & another place before
sleepwalking
see you talking
feel this city inside you
feel this city define you
leave this city behind you
YOUR EYES
you asked me why -- i'll tell you, then
two worlds collide -- we bury them
we're far too drunk to see these things as they are
you painted me & i sat quite still
a tiny room in notting hill
it was far too dark to look at things as they are
but i've seen the light vanish out of your eyes
oh no -- from your eyes
oh -- so goodbye
you tell me now i'm young & wild
you spare the rod, & you'll spoil the child
i'd love to stay but i think i'm off to japan
anyway
i've seen the light vanish out of your eyes
oh no --from your eyes
oh -- so goodbye
from your eyes, oh no
where has it gone?
your eyes have lost their shine
SO MUCH
dream & fantasize
slave to your desire -- you'll buy anything
curse & criticize
made a (?) at your door & they're selling you the son of god
& it's so hard to ignore
you want so much & then you want some more
somehow your appetite grows
you just love what you can't possess
you know it's out there, somewhere
read & memorize
make a wish come true & you can telephone free
eyes & ears & mouth & nose
in a face that you compose -- but he cut you (?) like never before
& it's so hard to ignore
you want so much & then you want some more
somehow your appetite grows
you just love what you can't possess
you know it's out there, somewhere
& it's so hard to ignore
you really love so much & then you go exploit yourself with more
strange how your appetite's grown
till you just lie in a corner upstairs
you're looking out there, somewhere
MONOCHROME
(it) was 4 in the morning -- july in '69
me & my sister, we crept down like shadows
they're bringing the moon right down to our sitting room
static & silence in a monochrome vision
they're dancing around
slow puppets, silver ground
& the world was watching with joy
we hear a voice from above & it's history
& we stayed awake all night
there's something sad in the whole room love's allowed (?)
me & my sister, looking on like shadows
the end of an age as we watch them walk in a glow, lost in space
but i don't know where it is
they're dancing around
slow puppets, silver ground
& the stars & stripes in the sand
we hear a voice from the dark & it's history
& we stayed awake all night
they're dancing around
it sends a shiver down my spine
& i run to look in the sky
& i half-expect to hear them asking to come down
oh, will they fly or will they fall?
to be excited by a long, late night
NOTHING SWEET
in a crowd naked with no words to explain
in a car breaking -- glass cracks as i freeze the frame &
keep falling away
keep falling away
while i watch myself & pray
keep falling from view
what a mind puts a body through
& i'm on the ground
on with this dare (?)
in a pool sinking -- water fills my mouth
a sole victim of your own terror
& cold flesh as the air runs out &
keep falling away
keep falling away
while i watch myself & pray
keep falling from view
what a mind puts a body through
& i'm on the ground
on with this dare (?)
no, no, no
(ooh, no.)
yeah
(yeah.)
oh, never never hearing that (?) -- been like that (?)
(no, no, no.)
no, no, no -- we're really like them/that (?)
(oh.)
no, no, no -- don't be a puppet/prophet (?)
(never been a (?).)
(oh well, it's all a lie.)
when i say
oh, never never hearing that (?) -- been like that (?)
(oh, never never.)
(no, no, no -- we're really like them/that.)
GONE
come take me by the hand & lead me through the night
songs spill into the air & we'll drink to ourselves here way up high
in town lights shining -- this is the place for me now
blood -- loving every word & this hill, yourself & i
oh, days so long
oh, when you're young
two underneath a tree -- my hands are turning blue
oh, stars shiver in the night & i pass a cigarette back to you
in town lights shining -- this is the place for me now
& i can't stop smiling -- high on a hill looking down
oh, days so long
oh, when you're young
oh, then they're gone
oh, days so long
oh, when you're young
oh, then they're gone
& if you ask me now
my worst fear
well is it better now?
this time next year
you'll be gone & i'll still be here
///////WB
willb26@earthlink.net
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Date: Thu, 11 Sep 1997 10:10:50 +0500
From: willb26@earthlink.net (Perfect Sound Forever)
Subject: S&S: Chordbook 1.0
Here's another rough work-in-progress...the rhythm chords to most of S&S.
I'm terrible at music theory, so wherever I had difficulty naming a chord
I've notated it in tab (for instance, standard G would be 320003). I've
got 7 1/2 songs so far...these are kind of a work-in-progress, so any
corrections/suggestions are welcome. -W.
===========================================================
SUMMERTIME
Sounds boring without effects and lead guitar...basically just E and A.
You can play them barred or at the bottom of the neck.
VERSES ("Do some people wind up..."):
E/A (out on B for "oh, sometimes...")
CHORUS ("And it's you and me in the summertime..."):
A/E
===========================================================
HOMEWARD
Pretty easy to play with a capo at the 3rd fret. I'm not sure if David
plays it this way but the Eb (668886) is a bit difficult to finger
accurately and quickly without the capo, and it's next to impossible to
play the trill on the opening Bb.
(capo 3)
INTRO/PRE-VERSE:
G/Em/C
VERSES ("Well you've stolen my heart"):
G/Am7
G/Am7/Bm/Am7/C
CHORUS:
G/Am7/Em/D ("And a butterfly in the winter...")
G/Em/Am7/C x 2 ("It's dumb -- I know what I want to say...")
(or, without capo...ouch!)
INTRO/PRE-VERSE:
Bb/Gm/Eb
VERSES ("Well you've stolen my heart"):
Bb/Cm7
Bb/Cm7/Dm (barred)/Eb/Cm7
CHORUS:
Bb/Cm7/Gm/F ("And a butterfly in the winter...")
Bb/Gm/Cm7/Eb x 2 ("It's dumb -- I know what I want to say...")
===========================================================
FOLK SONG
Fairly easy song to play if you are familiar with Travis-style
fingerpicking...basically the verses are C and G with a few extra notes
added.
VERSES ("Summer sky & a throat bone dry..."):
G/C
(G: alternate between G (320003) and G/A (300203) by dropping your index
finger two strings to the A at the 3rd string, second fret then back
again.)
(C: alternate between C (032010) and Cmaj7 (032000).)
CHORUS ("I climb high..."):
Am/Em/Bm/Cmaj7/G/F
On the last (instrumental) verse, play G/F instead of G/C. You can release
the barre at the end of the F for effect, but be careful not to play the
sixth string with the barre released.
===========================================================
SHE
Have a friend snap their fingers while you play!
VERSE ("She's all weak..."):
A/(?)/D
CHORUS ("Just to be one of a crowd..."):
F#m/E
===========================================================
WHEN I'M THINKING ABOUT YOU
Sounds just as good with or without capo.
(capo 2)
VERSE ("Over the rooftops, a plane in the sky..."):
A/F#m x 2
B/F#m
B/E
CHORUS ("Hey -- hope I never wake..."):
A/E/Bm/D x 2
(out on Bm/A for second verse)
BRIDGE ("When you're searching your soul..."):
F#m/G/D/Bm
F#m/G/D/E
(without capo)
VERSE ("Over the rooftops, a plane in the sky..."):
B/G#m x 2
C#/G#m
C#/F#
CHORUS ("Hey -- hope I never wake..."):
B/F/C#m/E x 2
(out on Bm/A for second verse)
BRIDGE ("When you're searching your soul..."):
G#m/A/E/C#m
G#m/A/E/F#
===========================================================
I CAN'T WAIT
(Haven't tried this one yet.)
===========================================================
CRY
As far as I can tell, this song requires a capo.
(capo 5)
INTRO/CHORUS ("And it makes me cry..."):
G/Gmaj7 (320002)/C/Cmaj7 (032000)
VERSES ("And I'm standing on a platform..."):
Bm/Em/C/Am x 2
PRE-CHORUS ("You gave me so much..."):
D/C x 2
BRIDGE:
D/C x 3
Bm/C
===========================================================
ANOTHER FLAVOUR
(Maybe some other time.)
===========================================================
LEAVE THIS CITY
(I'll get around to it.)
===========================================================
YOUR EYES
The Emsus4 or whatever isn't as tough as it sounds...basically, you split
the difference on the E chord, raising your middle finger to the 6th
string, 2nd fret and lowering your ring finger to the 3rd string, 2nd fret.
As far as I can tell, this song requires a capo.
(capo 2)
VERSES ("You asked me why, I'll tell you then..."):
E/200200 (Emsus4?)
E/200200/G/A
CHORUS ("But I've seen the light vanish out of your eyes..."):
A/E/000200/G/A
E/000200/G/D
OUTRO ("From your eyes -- oh no...")
E/020200 x 2
E/020200/G/D/A/E
===========================================================
SO MUCH
(Mmm, one of these days.)
===========================================================
MONOCHROME
Pretty song and very easy to play. For the verse, keep your middle finger
on the 1st string, 2nd fret for the first three chords, then release it for
the A7sus4 or whatever. The second chord is the same as in the
Cranberries' "Linger" (d'ohh!!). For effect in the chorus, slide into both
Bm's and the F#m7 up from the fret below -- the F#m7 sounds especially
sweet this way.
VERSES ("(It) was four in the morning, July in '69..."):
D/002032/Gmaj7 (320002)/002030 (A7sus4?)
CHORUS ("They're dancing around..."):
Bm/Em/F#m7(242222)/Em
Bm/Em/F#m (hold for two measures)/G (hold for two measures)
BRIDGE:
C/Bm
C/Bm/Bb/D
(end song on D)
===========================================================
NOTHING SWEET
(What am I, Mel Bay? The single just came out Monday! Sheesh!)
===========================================================
GONE
(Nope!)
///////WB
willb26@earthlink.net
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Date: Thu, 13 Nov 1997 12:12:59 -0500
From: Craig Parker
Subject: Latest US Chart Info
First,here's the US chart info for Static & Silence from the
Nov. 22nd,1997 issue of Billboard:
Top 200 Albums chart: plummets 21 spots to #107 in it's 7th week.
And here's the latest US chart info for "Summertime" from the Nov.
22nd,1997 issue of Billboard:
Adult Top 40 : up 2 spots to #21 with a bullet in it's 6th week.
Rock Big Picture chart: drops 3 spots to #26 in it's 11th week.
Modern Rock Tracks chart: drops 1 spot to #15 in it's 12th week.
Hot 100 Airplay chart: holds at #53 in it's 9th week.
Craig
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Sundays webpages:
http://www.parlophone.co.uk/sundays (the official Sundays page)
http://home5.swipnet.se/~w-54337/sundays.htm
http://www.geocities.com/SunsetStrip/9943
http://www.geocities.com/fashionavenue/1297/
http://www.execpc.com/~jjgraham/sundays/sundays.htm
Sundays tour dates:
http://www.stanford.edu/~ccytsao/arithmetic/cool/dates.html
http://www.ticketmaster.com
http://www.sundays.home.ml.org
Some samples of Sundays songs:
http://www.geocities.com/colosseum/stadium/8955
http://www.nihidyll.com/sounds/
Some sites that were mentioned on the list where you can buy the Sundays singles, in random order:
http://www.southlandcd.com
http://www.action-records.co.uk
http://www.musicblvd.com/mbmtvonline.html
http://freespace.virgin.net/cd.singles
http://www.sirencd.com/main.html
Irc channel on the Sundays:
#the-sundays on DALnet
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Thank you for reading this week's Arithmetic Extract
Extract compiled by Patrick Asselman
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