Terry says:
> Anyway, I just think it's interesting that a performer such as DY and a
> producer such as PA have mutual reputations for being fairly traditional,
> or rootsy, or honky-tonk -- and for being able to do what they want, and
> not kow-tow to pop-country radio. Yet, when you listen to that 99 Dwight
> record, it's pretty heavily arranged, from song to song, and doesn't hew
> to any preconceptions about sparely produced roots music. He can get away
> with that, and succeed at it, because he's already paid his dues, I
> suppose. Yet, when someone like Mike Ireland does some "revolutionary"
> things production-wise, it turns into a big discussion point in all the
> music rags (and lists).
Background, background is everything. By which I mean, the assignment of
*merit* to spare production isn't especially a feature of country music
history Jon Weisberger Kenton County, KY [EMAIL PROTECTED]
http://home.fuse.net/jonweisberger/
per se, or (to preemptively whittle that claim down to more modest
proportions) has been contested ground; that evaluation strikes me as coming
more from an, er, relatively recent rock milieu, and so it's not surprising
that it would be applied more consistently, or more stringently, to someone
who comes at least in part from that background and is being marketed at
least in part to an audience that comes at least in part from it. Is that
qualified enough <g>?
