David Olney/Townes Van Zandt
Has anyone noticed how much Olney sounds like Townes on a lot of his new album? Or am I the only one who hears it? Jeff Wall http://www.twangzine.com The Webs least sucky music magazine 727 Alder Circle - Va Beach, Va - 23462 -(757) 467-3764
Re: Alt.country comin up in NYC-Winter
In a message dated 99-01-16 21:59:51 EST, you write: *sigh* Please add: 2/25 - Ghost Rockets, Elena Skye the Demolition String Band - Rodeo Bar Not to mention : EVERY Monday night - Alphabet City Opry - 9C Buddy Hey Check In With Me Once In Awhile Barry Rockets budrocket OK! Didn't know where you were for awhile there, Senor Rockets..and I sure wouldda listed that date (as per usual) if I'da known about it. Maybe I can even get to it. (Those Monday nights are usually not possible, I'm afraid.) Barry Ummm, well,if we're going to add stuff to this list I would have to say I am doing every other Tuesday at the ultra groovy Lakeside Lounge starting on January 19th (a good time is a definate with the Lakeside, if you get bored you can crawl into the photo booth and get your photos taken...). I hope we see you at one Barry! Elena P.S.I have to say stuff like that for the boys. They work so hard for free beer and tips. P.P.S. And this Thursday, at Baby Jupiters, a LIFEBEAT benefit, fot that wonderful orgainzation that pulls music from the communty to play in hospitals, particularly for aids patients. ELENA SKYE THE DEMOLITION STRING BAND, THE MOONLIGHTERS (a really wonderful Hawaiin band, featuring Henry Bogden on steel gutair, formally of The Alphabet City Opry and, before that, Helmut), and ROB RYAN. Should be a great night, for a good cause. I'll probably post something seperate for it too, since it's such a great chance to do something good and have a twang moment at the same time.
Re: David Olney and the dictionary
Did any one notice that David doesn't care that one of the best songs on the album is not going to get air play on most radio stations since he's not creative enough to not use F#%k! Fred
Re: The Postcard2 Best of 1998
In a message dated 98-12-31 17:13:09 EST, you write: Before we get to the actual list, I'd like to thank everyone who contributed to the third annual best of P2 poll. More folks contributed than ever before (153, compared to last year's 124 and 1996's 50), and it made for a remarkable list. It was twang-predominant (as expected), but it also featured a fair amount of musical diversity, with the key ingredient being as always an emphasis on quality songwriting. As with the last two years, I've listed all of the new releases that received more than 10 points. I felt it was necessary for at least two people to vote for a particular release for it to make the list, so that's why the minimum score to make the P2 list was 10.5 for new releases and 5.5 for reissues. Some releases received two or even three votes and still failed to get the minimum point number, so they also didn't make the list. Votes were cast for 388 albums this year, with just 137 of them making the list, demonstrating once again that diversity of opinion remains strong on P2. For those releases that did make it, they are listed in order of the total number of points they received. In case of a tie, the number of *votes* for each release was the first tiebreaker. The second tiebreaker was the number of *first-place votes* each release received. Each release that received at least 10.5 points is listed, followed by the total number of points, then the number of votes, and then the number of first-place votes (if any). Taking a look at the list, can anyone really be surprised by who's on top? A critics' darling whose oft-ridiculed perfectionist tendencies drove her to create a near-perfect record, Lucinda Williams cruised to #1 by getting votes from more than half of the contributors, including an impressive 19 first-place votes. As for the rest of the top 10, there aren't any real surprises, except perhaps the #2 slot being taken by countrypolitan advocate Mike Ireland. There may still be some folks on P2 with a kneejerk anti-strings bias, but there's also apparently a large number of others willing to judge instrumentation on a case-by-case basis (always a sensible attitude). Women returned to the top 10 this year after being shut out the year before. Last year, the highest-ranking woman was Neko Case at #22 (ironically, it's a number she equalled this year with the same album, thanks to it being released in the US by Bloodshot). This year, not only did Lucinda take #1, but Gillian Welch and Cheri Knight also made the top 10 (at #6 and #7 respectively). You won't exactly see the P2 chart being overrun by women this year though - the alt-country genre is still a predominantly male playground. Still, this year was the best showing for women in the P2 poll to date. You also won't see very many people of color on the list, although Los Super Seven clocked in at #27, and both Lauryn Hill (#42) and Massive Attack (#49) made encouragingly strong showings for a purportedly alt-country forum. Mainstream Nashville also made its best showing in the P2 poll, led by Vince Gill at #17, and followed by the Mavericks (#31), Allison Moorer (#36), Dolly Parton (#51), Danni Leigh (#53), Connie Smith (#60) and Lee Ann Womack (#111). It was nice to see P2 acknowledge most of the better albums to come out of Music Row this year, although I was hoping Gill would've charted even higher - it's not often a Nashville talent of his caliber makes such a thoroughly traditional country album of such high quality. Bluegrass continued to make inroads on P2, but the Bluegrass Borg is gonna have to wait awhile longer for total assimilation. Ralph Stanley's all-star double-CD charted at #19 this year, falling two slots short of '97's best bluegrass album (Ricky Skaggs' Bluegrass Rules). Still, Stanley was joined by a number of other 'grassers this year, including Blue Highway (#69), the Gibson Brothers (#100), Jim Mills (#108), Jerry Douglas and the Lonesome River Band (both #119), and Bobby Hicks (#129). The largest bluegrass contingent to make the P2 list were joined once again by our favorite alt-blugrass/old-timey iconoclasts the Bad Livers (#23), along with P2's sassiest alt-bluegrass band the Meat Purveyors (#38) and those youthful old-timey revivalists the Freight Hoppers (#48). As with the previous two years, not nearly as many folks chose to folk for reissues, but the reissue poll had its own landslide winner. Bob Dylan's Live 1966 had more than double the votes of second-place Hank Williams. Anyway, enough yakkin' from me -- here's the Postcard2 Best of 1998: New Recordings: Artist Title Label Points-Votes-First Place Votes (if any) 1. Lucinda Williams - Car Wheels On A Gravel Road (Mercury) 625.5-86-19 2. Mike Ireland and Holler - Learning How To Live (Sub Pop) 354-54-7 3. Billy Bragg Wilco - Mermaid Avenue (Elektra) 350-59-7 4. Richard
Alejandro and Flaco at FitzGeraldo's
From the Chicago Tribune, Greg Kot reviews Friday's show.
My comments on last night's show, which ended (yawn) about
seven hours ago, are tacked on at the end.
http://metromix.com/reviews/detail/1,1259,228,00.html
OVERNIGHT REVIEWS
Music review,
Flaco Jimenez and
Alejandro
Escovedo at
FitzGerald's
By Greg Kot
TRIBUNE ROCK CRITIC
Sunday, January 17, 1999
We needed this one. With winter
imprisoning Chicago like a
white-coated warden,
FitzGerald's threw a two-night
Texas-style roadhouse party
over the weekend that gave off
enough steam to melt the worst
case of cabin fever.
The pairing was a natural--Flaco
Jimenez and Alejandro
Escovedo--though, oddly, these
Texas musical ambassadors
had never met, let alone shared
a stage, before Friday's concert.
That historical glitch was
corrected when Jimenez, the
opening act, joined Escovedo
onstage for an encore of Mick
Jagger's "Evening Gown" and
Escovedo's "Broken Bottle."
Bottles were indeed broken,
figuratively at least, as Jimenez
joined the crowd in a
beer-swilling blowout that made
musicality an afterthought during
his two-hour set. "Cheers,
amigos!" Jimenez bellowed,
hoisting another long-neck to the
ceiling, before imbibing heartily.
After a relatively tight and
focused 60 minutes on stage,
Jimenez and his band began
pumping out the conjunto party
numbers with slap-dash fervor,
the leader embroidering every
verse with his baroque
accordion runs while the rhythm
section held fast to a single
unvarying dance groove, led by
the leader's son, drummer David
Jimenez, and Max Baca on the
bajo sexto, a 12-string bass
guitar.
San Antonio's Jimenez, a
three-time Grammy winner, is
the biggest crossover star in
conjunto, a border music that
fuses string-band
instrumentation with polka
beats, and he's far from a purist.
His vocalist, Nunie Rubio, is a
young crooner in the mold of the
Mavericks' Raul Malo, but his
smoothness at times clashed
with a groove that reeked of
sawdust and whiskey. Still,
Jimenez's feel-good repertoire
was revelry incarnate, from "De
Bolon Pin Pon" and "La
Felicidad" (everybody sing:
"ha-ha-ha-ha . . . ho-ho-ho-ho")
to "(Hey Baby) Que Paso" and,
of course, the "Sweet Home
Chicago" of Latin rock, "La
Bamba."
Following this increasingly
raucous and sloppy keg party,
Escovedo appeared to be at a
disadvantage, with his
five-piece band wielding
acoustic instruments. But the
slender Austin resident rose to
the occasion, turning violin and
cello into a fierce rhythm section
on a cover of the Stooges'
"Loose" and his own "Pyramid
of Tears." A handful of
unreleased songs suggested an
even more adventurous, almost
dissonant, approach to
string-arranging, as Escovedo
continues to give expression to
a musical sensibility in which T.
Rex, Mott the Hoople, Bela
Bartok and Charles Ives swap
melodies and arranging ideas.
Still, Escovedo did not forget to
investigate the quietest corners
of his repertoire as well: "Wave,"
"Baby's Got New Plans" and a
richly plaintive version of the
Velvet Underground's "Pale
Blue Eyes" with guest vocalist
Kelly Hogan.
While Jimenez and his crew
came to party, and blurred into
the moment, Escovedo wanted
it all: to keep the adrenaline
flowing after Jimenez left the
stage, and to create an
impression that lingered beyond
the next morning's hangover.
Improbably, he succeeded.
Comments -- Flaco was pretty great. The crowd, which looked
to be over half Latino, loved him and sang along with all
the hits. His singer, though, should stop shouting
"Chicago, lemme hear you say 'hell yeah'" every few minutes.
Re: Alejandro -- the very good news is that he recorded an
ep at FitzGerald's yesterday afternoon. It should include
concert faves "Evening Gown" (a Mick Jagger song) and "I Was
Drunk".
Last night's set was more electric than Friday's. He looked
just a bit tired ("I had a birthday -- I turned fifty-eight
on January 10th"), and his ninety-minute set was shorter
than his usual FitzGerald's marathon. He played a bunch of
new stuff (hope he includes "Sad and Dreamy / The Big 1-0"
on the ep) and a handful of covers (the Jagger song, "Like a
Hurricane", "Hot Legs").
Alejandro played one encore and then left the stage, leaving
his band to play with Flaco and his band for thirty minutes
of slightly inebriated jamming, including about fifteen
minutes of "La Bamba".
TWM
--
Happy Birthday, MLK
Tom Mohr
at the office: [EMAIL PROTECTED]
at the home: [EMAIL PROTECTED]
Re: Whiskey97s
And, this may mark me as an irredeemable old fogey, but what's the deal with the hair? Is this an alt/rock thing, you gotta have a bunch of greasy hair hanging down in front of your face. Both Ryan Adams and Rhett Miller don't own faces, as far as I could tell from the show. Isn't that annoying to have hair hanging in your face while you're trying to look at your guitar? ...but they're good songwriters, .etc. -- Terry Smith Relax. Leave the kids alone Terry. Fogyism can just creep up and grab yabut, fortunately, so can the accomplishments of these particular speciminez. Personally I can see their eyes or forget it. (I've seen 'em--and they're often a little foggy!) And just think...thanks to modern technology, nobody has to burn photos of what they walked around looking like at 21, they'll be able to digitally adjust the record and avoid potential embarrasment when the fashion winds shift..as they always do... Barry
Re: David Olney/Townes Van Zandt
Has anyone noticed how much Olney sounds like Townes on a lot of his new album? Or am I the only one who hears it? Some of us have to wait until release date to even try to hear it. I know that Townes was a big influence of Olney's and that Van Zandt thought highly of Olney's songwriting too, so it would not surprise me at all to hear some similarities. I think the general release date on the new Olney is later this month.
Re: Steve Earle/old vinyl/Huddie Ledbetter
Bill Silvers wrote: Hey Geff, I'm right about that Joe Jackson BIG WORLD album too. Can I get a witness? You're right, Bill. I went to one of the concerts from which they assembled that album. The music was terrific, but it was a weird scene. The audience was asked not to clap or make any noise whatsoever at the end of the songs, not until the very last note had died out. Sort of live/not live. I also remember there being a technical difficulty that took some minutes to sort out, so Jackson told the audience to ask him questions. There were some takers, including somebody shouting, "Where's Graham?" (Maby, JJ's first bassist, not present) Jackson icily replied, "We don't discuss that." A few months later this three sided thing arrives . . . weird. Tom Smith
One Fell Swooped....
Hey kids; Just wanted to chime in and say that I ventured out into the still- cold-but-starting-to-melt St. Louis muck last night and saw one of Gateway City's finest. Probably nothing earthshocking to impart that any of you who've seen OFS live, but they did deliver a pretty sharp 50 or so minutes of excellent folk-slash-bluegrass-slash-pop music which they do a really good job at. Lead vocalist Cheryl Stryker sounded great as always, as did the rest of 'em. I even met my first P2'er ever, rhythm player John Wendland, and he didn't even threaten me with any used Garth CD's or force any deadly Aquavit down my throat (nor did I upon him...g). Anyway, the coolest part was they featured several solid new songs last night, and supposedly are even venturing over to Europe to rape and pillage and convert unsuspecting Europeans to the gospel according to Swoop. Hopefully he'll even turn up here on the list to give us the lowdown on those developments and to offer some explanation as to how they became huge in Italy Dan "it's okay to spam the list every once in a while as long as the band you're in is damn good" Bentele p.s. I met Roy Kasten also and asked him to rejoin the list but he begged off claiming writer's block...g
The Backsliders
I noticed recently that The Backsliders are scheduled to perform at both Spittlefest (Raleigh, NC) and at SXSW. I thought they broke up. Did I miss something? Anyone know what the lineup is for these scheduled performances? Plans for the future, etc.? Chad Cosper
RE: Live at the Ryman: A visit to the Mother Church (long)
Bob Wray asks: - Who decides who becomes a member of the Opry and who doesn't? For instance, there was a big deal made of the guests (Daryl Singletary, John Berry, Sherrie somebody from Australia) as opposed to the members. Sherrie Austin (and BTW, Singletary spells his name Daryle). "Opry management" decides who becomes a member; if you manage to pierce that veil, let us know. - Can someone tell me something about the Jim Ed Brown? Of all the old timers last night, he seemed to me the one who had weathered the best. His voice was good, smooth, and he carried himself with an undeniable dignity (unlike Bill Anderson and Porter, who seemed to me caricatures of themselves). I vaguely remember Brown on country radio when I was child but nothing concrete immediately comes to mind. Is he someone who's career is worth reviewing? Unless you have a blanket objection to smooth, absolutely. Started out with his sisters as The Browns, then had a reasonably successful solo career; he's the source of Mike Ireland's "Pop A Top," he did "You Can Have Her" that Crowe'n'em have been doing for years, had some great countrypolitan duets with Helen Cornelius. RCA has a tolerable Essential Jim Ed Brown The Browns comp. - Although Porter's showmanship was unquestionable, his (and many of the older stars, Jeanne Pruett, Skeeter somebody, John Connally) voice were pretty poor (I certainly heard as many bad notes last night as I have heard at a Freakwater show :). Not intending to stir up a hornet's nest, but how do I resolve these performers' much-less-than-perfect vocal skills (admitted degraded skills) with the argument that country is medium/genre in which performance skills are central? Well, there's a two-part answer to that, the first part of which is that there are a lot of people in and around country music who complain regularly about the degraded skills of some performers; see, for instance, periodic discussion on bgrass-l (let me observe, too, that a number of the performers - John Conlee being a good example - have their good days and their bad; I have heard him absolutely kill some stuff in the last year or two, and heard some pretty bad performances as well). The second part is that there are some outstanding musicians in the bands, including the house band. Overall, though, I'd say that going to the Opry, or going to see some of these stars, has a lot to do with - well, I'm in a rush, so this bad phrase will have to do - nostalgia, not with the musical quality of all the acts. - Do the regular performers keep repeating the same songs and same jokes? Some do, some don't. Watch or listen a few times and you'll figure out which; when you can identify the subject of the "Willie Nelson after taxes" line, you'll be there g. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Del McCoury dates
from Pollstar: 01/23/99 Wilkesboro NC Walker Center 02/05/99 Nashville TN Station Inn 02/07/99 Nashville TN Music City Sheraton 02/19/99 Asheville NC Holiday Inn 02/20/99 York PA Strand Capitol Theater 05/02/99 Wichita KS Bluegrass Festival 05/07/99 Kansas City MO Santa Fe Trails Bluegrass Festival 05/10/99 Stockholm SWE Cirkus 05/11/99 Malmo SWE Kulturbolaget 05/12/99 Oslo NOR Rockefeller Music Hall 05/16/99 Dublin IRE Olympia Theatre 05/17/99 Belfast UK Ulster Hall 05/20/99 London UK Royal Festival Hall 05/21/99 Coventry UK Warwick Arts Centre 05/23/99 Cheltenham UK Cheltenham Town Hall 05/24/99 Liverpool UK Philharmonic Hall 05/25/99 Glasgow UK Clyde Auditorium 05/27/99 Amsterdam NET Paradiso 05/28/99 Burlington NC Bass Mtn. Music Park 05/28/99 Tilburg NET Noorderlight 05/29/99 Groningen NET Oosterpoort 05/31/99 Brussels BEL Ancienne Belgique 06/05/99 Syria VA Bluegrass Festival 06/06/99 Preston CT Strawberry Park 06/19/99 Telluride CO Bluegrass Festival 06/20/99 Telluride CO Bluegrass Festival 06/24/99 Columbus OH Frontier Ranch Bluegrass Classic 06/25/99 Columbus OH Frontier Ranch Bluegrass Classic 06/26/99 Summersville WV Bluegrass Festival 07/09/99 Advance NC Bluegrass Festival 07/10/99 Wellsboro PA Bluegrass Festival 07/24/99 Stevenson WA Bluegrass Festival 07/26/99 Lyons CO Rockygrass Academy 07/29/99 Lyons CO Rockygrass Academy 07/31/99 Boulder CO Rocky Mountain Bluegrass Festival 08/01/99 Boulder CO Rocky Mountain Bluegrass Festival Hellcountry "supporting the Boston area twang scene" http://www.hellcountry.com [EMAIL PROTECTED]
Merlefest lineup from pollstar
04/28/99 Doc Watson 04/29/99 Cherish The Ladies 04/29/99 Doc Watson 04/29/99 Geno Delafose French Rockin' Boogie 04/29/99 Hootie The Blowfish 04/29/99 Lucinda Williams 04/29/99 Psychograss 04/29/99 Steve Earle 04/29/99 Tim O'Brien The O'Boys 04/30/99 Bela Fleck The Flecktones 04/30/99 Cherish The Ladies 04/30/99 Doc Watson 04/30/99 Geno Delafose French Rockin' Boogie 04/30/99 Lucinda Williams 04/30/99 Peter Rowan 04/30/99 Psychograss 04/30/99 Ricky Skaggs 04/30/99 Seldom Scene 04/30/99 Steve Earle 04/30/99 Tim O'Brien The O'Boys 05/01/99 Bela Fleck The Flecktones 05/01/99 Doc Watson 05/01/99 Lucinda Williams 05/01/99 Peter Rowan 05/01/99 Psychograss 05/01/99 Rankins 05/01/99 Seldom Scene 05/01/99 Steve Earle 05/02/99 Doc Watson 05/02/99 Lucinda Williams 05/02/99 Peter Rowan 05/02/99 Psychograss 05/02/99 Rankins 05/02/99 Steve Earle Hellcountry "supporting the Boston area twang scene" http://www.hellcountry.com [EMAIL PROTECTED]
Son Volt dates
from Pollstar: 01/26/99 Lexington KY A1A 01/27/99 Asheville NC Be Here Now 01/28/99 Nashville TN Exit / In 01/29/99 Birmingham AL Five Points Music Hall 01/30/99 Atlanta GA Variety Playhouse 02/01/99 Athens GA 40 Watt Club 02/02/99 Knoxville TN Bijou Theatre 02/03/99 Charlotte NC Tremont Music Hall 02/04/99 Spartanburg SC Magnolia Street Pub 02/05/99 Raleigh NC Ritz 02/06/99 Charleston SC Music Farm 02/09/99 St. Petersburg FL State Theatre 02/10/99 Orlando FL Sapphire Supper Club 02/11/99 Gainesville FL Brick City Music Hall 02/12/99 Tallahassee FL Club Downunder 02/13/99 Pensacola FL Sluggo's 02/14/99 Auburn AL War Eagle Supper Club 02/16/99 Oxford MS Library 02/17/99 Jackson MS Depot 02/18/99 New Orleans LA Tipitina's Uptown 02/19/99 Baton Rouge LA Varsity Theatre 02/20/99 Lafayette LA Grant Street Dance Hall 02/22/99 Little Rock AR Juanita's 02/23/99 Springfield MO Juke Joint 02/24/99 Lawrence KS Granada Theatre 02/25/99 Columbia MO Blue Note 02/26/99 St. Louis MO Mississippi Nights 02/27/99 St. Louis MO Mississippi Nights Hellcountry "supporting the Boston area twang scene" http://www.hellcountry.com [EMAIL PROTECTED]
Old 97's dates
From pollstar: 01/17/99 St. Louis MO Duck Room 01/19/99 Iowa City IA Gabe's Oasis 01/20/99 Minneapolis MN 400 Bar 01/21/99 Chicago IL Lounge Ax 01/22/99 Chicago IL Lounge Ax 01/23/99 Madison WI University Of Wisconsin 01/25/99 Detroit MI Magic Stick 01/26/99 Toronto ON Horseshoe Tavern 01/28/99 Cambridge MA T.T. The Bear's 01/29/99 Hoboken NJ Maxwell's 01/30/99 New York NY Mercury Lounge Hellcountry "supporting the Boston area twang scene" http://www.hellcountry.com [EMAIL PROTECTED]
Ricky Skaggs dates
from Pollstar: 01/22/99 Mansfield OH Renaissance Theatre 01/24/99 Jim Thorpe PA Ramblers Ranch 02/03/99 Northampton MA Iron Horse Music Hall 02/04/99 Cambridge MA House Of Blues 02/05/99 New York NY Irving Plaza 04/10/99 Decorah IA Luther College 04/30/99 Wilkesboro NC Merle Watson Festival 05/08/99 Kansas City KS Wyandotte County Fairgrounds 06/05/99 Preston CT Strawberry Park 06/12/99 Winder GA Gospel Fest 06/16/99 Saratoga CA Villa Montalvo Garden 06/19/99 Telluride CO Bluegrass Festival 06/26/99 Summersville WV Music In The Mountains 06/27/99 Pigeon Forge TN Dollywood Hellcountry "supporting the Boston area twang scene" http://www.hellcountry.com [EMAIL PROTECTED]
RE: CD thank you's
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]]On Behalf Of Jeff Wall Sent: Saturday, January 16, 1999 9:52 PM To: passenger side Subject: RE: CD thank you's John was holding Gene's 'maters hostage? Why not just go get some more 'maters? Don't Gene grow 'maters' up there in the compound? Unfortunately no, it's too cold and damp for a 'mater to grow properly. BTW, Did Gene ever get his masters back? He did. I don't remember the particulars, only that it was an unpleasant situation. Nicholas
Fw: Netscape -TwangCast Player software
This tidbit below, sent by a knowledgeable user indicating that the original microsoft download site was sending everyone the same player version when it was supposed to default to the correct version for the browser you surfed in on... If you are using Netscape and tried early on to get TwangCast working but were unsuccessful, this may be the reason. It may also (but I'm not sure) explain some Mac user problems. I also recommend that those getting the pop up box requesting instructions to save or open, go ahead and open directly from Microsoft as this will eliminate 1 step in getting TwangCast playing. We are slowly getting all the bugs out and we continue to thank all of you for your support and feedback. Working hard to bring you the best in Twang, we are, gratefully yours... The TwangCast gang.,,,no relation to the James Gang MicroSoft fed the wrong player software to me based on whatever lunacy they base such things on. I looked carefully and there is nowhere I could have clicked to download the IE4 version of this software unless they have changed something. It's working! Thanks for the help guy! Anyways, thanks for the prompt help. I think you've got a great idea and a great product. The Gnashville Country folks are going to be VERY sorry very soon that they ignored the wishes of the listeners. I hope people like you manage to take over! NOW ONLINE, www.TwangCast.com TM RealCountry netcast 24 X 7 Please Visit Then let us know what you think! Mike Hays www.MikeHays.RealCountry.net For the best country artist web hosting, www.RealCountry.net
Re: Whiskey97s
I can't remember if it was here or not but it seems either that Whiskeytown/Old 97's Austin City Limits or maybe it was the ND tour several years ago that sparked the "hair" thread. I'll say no more -- might be more appropriate to the fluff list g
JD Crowe - White Freightliner
Here's some food for thought, of the extremely nitpicky kind... It seems to be generally frowned upon when non-bluegrass musicians take bluegrass type tunes (for example, Old 97's covering "My Blue-Eyed Darlin" - they pretty much destroy the song) and turn them into something else, but I never quite caught anything on how it's perceived when a bluegrass artist might take something from outside of the bluegrass canon and reshape it in such a way, that it's a completely different song (obviously this is common), sometimes losing some of the essential ingredients that made it such a great tune in the first place... I'm having a hard time articulating my point here, so let me just get to it... First off, the new JD Crowe record is splendid... it's everything I expected and more. The rendition of "Back to the Barrooms" completely kills me, and "White Freightliner" is a dandy as well, on most counts. Yes, numerous bands have taken this song and completely butchered it, and I'll give JDCNS their due by saying that's it's probably one of the better versions I've heard. However, the guitar pattern Townes played on this tune is very particular. I don't know how to describe it best, it's just a constant downbeat in the bass notes that only seems to come back up in just a few instances (? Hopefully people know what I'm talking about). And generally, as much as this song has been covered, I don't think too many folks have ever quite "got it" (only one comes to mind) as it's something that seems to take incredible discipline to play. So I guess that I wish JD would found some way to work this into the song. Obviously, I think it would take an unworldly guitarist to play bluegrass rhythm *and* somehow incorporate the pattern Townes played... but I think Townes was without a bass player on his best renditions of the song, and JD has that luxury here. So I guess what I'm saying is that it falls on JD's bass player and he failed to deliver the goods ... surely it couldn't be *that* hard to get that beat going on the upright g. In close, it's my understanding that bluegrass musicians are very particular about how "their" songs are played. I probably wouldn't get so whiny over many other songs besides this one, but being someone who has been chastised for not playing it right g, I think I'm only being fair... So if anyone feels like clueing me in here, feel free to do so... back to my studies... Chad
RE: JD Crowe - White Freightliner
It seems to be generally frowned upon when non-bluegrass musicians take bluegrass type tunes (for example, Old 97's covering "My Blue-Eyed Darlin" - they pretty much destroy the song) and turn them into something else... Not by me. A song is a song; it's the arrangement that puts it into one genre or another. When the Allen Brothers did "Daniel," it was a bluegrass song, not a pop one; when the Kentucky Headhunters did "Walk Softly On This Heart Of Mine," it was a country-rock song, not a bluegrass one. What frosts me is when a rock band, for instance g, does a song that comes from bluegrass and people say they're doing bluegrass, or when a band thoroughly rearranges a song in a different style and then try to pass it off as faithful to the original, or to its spirit, etc. You-all can think of examples, I'm sure. As far as the specific issue with regard to "White Freightliner" and the guitar/bass part, I haven't ever heard the original, so I can't really comment until I do so. In close, it's my understanding that bluegrass musicians are very particular about how "their" songs are played. It depends, I guess. "If it helps you, why, I'm for it 100%" is what Monroe said to Elvis when the latter apologized for reworking "Blue Moon Of Kentucky." Of course, I don't know that he ever heard the Old 97's "My Blue Eyed Darling" g. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: JD Crowe - White Freightliner
Chad said: First off, the new JD Crowe record is splendid... and "White Freightliner" is a dandy as well, on most counts. I was curious how Crowe would handle that one...and having just heard it yesterday, it strikes me too as one o f the best of the very many out there, of this song , which has practically become the Alt.Country National Anthem (Take your hat off! there's bad news from Houston!) And since I'm a P2 advocate of the Big Tent version of alt.country, hat Crowe and company would decide to DO THIS at all is to me a really pleasant development in itself. Just another reminder of good reasons that we should WANT bluegrass, as handled by an always innovative (and accomplished) band like this one... in the big tent. If they wanna be! And Chad added: However, the guitar pattern Townes played on this tune is very particular. I don't know how to describe it best, it's just a constant downbeat in the bass notes that only seems to come back up in just a few instances (? Hopefully people know what I'm talking about). And generally, as much as this song has been covered, I don't think too many folks have ever quite "got it" (only one comes to mind) as it's something that seems to take incredible discipline to play. ... Yup, sure does...exactly...though Townes accentuated the aspect Chad's taking about differently at different times..as you'd expect I rechecked the "Live at Old Quarter" and "Rain on a Conga Drum" solo versions--the former, much earlier one drives the steady rhythm harder, and most rock and roll versions have played off that and, I supposed, the released studio version...the later, sparer one has even more of that "mention it/don't mention" aspect to hearing the bass line...which is a very blues man thing to do. The thing to know is that the rhythm AND melody VanZandt uses in White Freightliner is a knowlingly and nicely countrified version of that mother of all American rhythms, the one heard in "Rollin" and Tumblin", one of the most fundamental and unkillable of Delta Blues songs and riffs. Townes' is probably most like Robert Johnson's version (See: "If I Had Possession of the Judgment Day")...but the definitive version to check out is probably, I admit, Muddy Waters "Rollin' and Tumblin"--except my favorite most days will always be Howlin' Wolf's "Down in the Bottom"--if that one don't rock you, nothing will This same rolling riff and bass was taken up by whorehouse piano players and became "Vicksburg Blues" or "The Old 44s"--Check out Little Brother Montgomery's definitive Vicksburg to see what I mean...and, in fact, mucking around with that line is often said to have created the "left hand like God"--which is to say--the birth of all Boogie Woogie in the hands of piano players we almost surely never heard of. There's a great TRADITION of playing around with that bass line! Well, I hope that's all interesting and gets a few people to listen to a few great records. It couldn't hoit...But the other thing isTOWNES, coming out of that real FOLK tradition (as outlined by no less than Mr. Yates lately, the one twith a right to speak its name with a straight face, and therefore could laugh.) Townes absolutely knew everything I just typed out here. He knewi all these takes, and he got in line and mucked with it in a way that--I guess we can say by now--has stuck. But I wouldn't make that approach a new gospel either (even he didn't!) ...but something else solid and lasting for new folks to add to. I say, let the rockers rock it, as Steve Earle and half the acts we talk about do, as encores...and let J.D. Crowe bring it into the smoother (but still pretty frenetic, eh?) attack of the grassers. I just think it's all pretty cool..the way it all moves alongand we get these great records. Now as proof I'm in New York, I'd better get back to the Jets, while I can. Barry M.
RE: JD Crowe - White Freightliner/Monroe
Chad: In close, it's my understanding that bluegrass musicians are very particular about how "their" songs are played. Jon: It depends, I guess. "If it helps you, why, I'm for it 100%" is what Monroe said to Elvis when the latter apologized for reworking "Blue Moon Of Kentucky." Of course, I don't know that he ever heard the Old 97's "My Blue Eyed Darling" g. My impression is that Mr. Monroe didn't care what you did with his song OUTSIDE of bluegrass, long as he could get the bucks and everybody knew where it came from...It was other real bluegrass guys' versions he found harder and took longer to accept, right? (Jim Rooney's still provocative and short cross-study of Bill Monroe and Muddy Waters as band leaders and innocators, "Bossmen" is something good to check out in the context of this thread BTW.) Barry.
Re:New Grass Revival - White Freightliner
The J.D. version is alright, but for me the definative version has always been the New Grass Revivals version off of their When the Storm is Over (Flying Fish) record. I like this version much more than the hyperspeed version found on the NGR Live release. Maybe it's the Courtney Johnson thing, or the addition of Kenny Malone on drums and Sam Bush playing that wicked slide guitar, but this song ROCKS. Bobby Bare also did a very respectable version on his album As is that was much more rock than country sounding. Other than the Sovines version, and J.D.'s version, I've not heard anyone else do it (sans Townes hisself..duh). How is it that this song has suddenly become labeled as the Alt.Country National Anthem? I play this song every chance I get. I slow it way down and make it bluesy and I play it hard and fast, but the Alt Country National Anthem? The JD version is only the third or forth version I have heard since the original. Is it really played by that many people? I always figured that Sing Me Back Home would be considered the ALt Country National Anthem. And who's version of WFB has influenced the most people? Whose version gets copied the most? The Bare one? The NGR? The Sovines? And how can it be the Anthem? Gram didn't sing it so it must suck g. Jeff Wall http://www.twangzine.com The Webs least sucky music magazine 727 Alder Circle - Va Beach, Va - 23462 -(757) 467-3764
Re: JD Crowe - White Freightliner
In a message dated 1/17/99 3:51:20 PM Central Standard Time, [EMAIL PROTECTED] writes: I say, let the rockers rock it, as Steve Earle and half the acts we talk about do, as encores...and let J.D. Crowe bring it into the smoother (but still pretty frenetic, eh?) attack of the grassers. I just think it's all pretty cool..the way it all moves alongand we get these great records. Now as proof I'm in New York, I'd better get back to the Jets, while I can. when I listen to what a great job Del Mccoury did with that Robert Cray song, it is hard to question the "right" or validity of an artist from one genre doing the material from another. When it works it can be a revelation, and when it doesn't (REM butchering "King of the Road") it can suck bad. Personally, I like to hear songs done in different styles, as it shows that a good song is a good song, no matter how it's done. Back to the Jets. What do I do if the Jets (my team since childhood) play the Falcons (my home team) in the Super Bowl? Slim
Re:New Grass Revival - White Freightliner
forgot about the Steve Earle version White Freightliner Blues Townes Van Zandt Bobby Bare Steve Earle Sovines Newgrass Revival J.D. Crowe and the New South who else? Jeff Wall http://www.twangzine.com The Webs least sucky music magazine 727 Alder Circle - Va Beach, Va - 23462 -(757) 467-3764
Re: New Grass Revival - White Freightliner
In a message dated 1/17/99 5:15:08 PM Central Standard Time, [EMAIL PROTECTED] writes: Other than the Sovines version, and J.D.'s version, I've not heard anyone else do it (sans Townes hisself..duh). Lyle Lovett does it on the KGSR CD this year. Very nice version, with Sam Bush singing a verse. Almost everybody's darling, Marah, also does it live. Pretty good version. Jimmie Dale Gilmore, also does it. wonderful version. Slim - does it too. Slim
Re: New Grass Revival - White Freightliner
At 06:27 PM 1/17/99 EST, you wrote: In a message dated 1/17/99 5:15:08 PM Central Standard Time, [EMAIL PROTECTED] writes: Other than the Sovines version, and J.D.'s version, I've not heard anyone else do it (sans Townes hisself..duh). Lyle Lovett does it on the KGSR CD this year. Very nice version, with Sam Bush singing a verse. and where does one get this KGSR Cd? Jeff Wall http://www.twangzine.com The Webs least sucky music magazine 727 Alder Circle - Va Beach, Va - 23462 -(757) 467-3764
Re: New Grass Revival - White Freightliner
Other than the Sovines version, and J.D.'s version, I've not heard anyone else do it (sans Townes hisself..duh). I think it was the Earle version that gave it critical mass, Jeff...I'm referring to live versions. At shows for the last couple of years, it's become probably the single most common alt.country encore--from the rock side, hard country side, upside the head side, bluegrass side...every side. In a dizzying week at SXSW, you hear it a lot--and why not! Didn't somebody do a good one at Twangfest even--'98 or '97? Barry PS: To Slim: If The Jets get back ahead (which they just got to be not) and take on Atlanta...well then--have a good time! The idea of the S'Bowl's almost always more interesting than the game anyway. Hold out for White Freightliner at half-time? B.
Cisco on L.A.'s Happy Trails radio show
Hello everyone, For those of you in the L.A. area interested in hearing Cisco, be sure to check out the next "Happy Trails" radio show. Jeanne Contact: Dragon the Pen Communications (Jana Pendragon) (562) 427-0325 / e-mail:[EMAIL PROTECTED] Cisco the Reasons Why Hit "Happy Trails," January 21 @ Midnight! Cisco and his sizzling hot honky tonk band, the Reasons Why, will kick off the New Year, January 21, 1999 at Midnight on the "Late Night Radio Edition with Jana Pendragon" of Robert Douglas's long running American roots music radio program, "Happy Trails." Presented on KXLU-88.9 FM, "Happy Trails" continues to support the Los Angeles music community by presenting the most outstanding local talent. This is a return engagement for Cisco, whose first "Happy Trails" appearance in 1997 suggested he would indeed be kicking up a lot of dust with the release of his first studio project. Available from both Miles of Music (phone: 818-883-9975 or e-mail: [EMAIL PROTECTED]) and HepCat (phone: 1-800-404-4117 or e-mail: [EMAIL PROTECTED]),"Wishing You Well From the Pink Motel" was a favorite release among knowledgeable traditional CW music journalists in 1998. For more information regarding Cisco, contact HellBent Management in Hollywood at 323-871-1434 or e-mail them at: [EMAIL PROTECTED] And, coming February 18, 1999 to the "Late Night Radio Edition" of "Happy Trails" will be the high desert roots music phenomenon, Farmer Tan. With their first CD about to be released, this will be an on-air celebration of one of the L.A. country and roots music scene's most anticipated new releases by one of the area's finest original bands.
RE: cryptic messages in old vinyl numbering systems
The weirdest runout groove messages I ever found are on the Triffids EP
"Fields Of Glass" - they read: "Pope Guilty of Intercourse", "Papal Semen
Identified".
Others I can recall reading are "Hooley Dooley", "I've got a twelve-stwing
Wickenbacker", "John, call me - 691 8413".
These are all on Australian records, by the way. The sort of people that
must work in vinyl pressing plants...tsk tsk.
Junior Walker
-Original Message-
From: [EMAIL PROTECTED] [SMTP:[EMAIL PROTECTED]]
Sent: Saturday, 16 January 1999 8:50
To: passenger side
Subject: Re: cryptic messages in old vinyl numbering systems
Well, my favorite "scribe" comes courtesy of the Minutemen--I think
all of the SST bands of the 80's did this--who write "Arena Rock is the
New
Wave on side d. of Double Nickels on the Dime. This is followed by side
mike's "Punk Rock is the New Nostalgia." Any chance to bring up this
album,
and I'm there.
Whoo-hoo! says me, who will also do the same. :)
I think every Minutemen album has "scribes": e.g., Ballot Result ("You
choose a hero's kingdom"(side one) "...or a mean democracy?"(side
two)..."Want to focus?..." (side three)..."Bofus?" (side four)) or
Project:Mersh ("Full Circle--The Concept becomes reality--now deal with
it!!")
Lance, wondering if he wants new wave, or if he wants the truth . . .
Actually, have you ever heard Dos' version of that song?? Maybe even
better than the original...
Steve Kirsch (who still thinks "Dreams Are Free, Motherfucker" is the
best song title of all time, even if it isn't a very good song:))
[EMAIL PROTECTED]
np: John Strohm--"Caledonia" (anyone ever seen this guy live?...he's
playing SXSW and I'm wondering what to expect)
___
You don't need to buy Internet access to use free Internet e-mail.
Get completely free e-mail from Juno at http://www.juno.com/getjuno.html
or call Juno at (800) 654-JUNO [654-5866]
RE: Split Enz - True Colours
As for Neil Finn - the man is clearly a genius - buy his new solo album "Try Whistling This" - it's all quite beautiful. Jnr -Original Message- From: Chaco Daniel [SMTP:[EMAIL PROTECTED]] Sent: Saturday, 16 January 1999 9:29 To: passenger side Subject: Re: Split Enz - True Colours Reply to: Re: Split Enz - True Colours Shucks. As long as twang is off the map. Split Enz is great. Crowded House is great. Now, can someone give me a final (purchase or pass) opinion on that Neil Finn solo disk? CD jamie wrote: On Fri, 15 Jan 1999, Jerry Curry wrote: Count me in as a big Split Enz fan. Actually, I still like them. Loved that Crowded House stuff.hell, the Finn brothers can't do much wrong in my opinion. Ditto. "The Temple of Low Men" is a classic, IMNSHO. .jamie dyer . Cornerstone Networks Central Virginia's . .jamie at cstone.net. Charlottesville, Va. Premier Internet. . net/sys admin. Service Provider. . work: www.cstone.net. . . band: www.hogwaller.com .6.6.6 - Kernel of the Beast . RFC822 header --- RECEIVED: from SF_Database by POP_Mailbox_-1295706195 ; 15 JAN 99 16:05:01 UT Received: from LISTS4.U.WASHINGTON.EDU by mail.duncanchannon.com with SMTP (QuickMail Pro Server for MacOS 1.1.1r1); 15 JAN 99 16:04:46 UT Received: from host (lists.u.washington.edu [140.142.56.13]) by lists4.u.washington.edu (8.8.4+UW97.07/8.8.4+UW98.06) with SMTP id PAA01468; Fri, 15 Jan 1999 15:56:31 -0800 Received: from mxu1.u.washington.edu (mxu1.u.washington.edu [140.142.32.8]) by lists.u.washington.edu (8.9.1+UW98.09/8.9.1+UW98.09) with ESMTP id PAA42404 for [EMAIL PROTECTED]; Fri, 15 Jan 1999 15:48:28 -0800 Received: from Astrovan.cstone.net (mailstop.cstone.net [205.197.102.13]) by mxu1.u.washington.edu (8.9.2+UW99.01/8.9.2+UW99.01) with ESMTP id PAA04012 for [EMAIL PROTECTED]; Fri, 15 Jan 1999 15:48:27 -0800 (PST) Received: from Frisket.cstone.net ([206.205.42.2]) by Astrovan.cstone.net (Post.Office MTA v3.5.3 release 223 ID# 0-54117U7500L750S0V35) with SMTP id net for [EMAIL PROTECTED]; Fri, 15 Jan 1999 18:43:48 -0500 Message-Id: [EMAIL PROTECTED] Date: Fri, 15 Jan 1999 18:49:12 -0500 (EST) Reply-To: [EMAIL PROTECTED] Sender: [EMAIL PROTECTED] Precedence: bulk From: jamie [EMAIL PROTECTED] To: "passenger side" [EMAIL PROTECTED] Subject: Re: Split Enz - True Colours In-Reply-To: [EMAIL PROTECTED] MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII X-To: passenger side [EMAIL PROTECTED] X-Wife: Ol' what's her name X-No-Archive: yes X-Listprocessor-Version: 8.1 beta -- ListProcessor(tm) by CREN
RE: Steve Young help
Didn't Gram Parsons play organ and sing BVs on Steve's album Rock Salt and Nails? If he did and I believe that to be the case, you may want to ask SY about his opinion on his own career and how it has figured in the development of "alt.country" music in the last thirty years. He is a great singer and songwriter and I believe that in the Unjust Musical Events Dictionary his picture appears alongside the words Great and Underrated Like You Wouldn't Believe. I didn't think this Steve Young was the football player either - I had him pegged as the sensitive Buddhist type singer/ songwriter. Love his work and yours, Jeff! Junior Walker -Original Message- From: Jeff Wall [SMTP:[EMAIL PROTECTED]] Sent: Monday, 18 January 1999 0:44 To: passenger side Subject: Re: Steve Young help At 12:02 AM 1/17/99 -0700, you wrote: Is this really the same Steve Young? The BYU quaterback who plays for San Francisco now? I don't think they are the same person at all. The singer/songwrtier was releasing album int the 70"s wasn't he? No, it is NOT the same Steve Young. But when ever you bring up his name, people always assume you are talking about the quarterback, "You mean Steve Young plays music too?" The Steve Young I am referring to is the singer/songwriter one. Still looking for info on him and David Olney. Any of you brainiacs out there got anything to help with? Jeff Wall http://www.twangzine.com The Webs least sucky music magazine 727 Alder Circle - Va Beach, Va - 23462 -(757) 467-3764
Re: JD Crowe - White Freightliner
It seems to be generally frowned upon when non-bluegrass musicians take bluegrass type tunes (for example, Old 97's covering "My Blue-Eyed Darlin" - they pretty much destroy the song) and turn them into something else, Watch your generalizing there, bub. I love that version of that song. In fact, if it wasn't for the Old 97s, I probably never would have known the song existed. No frowning here. Neal Weiss
more white freightliner
Thanks to Barry for that wonderful blues dissertation... I had totally neglected all of that g. I just wanted to close this and say that I guess it's just a matter of my personal taste with that song... there are so many things that make it great and the part in question is what does it most for me. Everytime I hear that, I feel like I'm constantly sliding down from my seat and towards the floor but never quite making it that far (?!). I guess it might do the bass player some good to go back and check out those earlier versions, and hear what I hear (big assumption, I know). Hell, I even think Mr. Earle's version on the Rig Rock CD is to rollicking, but I like it for what it is. It's not that I want every cover I hear to be a cookie cutter version of its original, but it's taking those little things that are already so fascinating to a whole new level that make covers interesting. I think now I'm going to go decide if they did justice to the vocal part or not g. As for - alt.country anthem, etc... the chunk of the versions, like Barry points out are the live ones, everyone and their mother does this tune... Gillian Welch and David Rawlings, Paul Burch played it in Meshel's living room (White Train Freightline), I think I heard 5 different versions during Merlefest a few years back... It would take me a while to think of more, but they're out there... And as for Gram, I'm not sure whether or not this song had made it to that wide of audience before he passed on, or if it had even been written for that matter... Back to my studies... ugh... Chad - who feels like chiming in with his rant on why he hates Ann Arbor so much. Maybe in a few months I'll feel better g
Sparklehorse Interview
I'm interviewing Mark Linkous tomorrow night (gulp) and I'm wondering whether I dare ask him about his 80s power pop band Dancing Hoods. Does anyone know whether he's reluctant to talk about his previous work? They don't rank a mention in any of the interviews I've seen. thanks people Sophie == "I started out with nothing still have most of it left" _ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com
new Fear Whiskey time
Well, it's an old time really. The show returns to its old stomping grounds Mondays 7-10pm ET on 88.3fm in Pittsburgh and at http://www.wrct.org for mp3 netcasts worldwide. Apparently, most mp3-compatible platforms can support our feed, so if you have one, give it a try. Carl Z. who also digs JJ's Big World album and whose favorite twang moment of the weekend was watching Loretta Lynn and Buck Ownes talk about their Washington days on TNN.
Re: Why I Love Austin #446
Cool story from John on the Derailers recordings. While we're on the subject of the Derailers, I noticed that Columbia House's Web site has a special promotion on "The Best Records You've Never Heard," culled from the '50s through the '90s. _Reverb Deluxe_ is listed as one of these. It's amazing how far Dina's influence reaches, really. --Amy
Mike Ireland/TNN Ballot last chance
The final day of voting on the TNN/Music City News Music Awards semi-final ballot is this Friday and there are a few P2 favorites on the ballot believe it or not, including one of the most favorite, Mike Ireland. It's pretty easy to vote and takes just a couple of minutes so PLEASE, let's show GNashville that there are people out here who give a damn about quality twang, go forth and let your voices be heard at this URL: http://www.country.com/tnn/tnn-f.html NOW ONLINE, www.TwangCast.com TM RealCountry netcast 24 X 7 Please Visit Then let us know what you think! Mike Hays www.MikeHays.RealCountry.netFor the best country artist web hosting, www.RealCountry.net
Re: The Backsliders
Chip Robinson breaks up repeatedly and seems somehow always to recover. g April 27 is the new release date, I hear, for whatever they're going to call Hictopia (sic). Hang onto that tape, though. . . Linda
Re: Steve Earle/old vinyl/Huddie Ledbetter
Hey there, Geff King On another note...how many of you p2'ers have owned (or own) a three sided album? And what is it called? That'd be Monty Python's Matching Tie and Handkercheif, no? Two separate grooves on side two allowed for 3 sides of comedy. I'm sure someone else has answered by now. There were also a few Mad Magazine promo 45's with multiple endings. The one groove split into three and the needle would take a 'random' ending each time. Lest you think that CDs ended all this nonsense. A British 'comedian' Edward Sidebottom (or something like that) release "the worlds longest comedy CD" its actually 90 minutes of comedy - there are separate bits in the left channel and right channel so you hear one routine with the balance all the way to the left and a different one with the balance all the way to the right. Cool, eh? Later... CK NP Silos - Cooler (hmmm) ___ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO [654-5866]
Re: new Fear Whiskey time
Carl Z. wrote: Well, it's an old time really. The show returns to its old stomping grounds Mondays 7-10pm ET on 88.3fm in Pittsburgh. Smack dab in the middle of "Seventh Heaven" on the WB Network??? aw man! oops...did I say that outload? Paul np: The Stranglers - Greatest Hits
Re: Copper Country
Jeff Weiss wrote: Hey Michiganites, Jeff, for the record, you need to call 'em "Michiganders" or else they won't answer... Paul
Re: Steve Earle/old vinyl/Huddie Ledbetter
Geff King wrote: On another note...how many of you p2'ers have owned (or own) a three sided album? And what is it called? I own a ONE sided album... it's Screaming Trees "Something About Today" EP If I recall correctly, the b-side has the words "Thank You" or something etched in it. Bob Soron added: "Monty Python's Matching Tie and Handkerchief." Side 3 was a hidden track on Side 2; the two spirals were interwoven so that, when you dropped the tone arm, you never knew which "side" you'd get. This reminds me of a old MAD Magazine 45 I have/had that had multiple endings to the song, and depending on how/where your needle hit the groove depended on which ending you got! (of course, I played this on the same Hi-Fi I recall stacking multiple records on for hours of listening enjoyment in my youth) Paul np: Long Ryders - Native Sons/10-5-60
Re: Waterloo Top 50/Texas Top 10 1.16.99
At 9:24 PM -0500 on 1/17/99, Jerald Corder posted Waterloo's Top 10 Texas sellers, including: 10. George Devore The Roam - George Devore The Roam OK -- who are they and why are they there? Really good or just a lot of family and friends? Bob
Re: Bill and Business 101 - Giving the People What They Want
In a message dated 1/15/99 12:02:07 AM, you wrote: Even big retailers are jumping into the used-CD business. [snip] including Wherehouse Entertainment Inc., which has used CD sections in 260 of its 339 stores. Didn't Wherehouse also buy either Grow Biz Int'l or just the rights to the Disc-Go-Round franchise as well?? Paul R.E.M. - Essential
Re: Steve Earle/old vinyl/Huddie Ledbetter
Geff King wrote: On another note...how many of you p2'ers have owned (or own) a three sided album? And what is it called? I remember once owning a vinyl copy of Joe Jackson's "Big World," and I think that was a 3-sided album Does Genesis' "Three Sides Live" count? Or perhaps the whole album can be thrown out (good riddance) Paul np: Long Ryders - Native Sons/10-5-60 Ameritwang, you are so cool! Mitch Matthews Gravel Train/Sunken Road
