Re: soul
Walker, Jason wrote: Muscle Shoals studio in Muscle Shoals, Alabama where artists such as Dan Penn, Eddie Hinton and Arthur Alexander to name just a few Or one of my personal favourites by Boz Scaggs after his Steve Miller Blues Band stint, but before silk suited aliens inhabited his body, the self titled Boz Scaggs. This li'l beauty included the famed Muscle Shoals rhythm section, lovely girl backup singers, and most especially Duane Allman sliding through "Loan Me a Dime" and others. The first tune I learned on Dobro was off this record - Waiting For A Train. I could use a copy of this one if it is available on CD. Course, a CD would probably not include the large as life full frontal nudity as found in the LP jacket. William W Western
Re: Other Artists' Early Work (was Re: Dixie Chicks)
Had to do with a pre Gram Parsons release on an indie EMU or something like that. The album was entitled Gilded Bird, I believ and its pretty bad even according to her. Iceman [EMAIL PROTECTED] wrote: [EMAIL PROTECTED] writes: All right, I was paging through P2 stuff hastily, so there's a chance I missed it, but I do believe that no one's mentioned Emmylou Harris's efforts to erase history. Hmmm...could someone fill me in on this? Something about how she's tried to paper over being a middle-class kid from the D.C. suburbs, or something? fearing the wrath of Emmylou-lovers, Dan Bentele
RE: Other Artists' Early Work (was Re: Dixie Chicks)
Middle-class kid from Washington DC? I don't think so, man - I believe she's from Birmingham, Alabama. Since when does "middle class" mean anything? If I'm not mistaken, Gram came from old Florida money and wasn't exactly born in a little bitty tar hut. Didn't make a damn worth of difference to his ability and he even papered over the cracks that appeared in his story. -Original Message- From: Doug Young [SMTP:[EMAIL PROTECTED]] Sent: Friday, 29 January 1999 15:39 To: passenger side Subject: Re: Other Artists' Early Work (was Re: Dixie Chicks) Had to do with a pre Gram Parsons release on an indie EMU or something like that. The album was entitled Gilded Bird, I believ and its pretty bad even according to her. Iceman [EMAIL PROTECTED] wrote: [EMAIL PROTECTED] writes: All right, I was paging through P2 stuff hastily, so there's a chance I missed it, but I do believe that no one's mentioned Emmylou Harris's efforts to erase history. Hmmm...could someone fill me in on this? Something about how she's tried to paper over being a middle-class kid from the D.C. suburbs, or something? fearing the wrath of Emmylou-lovers, Dan Bentele
RE: Other Artists' Early Work (was Re: Dixie Chicks)
On Fri, 29 Jan 1999, Walker, Jason wrote in re Emmylou Harris: Middle-class kid from Washington DC? I don't think so, man - I believe she's from Birmingham, Alabama. That's the official legend, and I think she was born there. But as I understand it, most of her formative years were spent in Woodbrige, VA. Definitely a DC suburb. The entire population of Woodbridge migrates north up I-95 every morning to work at the Pentagon. Some social climbers claim to be from Woodbridge when they're actually from Dumfries. -- Mike Woods
Re: She don't impress me much
Well, here's a thought for you. Perhaps you heard, know or remember that there were many critics of the Nashville Sound. Artists many revere today for being country icons such as Cline, Arnold, Reeves were chastised for "selling out" to pop music. So, suppose in twenty years Twain is the standard by which all other "country" acts are judged? Somehow, Rod Serling just popped into my mind... Shania Twain is somewhere between soft-country and pop. This didn't seem to bother a lot of "country" fans when The Eagles gave us their brand of the "formula" in the seventies or the myriad of same we experienced then. Twain just took a "pop" image concept (watered down a bit) and transferred it to country music. You could probably say the same of Elvis Presley who took a "rb" image concept and transferred it to rockabilly. No, I don't care much for Twain's music, but she did go against the grain, did get people to notice her; she's photogenic, animated and will probably be seen on your local movie screen within a year or two g The only thing which seems suspect to me is how much some of her songs remind me of past rock-n-roll, pop standard hits. (Now, as far as The Backstreet Boys, geez...I think they're cute, rosy-cheeked little dumplings. If I were trying to attract a young, pop audience I'd say I rawked to them too. However, in a thirty-three/four yr. old woman (as Shania is), it just reeks of PR. However, that video "Everybody(Backstreet's Back)" was pretty inventive and considering the drive-by rapping videos so prevalent in '98, I think it's just fine. -Original Message- From: Mike Woods [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Thursday, January 28, 1999 11:53 PM Subject: She don't impress me much Just watched Shania Twain on Letterman. Whatever it was, even though there was a steel guitar onstage, it sure wasn't country. Lots of great prancing and grimacing from her band. Nice nipples, too. Presumably she was on there to plug her big upcoming network show. Dave asked her about it, and she couldn't giggle remember the exact date. She did mention that every night before her show, all alone on her bus, she turns on the Backstreet Boys and gets down. All I know about the Backstreet Boys is what my daughters tell me. The 17-year old thinks they suck. The 10-year old, who also digs the Spice Girls, think they rawk. I think I know what I need to know. -- Mike Woods -- Honky Tonk Curmudgeons
Re: soul
You guys are all the samesheesh! gActually, there probably wouldn't have been a Motown without Stax or Chess. But, Ms. Nixon wants to know if any of us like Motown. Heck yes! From The Temptations to The Supremes...very likeable music which got many of the record-buying public to delve deeper into roots music: rb, blues...etc. I "discovered" Bessie Smith after hearing her named as an influence. Also checked out B.B. King and Muddy Waters and today also list Buddy Guy as an influence on my musical tastes. Also listen to John Hall. I love the blues and its various incarnations. The music I like most incorporates country, blues and rockabilly. If you want to hear some really good stuff, I suggest you get a hold of Ray Charles: The Country and Western Recordings. Released last fall, it is a wonderful collection of pure country soul. I can't say enough about it...except it gets constant play in my house. Tera -Original Message- From: William W Western [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Thursday, January 28, 1999 11:18 PM Subject: Re: soul Waiting For A Train. I could use a copy of this one if it is available on CD. Course, a CD would probably not include the large as life full frontal nudity as found in the LP jacket. William W Western
Re: soul
[EMAIL PROTECTED] wrote: Ah yes, another fine example. Although one I'll suggest doesn't quite work as well as I'd hope is what I've heard of Jim Lauderdale's work. A wonderful voice and the boy's got plenty of twang 'n soul in him. So how come I find it all mostly dull? I've tried hard too, and it may be just me, but in general I dont find the songwriting up to snuff.Maybe he gives his best stuff away (You Dont Seem to Miss Me...) Stevie
Re: Barry and the Remains (Boston content)
Kat writes: Hi Jon - Thanks for posting the article about my friend Barry Tashian. I don't know if I would classify The Remains as punk (but what do I know?). The article didn't mention Barry's nine years (80-89) with Emmylou Harris (The Hot Band). Or his recent work with his wife, Holly (bluegrass duo). Barry and The Remains did their first reunion show this past September 23rd in Leon, Spain and another show at Coney Island High in October. Well, having been born in '64, I couldn't say when the term was first used. I've always heard that there was *some* usage of the phrase during that period, though you're absolutely right: the Remains were a (particularly good) garage band, though not a "punk" band in the same sense that I would describe, say, the Chocolate Watchband or the Sonics. I had previously posted something about the reunion a few months back because of an article in the Herald (which has a local country piece today, so keep a lookout for it!). Yeah, I also noticed that the article didn't really mention much about Tashian's more recent activity, though I'd guess that has to do with the legendary status that the Remains have at this point. For all those in the NY area - Another friend of mine, Dale Watson will be at the Rodeo Bar in NYC on April 1st. Dale is also scheduled 3-31 at the Tin Angel in Philly. On 3-2 Dale will be in Richmond at Moondance. Looks like he's only making it as far north as New York on this trip. No chance of a Beantown date? --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
Re: Barry and the Remains (Boston content)
Hi Jon Johnson - I talked to Dale a few days ago - no Boston dates at this time. But I am sure he will be back there (most likely this summer). I sent Barry the post with the article from the Phoenix. Last nite I posted Barry's reply to me. Back to lurking Kat (in CT) P.S. bw - 11 days 'til Willie
Re: Other Artists' Early Work (was Re: Dixie Chicks)
This is not such an awful thing. Patsy Cline was from Winchester. linda In a message dated 1/29/99 12:07:21 AM Central Standard Time, [EMAIL PROTECTED] writes: That's the official legend, and I think she was born there. But as I understand it, most of her formative years were spent in Woodbrige, VA. Definitely a DC suburb. The entire population of Woodbridge migrates north up I-95 every morning to work at the Pentagon. Some social climbers claim to be from Woodbridge when they're actually from Dumfries.
Re: Fwd: the hill votes on internet fees (TAXES)!!!!!!!!
Iceman wrote: My bright rep JIm Hansen, Rep. UT informed me when I wrote that no such bill was pending I've been informed by a couple others as well, that this is not true. (i was a bit suspicious that there was no House Bill #, etc.) Sorry about the pseudo-spam to the list... Paul/Pop Booking np: Clifford Nevernew - Cura Chroma [EMAIL PROTECTED] wrote: Some of the more "internet savvy" users might know more about this, however, I thought I'd pass it along to the list... (sorry...there's no twang...with the exception of the person who sent it my way..but that doesn't count, does it?) Cheers
Re: The Beta Band
I was going to reply to this yesterday but after reading Joe Gracey's eloquent and moving tribute to Jimmy Day it just didn't seem so important. But anyway todays another day so, Don writes I'm surprised Andy or some other British P2er hasn't mentioned this band (or maybe they have, and I somehow missed it). Well, as it happens, I have a couple of times mainly in comparison to Scott 4 who I've been banging on about recently. In some ways the music is similar in style. The Beta Band, a five piece from Glasgow, are probably held in higher regard than Scott 4 by the critics in this country but then what do they know g. I just received their debut album, and it's a stunner. Titled The Three EPs (and released by Astralwerks here in the States), it collects their three British EPs onto one hard-to-describe full-length. The first E.P. is changing hands for about 50 quid, the others are still relatively easy to obtain. Imagine a blend of acoustic roots, homegrown beats, slacker funk, oddly processed vocal harmonies, obscure samples, psychedelic tomfoolery, and much, much more. And while that may sound like a dilettantish mess, it's far from it. And if that isn't confusing enough the sound is full of bongos, dub bass, Jews harp, hand claps and bird song. Hard to describe indeed. The songs cohere surprisingly well, and the album sounds rather relaxed, low-key, and subtle. The only criticism I have, and it is a minor one, is that it does become a bit self-indulgent at times, one or two tracks in danger of disappearing up their own backsides. This makes listening a bit tough, the album coming in at over 70 mins running time. The Beta Band makes the much-hyped Gomez seem awfully tame and unimaginative in comparison. The more adventurous P2ers should be all over this.--don Couldn't agree more. I have the Gomez record and it is enjoyable enough but I can't get past the notion that it is just the sum of the bands record collections. I think I read somewhere that a new Beta Band album will be released in the near future. Andy
RE: Barry and the Remains (Boston content)
On Thursday, January 28, 1999 10:56 PM, [EMAIL PROTECTED] [SMTP:[EMAIL PROTECTED]] wrote: Hi Jon - Thanks for posting the article about my friend Barry Tashian. I don't know if I would classify The Remains as punk (but what do I know?). The article didn't mention Barry's nine years (80-89) with Emmylou Harris (The Hot Band). Or his recent work with his wife, Holly (bluegrass duo). Barry and The Remains did their first reunion show this past September 23rd in Leon, Spain and another show at Coney Island High in October. Barry wrote a book about his experiences with The Beatles (The Remains toured with them in 1966). The book is called Ticket to Ride and can be bought though his web site along with The Remains cd's. For all those in the NY area - Another friend of mine, Dale Watson will be at the Rodeo Bar in NYC on April 1st. Dale is also scheduled 3-31 at the Tin Angel in Philly. On 3-2 Dale will be in Richmond at Moondance. Also, Barry and Holly Tashian will be performing at the Levitt Pavilion in Westport, CT (their hometown) on June 25th. (203) 226-7600. Back to lurking P.S. Buddy, 12 days 'till Willie
RE: Barry and the Remains (Boston content)
-Original Message- From: Jon Weisberger [SMTP:[EMAIL PROTECTED]] Sent: Thursday, January 28, 1999 11:04 PM To: passenger side Subject: RE: Barry and the Remains (Boston content) I don't know if I would classify The Remains as punk (but what do I know?). Yeah, that baffled me, too. What would prompt such a description (not a rhetorical question)? [Matt Benz] Garage bands of the 60's = "punk" . Not the Punk of later years. The Remains are featured on the Nuggets box. Basically, any lofi almost indy american band that may have charted a one hit wonder, was regionally popular, influenced by the British Invasion, etc...
The JudyBats (family tree)
Here are some 'bats tidbits: Jeff Heiskell the lyricist/singer for the band has formed a "new" Judybats, sometimes with U.K. or 2000 in the band name. They have played in Knoxville a couple of times. Peggy Hambright, harmony singer/keyboards/fiddle, for the first two Sire Records JudyBat releases (she also did the album art and design), occasionally plays with Scott Miller, of the V-roys, when he does solo shows. She also plays in a few other local projects. The Nevers, now of Nashville, are have as members, John Paul Keith, of the pre-signed era Viceroys (now V-roys) who writes/sings/plays gtr; and the latter day rhythm section from the Judybats, David Jenkins and Paul Noe. The Nevers are on Sire and expect an album release in the spring. There ya go, Scott Carpenter Knoxville, Tennessee
Re: soul, etc
At 03:13 AM 1/29/99 -0500, Tera wrote: You guys are all the samesheesh! gActually, there probably wouldn't have been a Motown without Stax or Chess. I can see, I guess, how we might argue that Chess paved the way for Motown in that it proved there was a crossover market for black artists (Chuck Berry, Bo Diddley), but if that's what you mean, why not also include King or Imperial and whoever else? More to the point, though, how is it that, without Stax, "there probably wouldn't have been a Motown"? In truth, the two labels followed almost eerily simultaneous paths to success. However, if we have to choose a chicken or egg here, it's clearly Motown that came first, not Stax. If our standard is which label released the first single, then Motown wins: Smokey and the Miracles' "Way Over There" came out on Tamla the summer of 1959. Stax's first release (actually called Satelite at the time) was The Veltones' "Fool In Love" from September, '59. If instead our standard is first chart hit, then Motown squeaks out another victory. Smokey's "Shop Around" debuted on the RB chart in Dec. of '60 (on its way to number one and number two pop) while Stax and Carla Thomas didn't chart until Feb.of '61 with Gee Whiz (and didn't do quite so well there either: #5 RB, #10 pop). Elsewhere, Tera said: You could probably say the same of Elvis Presley who took a "rb" image concept and transferred it to rockabilly. This seems off. Presley fused country and rb to create rockabilly, not rb and rockabilly to create...what? (In fact, without rb in the first place, how do you even get rockabilly, let alone transfer rb back to it?) Do I like Motown? Hell yes! Indeed, catalogue to catalogue, and with a gun to my head, I'd prefer its output to Stax's, though barring the gun I don't really see any need to choose. I will, however, give a shout out to Gamble and Huff and Philly International (the O'Jays, Harold Melvin, etc.) which I will proclaim loudly as my favorite of all the great soul labels. Especially if we can include the work that Philly house arranger Thom Bell was doing, simultaeously, with the Spinners and Stylistics at Atlantic (and for that matter, what Philly Int.'s other arranger, Bobby Martin, was doing with the Manhattans at Columbia) then to my taste the more general term, Philly Soul, describes the best there ever was. --david
Re: Jimmy Day
A little behind the 8-ball being in digest mode, but that was beautiful Joe.
Re: soul (Motown, etc.)
You guys are all the samesheesh! gActually, there probably wouldn't have been a Motown without Stax or Chess. But, Ms. Nixon wants to know if any of us like Motown. Heck yes! From The Temptations to The Supremes...very likeable music which got many of the record-buying public to delve deeper into roots music: rb, blues...etc. Tera Well, I never really thought about it before, but it isn't very cool to like Motown--in the same way it is to like Stax, that is. I think Tera has a point here. Part of the reason for my greater appreciation for Stax, though, is because I'm constantly bombarded by those 60's Motown songs--either on radio, TV ads, background music in movies, VH-1 specials, etc.--in a way I'm not by the Stax stuff. And as for the No-Stax-No-Motown assertion, I don't know if that's true. The Stax machine is predated by the Satellite imprint, for sure, but until Atlantic picked up distribution in 1960 (following Carla Thomas' "Cause I Love You"), I don't know if many people outside of the South heard any Stax stuff. And that was also the same year that Berry Gordy hit with "Shop Around" (The Miracles on Tamla) and "Bye Bye Baby" (Mary Wells on Motown), so they seem to be concurrent enterprises. Anyway, I still stand by those late 60's/early 70's Temptations/Norman Whitfield records. These are still "dance records," but they add VERY heavy wah-wah guitars, funky-ass bass lines, aggressive polyrhythms, and some frighteningly honest lyrical moments. As cool as anything on Stax (IMO). As for country-soul, does anyone else listen to Joe Tex? And how about Messrs. Sahm and Yoakam? Or Ms. McKee's "You Gotta Sin" LP? Or, even Jon Spencer's collaboration with RL Burnside? I think all these records are knee-deep in the groove AND grits . . . Lance
Cover your a**
For those of you fan-bands and solo musicians still holding off on contributing to the Wilco/UT/SV covers project coordinated by Scott Hudson, get yours in!!! I'm a little anxious to hear the finished product, as my friends finally got their hyperspeed cover of "Satan" to Scott. I ran a little news item in my paper this week on the track's acceptance... and can't wait to update that when it is done. It's online thru next Wed. at www.star- gazette.com/Time_Out/storyindex.html -- click on the Tributes article. It originally mentioned Postcard and P2, but that was cut for space in the print version and then picked up for our web site. Dan NP: Hazeldine. Orphans. (sublime.)
Clip: Launching the P2 Commune Radio Station
Howdy, From this morning's FCC web site (www.fcc.gov) comes the following news of interest... The FCC today proposed to license new 1000 watt and 100 watt low power FM (LPFM) radio stations, and sought comment on also establishing a third "microradio" class at power levels from 1-10 watts. In a Notice of Proposed Rulemaking adopted today, the Commission said its goals are to provide new opportunities for community-oriented radio broadcasting, foster opportunities for new radio broadcast ownership and promote additional diversity in radio voices and program services, while protecting the integrity of the spectrum. It said that new LPFM stations could provide a low-cost means of serving urban communities and neighborhoods, as well as populations living in smaller towns and communities. It said it had received over 13,000 inquires in the last year from individuals and groups showing an interest in starting a low power radio station. The Commission said it was proposing a number of interference protection criteria that would help to insure that any new low power FM radio service would protect existing radio services and preserve the technical integrity of radio service today which has been fostered and maintained by existing FCC rules. It proposed minimum distance separations between LPFM stations as the best practical means of preventing interference between low power radio and full power FM stations. It said it would require co-channel (or same channel) and lst adjacent channel protections, but felt that 3rd adjacent channel and possibly 2nd adjacent channel protection would not be necessary in view of the low power levels and other factors. It specifically asked for comments on any potential adverse effects from LPFM stations on future digital radio developments, particularly In Band on Channel systems. The Commission said the proposed new services could meet a variety of local needs and capabilities from broad community coverage to smaller neighborhood areas. It proposed one service with primary frequency usage status to operate at a maximum effective radiated power and antenna height of 1000 watts and 60 meters which would produce a service area with a radius of about 8.8 miles. It proposed another service with secondary use status to operate at maximums of 100 watts and 30 meters with a service radius out to 3.5 miles. It also asked for comments on a 1-10 watt microradio class of stations with an antenna height of 30 meters with a service radius of one to two miles. The Commission proposed to require the LP 1000 watt class of stations to follow most or all of the rules applicable to full-power broadcasters. It asked for comments on its inclination not to apply most radio station service rules to new LP100 and 1-10 watt microradio stations in view of the smaller size of the operations and secondary status of these services. It stated that it was proposing to not permit any LPFM station to operate as a translator station retransmitting the programming of a full-power station. The Commission asked for comment on whether LPFM stations would need to generate revenue from advertising or underwriting, and whether the population in these service areas could sustain an advertising base. Alternatively, it asked for comment on whether these LPFM stations should be strictly noncommercial and whether educational institutions are the best potential LPFM licensees. Because of the increased opportunity for new entry and diversity from LPFM stations, the Commission proposed to apply strict ownership restrictions by not permitting existing broadcasters to own or have any joint sales or marketing agreements with an LPFM station and by prohibiting anyone from owning more than one LPFM station in the same community. It asked for comment on whether a limit of five or ten stations nationally would provide a reasonable opportunity to attain efficiencies of operation while preserving the availability of these stations to a wide range of new applicants. The Commission proposed an electronic filing system, with short windows of only a few days each for the filing of applications, but asked for comment on whether longer windows or a first-come, first served procedure would be preferable. It said that mutually exclusive applications would have to be resolved by auctions. However, it asked for comments on the best means to fulfill the statutory obligation to explore other means to avoid mutual exclusivity prior to ordering competitive bidding for the LPFM station authorizations. Action by the Commission January 28, 1999, by Notice of Proposed Rulemaking (FCC 99-6). Chairman Kennard, Commissioners Ness, Powell and Tristani, with Commissioner Furchtgott-Roth dissenting; Chairman Kennard and Commissioner Tristani issuing a joint statement, and Commissioners Ness, Furchtgott-Roth and Powell issuing separate statements. This could be interesting... I'm too busy wrapped up in work to comment much right now,
Re: FW: our boy Ryan
Thanks for forwarding that one, Matt. I'm laughing out loud. --junior
Re: soul, etc
Carl: On the fabulous Hi label where Willie Mitchell produced so much fine music. Does anyone here own the Hi box set? Is it a representative collection of that label's finest releases? Oh yeah. WIllie Mitchell was a recording genius Besides Ann Peebles, what else *is* in that box set? I've always wondered too. --junior
RE: FW: our boy Ryan
I asked DP to let me know. I think it's for real. 40 songs, featuring him mucking about on the keyboard. I want that box set. -Original Message- From: Carl Abraham Zimring [SMTP:[EMAIL PROTECTED]] Sent: Friday, January 29, 1999 11:11 AM To: passenger side Subject: Re: FW: our boy Ryan Was that clip real, a hoax, or an Onion article? In any event, it's pretty funny. Carl Z.
RE: FW: our boy Ryan
Matt speculates... I asked DP to let me know. I think it's for real. Now I'm laughing even harder. Quite a funny morning around here g --junior
Clip: Don't Fence Jay In
Howdy, Many genres power Son Volt January 29, 1999 By Wayne Bledsoe, News-Sentinel entertainment writer Knoxville News-Sentinel Who: Son Volt, Alvin Youngblood Hart When: 8 p.m. Tuesday, Feb. 2 Where: Bijou Theatre Tickets: $15.50, available at Tickets Unlimited outlets. Call 656-. When Uncle Tupelo broke up in 1993, fans of roots rock and what had just been dubbed "alternative country" mourned. The group's first album, "No Depression," had given a name to a movement and a magazine dedicated to it. Although Tupelo songwriters Jay Farrar and Jeff Tweedy went separate ways, each took former Tupelo members with them and formed strong bands. Tweedy and Tupelo's then drummer and bassist formed Wilco, which teamed up with Billy Bragg in 1998 on the album "Mermaid Avenue." Farrar formed Son Volt, which included original Tupelo drummer Mike Heidorn and brothers Dave and Jim Boquist. The group, which recently released its third album, "Swing Wide Tremolo," appears Tuesday at the Bijou. "I think it gave both songwriters a lot more room to move," says Farrar of the split although he does admit that many fans were upset with Tupelo's demise. Yet Farrar doesn't believe Uncle Tupelo started a trend. "I think that's misleading," says Farrar from his St. Louis home. "We happened to be there at a certain time period, but there was certainly a lot of bands that came before us." Farrar says he didn't really pay attention to country music until he was out of his teens. "I really didn't seek out country or hear it from my parents," says Farrar. "I had an older brother who was into bluegrass, but, for me growing up, I was listening to the Beatles and the Rolling Stones." Farrar was in garage bands that covered the Clash and other popular '70s acts. "It was three-chord songs, pretty simplistic," says Farrar. Later, Farrar discovered Hank Williams Sr. and the Flying Burrito Brothers. It was not the country he was used to. "It always takes awhile to find out what real country music is -- or was," says Farrar. "Your first exposure to it is Top 40 country, and it's hard to reconcile that with the real thing." Still, Farrar never planned on becoming a classic country revivalist or becoming pigeonholed in the genre that Tupelo helped create. In fact, breaking up Tupelo liberated all concerned. While both Son Volt and Wilco are favorites on Adult Album Alternative and Americana radio stations, both bands strain mightily at the boundaries of any specific genre. Son Volt, in particular, mines turf first turned by the Band. The terms rock, country and folk both do and don't apply. "I'd like to have music without trying to categorize it at all," says Farrar. Take care, Shane Rhyne Knoxville, TN [EMAIL PROTECTED]
Clip: Did Someone Mention the Kinks?
Howdy, Davies' life goes beyond 15 seconds of distortion fame January 29, 1999 By Wayne Bledsoe, News-Sentinel music writer Knoxville News-Sentinel In 1964, a 16-year-old guitarist played a 15-second solo that forever changed modern music. Dave Davies went into a London recording studio to record the Kinks' "You Really Got Me" with an intentionally damaged guitar amp. He had, in fact, cut the amp's speaker cone with a razor blade, giving his guitar the distorted aural smack of a giant rubber band. On radio, it sounded like a wild liberation, grittier and more unbridled than anything then heard over the airwaves. Through the next few years, Davies' solos became an essential part of the Kinks' biggest hits. Davies says working on the early Kinks records was "like catching lightning out of the sky." "I don't think you're aware of what you're doing at the time," says Davies, in a phone call from Los Angeles. "I mean if we had recorded 'Till the End of the Day' two hours later it would've been completely different." Through the years, Davies' contributions to the Kinks have been overshadowed by those of his brother Ray. Ray was the primary songwriter, lead singer and spokesman for the group (which is now on an indefinite hiatus). "The constant problem with the Kinks is that we had too much material," says Davies. "But it's better that way than the other way 'round." Davies says he wanted to release his two-disc career retrospective "Unfinished Business" (Velvel) "to put the record straight a little bit on my contribution to the Kinks." The set includes the group's first demo (recorded as The Ravens); highlights from Davies' vocal, guitar and songwriting contributions to the Kinks; excerpts from solo albums and some new recordings of his better-known songs, original versions of which could not be licensed for release in the United States. The set comes on the heels of Davies' autobiography, "Kink" (Hyperion Press). Unlike his brother, who wrote an "unauthorized autobiography" (it was written as if it were fiction), Davies chose the path of brutal honesty. One of the revelations in "Kink" was a romance when Davies was 15-years-old. His girlfriend became pregnant. However, Davies would not see his daughter from the relationship for 30 years. At the time, the teenagers' parents kept the two apart, insisting to each that the other never wanted to see them again. "It affected me very deeply, and I probably only came to terms with it when we met again in middle age," says Davies. He says nearly every song he wrote as a young man reflects the pain he felt from the loss of the relationship. Yet, Davies says his mother was probably working from the best intentions. "I think Mom knew it would drag me down," says Davies. "We were working class people. I think my mother saw I had an opportunity and if I didn't take it I'd end up having some menial job." Davies eventually reconnect with his lost love and formed a relationship with his daughter. The book also chronicles Davies's tumultuous relationship with Ray. Davies says his brother has never admitted to reading the book. "There have been some confrontations and it's been awful sometimes," says Davies. "But, you know, the dark side dissipates." In the end, Davies says the brothers' individual strengths help the other. Davies is currently planning a solo album of new material. He recently recorded an album of instrumental music with his son, Russell. And he says he would like to make another Kinks record. He does not, however, seem interested in the possibility of touring with the reunited original Kinks line-up, an idea that his older brother has occasionally floated to the press. "I don't think that's a particularly smart idea," says Davies. "And, Ray has never mentioned it to me." Ironically, Davies has found himself having to defend that he was actually the person who fired that first shot of distortion in "You Really Got Me." Led Zeppelin founder Jimmy Page, who was an aspiring studio musician in 1965, has occasionally taken credit for Davies' famous solo. "It's an old lie that keeps coming up," says Davies. "I think he should shut his trap before he embarrasses himself in his old age ... I'm very surprised he would say things like that considering the success that he's had in his own career. If he's so desperate for attention, I feel very sorry for him." Take care, Shane Rhyne Knoxville, TN [EMAIL PROTECTED]
Re: Jimmy Day
"Ferguson, Dan" wrote: A little behind the 8-ball being in digest mode, but that was beautiful Joe. Muchas muchisimas gracias, amigo. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: Kevin Russel (Gourds) solo record
At 10:49 AM 1/29/99 -0600, you wrote: Waterloo is stocking a Kevin Russell solo record. Has anyone heard it yet (Matt Cook?). Any reviews? I saw that the other day and I don't think it is the Kevin Russell of the Gourds. Looked kind of like a Jack Ingram clone. But I haven't heard it yet. Maybe Matt can clue us in on this. Jerald
Re: more Boston......
Stacey Taylor writes: Thanks Jeff...now I'm on the way out to pick up that Herald article...have you seen it? I picked it up at the train station this morning. It's fairly short - it's not a feature story like the Kirk Franklin piece in the same issue - but the coverage certainly can't hurt. --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
Jimmy Day
from this week's Austin Chronicle JIMMY DAY, 1934-1999 If the death of Austin blues guitarist T.D. Bell on January 9 was a hard blow for the Central Texas music scene, the loss of steel guitar player Jimmy Day must be measured in even larger terms -- its impact resonates on a national, even worldwide scale. Buda resident Day died of cancer Friday, January 22 at the age of 65. There are a select few musicians whose talent is so highly regarded that their names literally become synonymous with their instrument -- Jimi Hendrix on the guitar, John Coltrane and Charlie Parker on the saxophone, Miles Davis on the trumpet. In the world of steel guitar, those names were Buddy Emmons and Jimmy Day. Of course, Jimmy Day never received the fame of those other names -- he was primarily a sideman, rather than a band leader -- but like all sidemen, he helped make the sounds that made the stars famous. Day's résumé alone is mind-boggling; name a country music hall of famer from the Fifties or Sixties, any one, and chances are, he played with them. And there's a reason he hooked up with so many great musicians -- they sought him out. But Day also played with some smaller names as well, which must be seen as a measure of their talent. When you're the guy who laid down the opening licks of Ray Price's "Crazy Arms," you don't have to play with also-rans. Clay Blaker, Alvin Crow, and Don Walser are among the Central Texas regional talents who received the Jimmy Day stamp of approval and benefited from his talents. Day was born in Tuscaloosa, Alabama, on January 9, 1934, and grew up in Louisiana. He heard Shot Jackson playing the steel guitar in 1948 and fell in love with the instrument, developing a friendship with Jackson (Day, Jackson, and Emmons together manufactured their own brand of pedal steel, the Sho-Bud, beginning in 1957). He quickly mastered the instrument and was soon among heady company; the same year he graduated from high school, 1951, Day auditioned for The Louisiana Hayride, the Shreveport radio show which at the time rivaled the Grand Ole Opry in importance, and backed Webb Pierce and Red Sovine. That same year, he recorded with Pierce on "Don't Do It Darlin'," which went to number one. From there, there are just too many highlights to mention. Day moved among the upper echelons of country royalty until the late Seventies, when Nashville began its attempts to destroy country music, often dropping the steel guitar from recordings altogether. Day returned to Central Texas in 1978 and sought out audiences who still appreciated true country. Among his gigs were the now-legendary Monday nights with Don Walser's Pure Texas Band at Henry's Bar Grill. He moved to Nashville in 1991 for some session work when Nashville rediscovered the steel, but then settled down in Buda again shortly thereafter. As said, the best way to understand the impact of Jimmy Day is to look at his résumé, so here it is (no, we're not making this up): Webb Pierce, Red Sovine, Hank Williams, Jim Reeves, Lefty Frizzell, Elvis Presley, Ray Price, Ernest Tubb, Willie Nelson, Johnny Bush, Ferlin Husky, George Jones, Tracy Nelson Mother Earth, Sammi Smith, Leon Russell, Commander Cody, Clay Blaker, Alvin Crow, Don Walser, Skeeter Davis. -- Lee Nichols
real country [was re: old 97s in Toronto]
country) I thought back to the usual P2 debates, and wuz struck by how right Jon's been in the past to point out that the altcountry vs. HNC battles often aren't, emotionally, so much about which is "real" country so much as a difference in taste about the type of rock involved in each case. [snip] I am coming round to thinking that what we're seeing is the fact that rock in one form or another has overtaken country so much in the culture that it feels like "roots" music to a broad demographic that includes a lot of the former core country audience, so that stone-traditional country is very marginal to all the commercially partway viable versions. Carl W. This really resonates with me. My kneejerk reaction upon hearing HNC stuff is usually to claim that "it's not real country," or something like "Oh, that's just bland AC pop/rock with a steel guitar and a fiddle thrown in." In light of Carl's comments, however, it does seem that my aversion is less the lack of "realness" of the country elements than my disdain for the particular type of rock that seems to be forming the basis of the song. Shania's easy slide into Celine Dion/Mariah Carey/Diva territory only adds to fuel to this fire. So, I wonder, with the "alt" stuff that I do really like, are they actually performing a "truer" version of country music, or do I just like their brand of rock better? And are they basically doing the *same* thing as the HNC folks when it comes to the country side of their sound, only w/ a different type of rock blended in? The bigger question that begs itself is whether "country" is, at this point, just a set of superficial stylistic options that mark your specific style of rock as "country" -- the inclusion of a steel or a fiddle, a twangy tele, a shuffle or train drum beat, alternating 5ths on the bass, etc. Is there a such thing as real country music, or only country-flavored rock? Playing in a band, I struggle with this all the time. Are we playing country? Or are we just pop/rock band copping a country flouish here and there? How the hell do you tell the difference? What is that essence, that musical/lyrical core that puts you in the first camp rather than the second? (I also wonder whether it really matters, but reading 150 P2 messages a day certainly makes one sensitive to such questions g.) The problem is, identifying country is a bit like identifying obscenity -- you can't define it, but you know it when you hear/see it. Much of the time you end up at a point where the criteria is essentially that someone -- radio stations identified as country, a record company, critics, people on p2 -- *says* you're country. Or you fall back to an invocation of ratified country greats that exemplify country and see how a given band compares. Many times it seems that country "realness" is defined in relation to the lack of identifiable rock/pop elements in the sound. The "P1" bands (Tupelo, W-town, Old 97s) get slighted quite often, I think, because their rock elements are so strong that somehow, the logic suggests, they can't be real country, or they're only country in a superficial sense. What's interesting about these conversations is how often they work backward to a point before the advent of rock-n-roll, with "real" country exemplified by artists from the 30s and 40s, before the fall from grace. (It should come as no surprise, I think, that the icon and apotheosis of country music, Hank Williams, died literally on the eve of the rock-n-roll era.) Of course even a cursory study of these earlier periods shows that "country" was just as contested a term then, and that many critics then were looking back to the 20s and earlier for "real" country music. I'd be interested to hear country defined in the positive -- that is by actually naming the musical elements that make something country rather than by saying what it's *not*. While I'm quite sure we'd never get to a definition, nor would we necessarily want to, it would be illuminating to see the battles over which elements are crucial, which are expendable, and so on (I wonder where "working class background" would fall on the list g.) My guess is that for every supposed criterion there are too many examples of country songs that *don't* include it to get anything on the list. And perhaps it would explode some of the poseur/carpetbagger/mistrelsy charges that float around here all too often. Just some thoughts...
Re: She don't impress me much
Shainia getting down to the Backstreet Boyz prior to her show says it all regarding WHAT HNC is!
Punk Remains Barry
[Matt Benz] Garage bands of the 60's = "punk" . Not the Punk of later years. The Remains are featured on the Nuggets box. Basically, any lofi almost indy american band that may have charted a one hit wonder, was regionally popular, influenced by the British Invasion, etc... The term "sixties punk" is most accurate, and is used pretty much interchangeably with "sixties garage bands." Your description is correct, sir, but, as collectors have ferreted out every dang group who ever put out a record, no matter how obscure, and slapped the song on a compilation, there are now lots of known sixties punk/garage bands didn't chart at all. The subgenre slipped over into psychedelia, too, but only when still corralled into in 3-minute, maybe 4-minute songs (tops) -- like Love's "7+7 Is." And then of course, there were the seventies-era sixties punk garage-styled bands. Who was it that did the cover of the Standells' "Dirty Water" with several different local versions? The "San Francisco you're my home," version is out in the garage... seems appropriate. Twang content... oh, right... Jon Johnson writes: Yeah, I also noticed that the article didn't really mention much about Tashian's more recent activity, though I'd guess that has to do with the legendary status that the Remains have at this point. So, is this like a conspiracy to cover up his later success as a country musician to keep his "cool" image as a member of a legendary sixties punk band untarnished? g --Cheryl Cline "You can throw me if you wanna 'cause I'm a bone and I go -- boop-bip-bip boop-bip-bip, yeah!"
Re: Whiskeytown FYI
Here's the full Whiskeytown press release from Outpost. Personally, I wouldn't knock his ability to craft songs on the piano until I've heard it. Of course the Iha thing is kinda pathetic. It seems like there's always someone else willing to bask in that boy's aura. -- NW FOR IMMEDIATE RELEASE WHISKEYTOWN RECORDING FOLLOW-UP TO STRANGERS ALMANAC; ALBUM BOASTS PIANO-HEAVY ARRANGEMENTS, NEW DIRECTIONS IN COMPOSITION, GUEST JAMES IHA WOODSTOCK, N.Y., Jan. 25, 1999 - "Strangers Almanac was the kind of record where you close your eyes and go to this place that's very sad and really scary. It had a floating-in-space quality," says Whiskeytown singer-songwriter-guitarist Ryan Adams of the band's last album. "This record is as realist as the last record was abstract in that there's a more direct assessment of my fears." Adams and longtime musical co-conspirators Mike Daly (pedal steel, lap steel, 12-string, electric piano, organ) and Caitlin Cary (fiddle, vocals) have been teetering away from traditional composition of late. "This record has opened the door for us as a songwriting team," Daly explains. "And as musicians, we're taking the established style of Ryan's songs and pushing it a lot further, pushing the songs to the fullest place they can go. A lot of that has had to do with Ryan learning how to play piano and me being able to handle some of the more conventional instruments. We're really moving beyond our comfort zone." Though they remain committed to the "American rock" that made them a critical favorite, Whiskeytown is now bringing to the fore influences that had receded somewhat. These include The Clash, Joe Jackson and The Zombies. Echoes of The Band and Adams' customary Keith Richards-Exile on Main Street-American-country blues swagger are also in evidence. Overseeing the new disc is producer/multi-instrumentalist Ethan Johns (son of legendary producer Glyn Johns), with Grammy nominee Trina Shoemaker (Sheryl Crow) serving as engineer. Comments Johns, whose credits include albums by Emmylou Harris and Jon Brion, among others: "What's got me most excited is that Ryan is willing to take the traditional concepts of record-making and expand on them without falling back on the easier ways of expressing himself. As a result, the record will be more immediate and challenging to the listener." Among these expansions are Adams' growing facility with Wurlizter organ and piano and increasingly sophisticated grasp of arrangements and composition. "I'm backing off more now and letting the music convey the emotions I used to depend on the lyrics to spell out," Adams explains. "That way I can get a lot closer to capturing the moments that tear me up - those terrible, nostalgic things I'm always arriving at, maybe a bit late due to excessive verbiage." Adams' relocation to New York City and his "coming out of the dark" has allowed him to research his interests in music and art and life more fully. This experiential blossoming is represented in the 40-odd songs Whiskeytown is currently recording at Dreamland Studios in Woodstock, N.Y. Once a church, the facility is packed with hundreds of instruments. "It's hard not to just pick up all this stuff and let it flow," Adams admits. The record-in-progress also reflects the presence of Whiskeytown fan and Smashing Pumpkins guitarist James Iha. Though Iha joined the band in Chapel Hill at a surprise show at Local 506 and in London at the Borderline (where Whiskeytown cranked out a Buzzcocks-esqe rendition of Iha's "Be Strong Now," from his solo album, Let It Come Down), Adams says Iha's participation in the studio arose casually. "I met James at the Troubadour in L.A. at one of our shows and then again in London," the Whiskeytown frontman reports. "He drops in for dinner now and again in New York, and we sit around and talk about The Band till we're blue in the face. We had a fishing trip planned in my home state of North Carolina and it turned into a studio session in Hoboken, N.J., that lasted for a week." "It's a blast hanging out with these guys and getting to make records," Adams continues. "The trick is to make one that we're all proud of and that other people can dig, too. This is the third time around, and honestly, I'm pretty glad to be feeling I've got the hang of things." Whiskeytown's legion of devoted fans will be able to hear this accomplishment for themselves when the band's new album, tentatively titled Go Bye Bye Music (Outpost Recordings), is released late this summer. Outpost Recordings is a joint venture with Geffen Records, which is owned by Universal Studios (www.universalstudios.com), a unit of The Seagram Company Ltd., a global beverage and entertainment company.
Re: Clip: Launching the P2 Commune Radio Station
The FCC today proposed to license new 1000 watt and 100 watt low power FM (LPFM) radio stations, and sought comment on also establishing a third "microradio" class at power levels from 1-10 watts. The Feds want to regulate my Mr. Microphone. I might just have to join the militia after all. Barracade the Twangpound! Tom
FW: ryan piece?
-Original Message- From: Dave Purcell [SMTP:[EMAIL PROTECTED]] Sent: Friday, January 29, 1999 11:21 AM To: Matt Benz Subject: Re: ryan piece? They're askin: is that article real? Yep, courtesy of the Wall of Sound daily news: http://wallofsound.go.com/news/stories/whiskeytown012899.html dap
Re: FW: our boy Ryan
In a message dated 1/29/99 9:54:15 AM Central Standard Time, [EMAIL PROTECTED] writes: Ryan Adams says of the new music in statement. "I'm backing off more now and letting the music convey the emotions I used to depend on the lyrics to spell out. That way I can get closer to capturing the moments that tear me up those terrible, nostalgic things I'm always arriving at, maybe a bit late due to excessive verbiage." Hoboy!! An album of guitar feedback. That's original. Slim
Estrellas de Areito
In 1979 the Cuban state recording company Egrem got together 30 or so of the foremost musicians of the time, including Ruben Gonzalez and Pio Leyva, later to form part of The Afro-Cuban Allstars,to record a series of albums that were put out on the state owned Areito label. In 5 days of jamming 5 albums were produced. These albums have just been reissued on the World Circuit label as a double cd set. I know some people on the list bought into the BVSC, ACAS, Ruben Gonzalez thing a couple of years ago. To those people this set is worth searching out, it being a truly wondrous example of cuban son. Andy
Re: soul, etc
Joe Gracey writes: There is no substitute for a 60s-era soul review. Take my word for it. Okay, as sad as it is, I'll provide a bookend to Joe's James Brown story. The year was 1988. I had graduated from college about a year earlier and was working and teaching bass at a local musical instrument store in Keene, New Hampshire. A local promoter was booking a few shows at the county fairgrounds that summer, one of which was a bill featuring Johnny Rivers, Chuck Berry, Carl Perkins, Roy Orbison, and James Brown. I'm not a *huge* Johnny Rivers fan (other than "Secret Agent Man," that is) but was nuts for everyone else on the bill. And Rivers *is* a good performer, no doubt about it, and everyone else was great, too. Hell, even Chuck Berry turned in a fine performance. So James is the final performer of the day and his band comes out and starts playing funk instrumentals. James' personal problems were well-known during this period (he was awaiting trial for his famous car chase at that time and was also known to be having marital problems) and there was a lot of curiosity as to how the performance would go. So the band is playing...and playing...and playing. This goes on for about thirty minutes and there's no James Brown yet. People are starting to get a little worried and then Brown finally comes out and turned in a fine performance. Not quite great, and he was a little more incoherent than I'd expected, but certainly nothing to be embarassed by. Meanwhile, outside of town, James' estranged wife had come up to New Hampshire and tried to burn down the motel where James and his band were staying, not knowing that he was at the fairgrounds at the time. She was caught and charged with attempted arson, though I can't remember what the end result of that was. A couple of days later I was at work and a friend of mine came into the store. Said friend worked on the sound crew at the show and was telling me about what it was like backstage. We ended up talking about the arson thing that James' wife had been arrested for and he proceeded to tell me some horror stories about what it was like backstage before Brown's set. I really don't want to get into what he told me *too* much because none of it would come as a huge surprise at this point and James has admirably stuck to the straight-and-narrow in the intervening years. Safe to say, though, there was a good reason why the band was playing instrumental vamps for a half-hour before he finally went onstage. I was really impressed that the performance was as good as it was after hearing my friend's backstage stories. I truly wish I'd seen Brown in the '60s. A few years back PBS ran an old bw videotape of his 1968 Boston TV performance the evening of Martin Luther King's death; one of the most amazing TV concerts I've ever seen. The anger and energy in the audience came through loud and clear, twenty-five years after the original event. The way that Brown and Boston's then-mayor Kevin White handled the situation onstage saved Boston a lot of destruction that a lot of other cities weren't as lucky to avoid. --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
Re: Whiskeytown FYI
[EMAIL PROTECTED] wrote: The record-in-progress also reflects the presence of Whiskeytown fan and Smashing Pumpkins guitarist James Iha. Though Iha joined the band in Chapel Hill at a surprise show at Local 506 and in London at the Borderline (where Whiskeytown cranked out a Buzzcocks-esqe rendition of Iha's "Be Strong Now," from his solo album, Let It Come Down), God help us all if he (Iha) is a major influence on this new release after that dismal thing he did solo a year or so ago. Send him back to the Pumpkins where Corgan can keep him in line.
Re: Whiskeytown FYI
[EMAIL PROTECTED] wrote: The record-in-progress also reflects the presence of Whiskeytown fan and Smashing Pumpkins guitarist James Iha. Though Iha joined the band in Chapel Hill at a surprise show at Local 506 and in London at the Borderline (where Whiskeytown cranked out a Buzzcocks-esqe rendition of Iha's "Be Strong Now," from his solo album, Let It Come Down), God help us all if he (Iha) is a major influence on this new release after that dismal thing he did solo a year or so ago. Send him back to the Pumpkins where Corgan can keep him in line. Hey all, I hate to be picky here, but might y'all be a little more conscientious about how you're cutting and pasting text and attributing passages? Not a big deal, I do understand that this is kind of an inadvertent byproduct of mailing list life, but this is the second time this week this has happened to me. I did not write any of the words cited above. They are straight from the press release that I merely posted. I know this might sound trivial to you but it's not to me. For better or worse, I am a journalist for a living who likes to keep my words mine and other people's words their own, *especially* when it comes to press release fluff. (Of course, feel free to incorrectly cite me as the reference to any of those obscure country factoids that Weisberger delivers tho. I'll gladly, fraudulently accept looking smart and well-versed in country history. g) I've got my good name to protect. Or at least my mediocre name to protect, whichever the case may be. Sorry so crabby, Neal Weiss
Re: various items from Dancing
Ah! ...the album March 2, the same date as Rosie Flores' new Dance Hall Dreams. Has anyone heard this yet?? Is it live?? --junior
Re: getting Jim Lauderdale (was Re: soul)
I 'll jump in to say Sr. Silvers nails this situation--Lauderdale's records have somewhat varying sounds, but they're more miss than hit than picking up his strengths as a performer--and he's definitely got those. His live solos veer towards the dramatically soulful (in a Memphis sense!)--which takes the audience by surprise in about the same percentages as the "I don't et him" comments from the records! And whether he's with Lucinda Williams, Buddy Miller or Ralph Stanley (and I've seen him with all three in the past year) he does lend great harmong support. (Plus, he has really great friends.) If he comes around with someobody, playing solo and dually--which happens--maybe that's the way to take a chance. Barry
Re: Buddy Guy (was Re: soul)
Why does GE Smith get so slagged? I think it's the hair and the grimaces he makes. g Jim, still smilin' You're walking on thin territory Jim. Barry Shag-challenged and grimmacing. In a nice way. (Maybe he could change his name to RCA Smith. More retro.)
Rosie Flores (was Re: various items from Dancing)
Junior asks :Ah! ...the album March 2, the same date as Rosie Flores' new Dance Hall Dreams. Has anyone heard this yet?? Is it live?? I've had it for a couple a weeks. It's pretty good as Rosie goes. There's definitely some different things there too. I'd need to listen to it a couple more times to give a full report. It's not live, though. Jim, smilin'
RE: Whiskeytown FYI
On Fri, 29 Jan 1999, Jim Cox wrote: Ok, the article is a little ridiculous. And Ryan is ridiculous, or maybe he was fucking with the guy, or both. Anyway, who cares. Sometimes I think the same people are at once upset at Westerberg for growing up and at Ryan for not growing up. If he makes another Stranger's Almanac, wouldn't that be great? I rooting for him (but heck, I was a McEnroe fan). Oh contraire, I'm glad Westerberg grew up. Now I just wish he'd stop making crappy music. Or are you making the case that artists of a certain age aren't capable of being as good as they were in their youth? Kip
RE: Swingin' Doors, 1/28/99
Well, this is unlike me, but I'm gonna have to praise Don Yates. And in public, even. Swingin' Doors is a great show. It's fun and I always learn something. Plus, it's interesting to see the P2 threads of the week unwind on Don's show. Last night, as I was driving home, I heard Don do the Jimmy Day tribute set, and it was a wonderful thing to hear after reading Joe's incredible tribute. Anyway, Don, keep it up. Even if you do keep playing one sappy recitation per week, I can take it. Jim
Re: Kevin Russel (Gourds) solo record
I think you got that wrong. I'll see him today, and I'll ask him. There is one between The Gourds and Picket Line Cyotees, but to my knowledge has never been pressed. But Boscoe owns it, not Kev. Steve Earle had interest in it this time last year. --Matt Cook Jim Fagan wrote: Waterloo is stocking a Kevin Russell solo record. Has anyone heard it yet (Matt Cook?). Any reviews? -- Jim Fagan| AIX Build Architecture and Integration | [EMAIL PROTECTED] T/L 678-2458 | Austin, Texas | fagan@austin
Re: FW: our boy Ryan
Maybe, he's gonna actually have some melodies on this record. Incidently, that (memories fuckin' you up) is exactly what GHOSTS OF HALLELUJAH means. And for the record, I definitely think he's correct in his critique of himself. Hell, I don't see what's so funny (and I 'can't stand' his other records). --Matt Cook [EMAIL PROTECTED] wrote: In a message dated 1/29/99 9:54:15 AM Central Standard Time, [EMAIL PROTECTED] writes: Ryan Adams says of the new music in statement. "I'm backing off more now and letting the music convey the emotions I used to depend on the lyrics to spell out. That way I can get closer to capturing the moments that tear me up those terrible, nostalgic things I'm always arriving at, maybe a bit late due to excessive verbiage." Hoboy!! An album of guitar feedback. That's original. Slim
RE: Punk Remains Barry
And then of course, there were the seventies-era sixties punk garage-styled bands. Who was it that did the cover of the Standells' "Dirty Water" with several different local versions? The "San Francisco you're my home," version is out in the garage... seems appropriate. [Matt Benz] The Inmates, I believe, who also covered "The Walk." Same time period as the Kingbees, I believe, more early 80's than 70's?
Re: Whiskeytown FYI
Oh contraire, I'm glad Westerberg grew up. Now I just wish he'd stop making crappy music. Or are you making the case that artists of a certain age aren't capable of being as good as they were in their youth? Well, I, for one, will make the case that in the case of Paul Westerberg it does seem to be the case that he isn't capable of being as good as he was in his youth. And it pains me to say it every time I say it. A case study. Neal Weiss
RE: Swingin' Doors, 1/28/99
On Fri, 29 Jan 1999, Barry Mazor wrote: But what's happening with the webcasts lately? Unfortunately, our webmaster is too squeezed for time to archive the shows. The archived shows were meant to be a stopgap measure until we went live on the web. He's been overworking himself, in the hopes that the ops folks here would get us live on the web, as promised. The live webcasting keeps getting delayed, however, and it doesn't look like that's gonna happen until we move into our new space in July/August. Since I've been pushing to get us live on the web for, oh, about four years now, needless to say I'm more than a little peeved. I've been raisin' a little hell about all this bs recently, and hopefully *something* will be done sometime soon. Grr.--don
RE: Swingin' Doors, 1/28/99
Unfortunately, our webmaster is too squeezed for time to archive the shows. The archived shows were meant to be a stopgap measure until we went live on the web. He's been overworking himself, in the hopes that the ops folks here would get us live on the web, as promised. The live webcasting keeps getting delayed, however, and it doesn't look like that's gonna happen until we move into our new space in July/August. Since I've been pushing to get us live on the web for, oh, about four years now, needless to say I'm more than a little peeved. I've been raisin' a little hell about all this bs recently, and hopefully *something* will be done sometime soon. Grr.--don Just some food for thought from a new webcast listener -- I actually prefer sites where the shows are archived, as it give me much greater freedom in which programs I choose to listen to. Just as an example, I'll never hear "Swingin Doors" if KCMU goes live, because I listen from my computer at work and Don's on at night. If I tune in during the day (at least to a site w/ multi-format programming), chances are I'm going to get a show that I'm a lot less interested in. Currently, I can go to archived sites and get the show I want when I want it. Any chance of having archives as well as the live feed?
Re: getting Jim Lauderdale (was Re: soul)
Jerald Corder wrote: So what's my point? He has written alot of great songs scattered on his cds and covered on others. I smell a compilation tape that might open some eyes. But then it might not. I did one for an unnamed P2er. Fell into the "might not" category, but it was fun to do. Hey Jerald, let's work one up and offer it to the list. I remember how David Cantwell looked when I asked him about how his Starkweathers comp tape offer went a few months later. g b.s.
Re: Estrellas de Areito
Andy Benham wrote: this set is worth searching out, it being a truly wondrous example of cuban son. Cool! Thanks for the tip! TS
Re: real country
I think a definition of country music--now as before--that doesn't resort to lists of what it's NOT is still relatively easy. We can then begin (did I say "begin"?) proposing who that's around fits the bill! Country music is a commercial extension of Anglo-Celt, Scots-/Irish folk music as it came to be expressed and played in the American South. The instruments and vocal styles have evolved from those available there, and the singing style from the speech patterns there. And if you're going to bother to call it country, it still oughta be like that somewhere!. That be twang. Both of the words at the end there (American...South) COUNT--so as a product of America, it's no purebred; it has inevitably gathered in and been impacted by a number of other popular commercial and folk American music types, especially Afro-American music forms from right next door or across the tracks, and Tin Pan Alley pop tunes,--plus musics of varied ethnic immigrants, (Mexican, German, French, Polish, even Hawaiian and a few Italian and Jewish guest songwriters... and a few Scots/Irish Canadians. ) . You don't have to be any of the above to play it or love it. Several Scandanavians have been known to have twangful feet and chops and apparently been misplaced, so you never know. There are certainly artists in so-called mainstream country as well as alt.country who's music can be described as above. Many of 'em are damn good. Many of 'em aren't. Whoops--just got negative. Positively country, Barry. Strange visitor from the North.
RE: real country [was re: old 97s in Toronto]
Boy, I'd sure like to take on this thread, and I hope to later on, but I am just getting my eyebrows over this backlog of work that's piled up... In the meantime, let me commend to your attention the fine essay on "Country Music As Music" by Bill Evans, the banjerpicking ethnomusicologist; it appears in that Country Music Hall Of Fame Encyclopedia Of Country Music that came out not too long ago. It's a good starting point for getting a handle on the stylistic contours of country music (note, please, that I say nothing about "real" g). Here's a taste: "So where is the 'country' in country music? To borrow a well-worn advertising phrase, it might be more a state of mind than any specific set of unique musical characteristics. Country musicians seem to share certain assumptions about melody, harmony, form, and performance technique that together help to shape ideas about the nature of the country sound, its boundaries and its possibilities." One thing I like about that is that it nudges the reader in the direction of considering not only what those "certain assumptions" are, but how they're transmitted. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Buddy Guy (was Re: soul)
Why does GE Smith get so slagged? While I may not be a huge Hall Oates fan and band leading SNL might not be the most cred producing gig, I've always thought the guy can play. I'm sure he can, but as someone else said just watching the guy was painful. I use to watch a good deal of SNL in those days with buddies of mine who were pretty good guitarists themselves, and they would look upon those skit-ending close-ups on him as comedy sketches in their own right... Dan, who is honestly looking forward to the long-rumored "Sprockets" movie...g
Prophet A Go Go
I know I'm not the only fan out here, so here's something that might be of interest to people who aren't averse to a little wild experimentation in their music... gogo Market is Prophet's side-project, with Stephie Finch out front centre... I think the talk of tix at the end is for a gig long gone, but they do crop up from time to time in San Fran... Stevie "Forward Thinking" I've seen the future of rock and roll, and it looks a lot like a big, unshaven guy with a crew cut scratching and bobbing behind a versatile, four-piece rock band. The main attraction of gogo market is adorably grizzled couple Chuck Prophet, the consummate guitarist-surfer guy, and Stephanie Finch, the consummate bar singer who tosses out lines like she's tossing back gin and tonics. But what dries the band along is DJ Ill Media, ak.k.a. Mark Reitman, who flies in a repertoire of everything from classical strings to work songs recorded in prison to moog demonstrations to Baptist preachings. Last Wednesday night at Bottom of the Hill many of the songs kicked off with hip-hop style and Memphis-sould drum loops, picking up addtional steam when drummer Dawn Richardson (ex-4 Non Blondes member) and bassist Vince Russo came in. Riding on top of the groundwork, Prophet and Finch wove together a pleasant double-guitar attack reminiscent of Creedence Clearwater Revival's swamp-gumbo, along with cowgirl ballands and new-wave, Farfisa-powered psychedelia. Prophet (from S.F. cult faves Green on Red) played the impresario as he employed an easy slide and slow-hand fingering technique echoing that of Joe Walsh and Neil Young. Still, he seemed most inspried while trading licks with the turntables during the ballad "Talkin' to You" and when strumming thick rhythms behind Reitman's whooshing scratch-lead during the denouement of the classically power-poppy "One Thing That Mattered." Finch has the pretty, blowsy appeal of a young Gena Rowlands and a voice that's comfortable and bright. Her songs come wrapped up shiny and tight as in the Farfisa-powered "Woman's Magazine" (shades of This Year's Model) or the wa-wa funkadelic "Channel 9." About the time the band headed home with the Chilites-Atlanta Rhythm Section $B groove of "Dead," it dawned on me that parties in the 21st century will probably sound more like gogo market and less like KC and the Sunshine Band. gogo market opens for Box Set Sat/12, 9pm., Slim's, 333 11th St., SF $13-$14, (415) 522-0333. Adam Savetsky
RE: Steve Del
The weakness of the DeMent/Earle duet, from my perspective (i.e., please don't yell at me), is that the classic precision of the instrumental work isn't matched in the duet parts. I don't know whether that's a result of not being able to find a key that would work for both singers in the harmony passages, or whether it simply wasn't a concern for them, but the song is so classic-sounding, and the twin fiddles are so well-matched that to me, it's jarring to hear a distinctly non-classic, non-matched approach to the harmony. YMMV, no accounting for taste, etc. *My* favorite track on the album is "Yours Forever Blue." Like anyone really cares... Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: soul, etc
[EMAIL PROTECTED] wrote: Meanwhile, outside of town, James' estranged wife had come up to New Hampshire and tried to burn down the motel where James and his band were staying, not knowing that he was at the fairgrounds at the time. this is cool. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: real country
Bob sez: Hey, Junior, I'm sure you too remember a time when any post that was *shorter* than what you sent out wasn't taken seriously... I sure do, s'matter of fact. Yessiree, even when I give David a hard time about strings and such, it doesn't elicit the historical-critical productions of yesteryear g. Now those *class* threads Dan was mentioning, perhaps those are the thing. As if Gram knew from a $1000 wedding, sheeit Waiting for Jon W. to define country, without the "realness" factor added, --junior
RE: Steve Del
I haven't heard this one yet, Jon--and you know I'm looking forward to it very much, as are a lot of us--but to paraphrase inevitable future conversations around here, when you say: the song is so classic-sounding, and the twin fiddles are so well-matched that to me, it's jarring to hear a distinctly non-classic, non-matched approach to the harmony. YMMV, no accounting for taste, etc. I'd have to say: Right, there's no accounting for mileage...buty you and anybody else migh conceivably benefit by leaving some room (someplace) for the possibility that you were SUPPOSED to be jarred. Or at least--that something could be gained (and okay, maybe also lost, your tradeoff may vary) in the course of this jarring--to which I'm very much looking forward. It's the very combination and clash of these two approaches which seems most provocative about this whole deal before I get to hear it. Barry M.
Re: She don't impress me much
Sez Hanspeter Eggenberger: But her music is the same fake country as the music of Fart Brooks and Silly Ray Virus. Hey, Hans, man, don't sugarcoat it. Tell us what you really think. Kelly
Re: FW: our boy Ryan
Hey there, Maybe if he'll play piano on this new record I hear they're harder to smash. Later... CK ___ 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: Buddy Guy (was Re: soul)
Sez Carl Z: Speaking of which, the local PBS station aired a tribute to Muddy Waters this week which featured a number of luminaries guesting with a house band featuring G. E. Smith (ugh), Johnnie Johnson Charlie Musselwhite. The highlight was a very long appareance by Buddy Guy... I saw some of that and what knocked me out flat was Johnnie Johnson's spare and oh-so-tasty foil to Phoebe Snow. Phoebe left me pretty cold. Who can tell me more about Johnnie Johnson?
The Boudin Barndance Playlist - 1/28/99
The Boudin Barndance - 1/28/99 Dan Ferguson WRIU-FM, 90.3 Kingston, RI Thursdays 6-9 pm It was an evening where we paid respect to both Jimmy Day and Charles Brown. I feel pretty fortunate to have had the opportunity to see each of these men perform. Of Mr. Day, it was over a long weekend in Austin back when Don Walser was doing his short-lived Friday happy hour thing at Antone's and then the following Monday evening at Babe's. Jimmy was on steel for both gigs. About a year-and-a-half ago, it was a performance at a harvest fair in Connecticut as once again, part of Ray Price's band. Heading there, I had no idea Jimmy was back playing with Ray. Anyway, being a big time Price fan as well as owner of the Bear Family box, it seemed the perfect opportunity to get his signature on the box. Well, lo-and-behold, the wife and I get there early, find the tour bus, and who's standing outside but Mr. Day. We talked for awhile and a more folksy gentleman you'll never meet. Finally, I asked him if he wouldn't mind taking the box on the bus and gettin' Ray to put his John Hancock on it to which Jimmy responded, "Dan, if I were you, I'd high-tale that thing out of here cause if Ray sees it, he'll stomp it to bits." Suffice to say, I kept that box well under wraps for then entire performance. Anyway, back to the matter at hand and that being this week's playlist. The show was just about kickin' into overdrive when the transmitter iced up and the signal did the same. Not even The Fendermen/Dazzlers segue could revive it. New stuff gettin' first-time Barndance spins included albums from Elena Skye her Demolition Band (thanks Elena!), Damnations Tx which is a mighty impressive record, the Tom Leach quickie live one, the Tom T. Hall tribute, and a great new domestic rockabilly comp called "Wild Rockabilly" from Lost Gold Records. Butt-Shaker of the night? Don Gardner's "My Baby Likes to Boogaloo" in a runaway. Onto the goods Buck Owens, et al/ Buckaroo / Box Set / Rhino (intro) Charles Brown / All My Life / All My Life (Bullseye Blues) Charles Brown / Bad Bad Whiskey / All My Life (Bullseye Blues) Charles Brown / Just a Lucky So and So / All My Life (Bullseye Blues) Charles Brown / A Virus Called Love / All My Life (Bullseye Blues) Champion Jack Dupree / When I'm Drinkin' / Back Home in New Orleans (Bullseye Blues) James Booker / Pixie / Junco Partner (Hannibal) Howard Armstrong / Wrap Your Troubles in Dreams / Louie Bluie Soundtrack (Arhoolie) Chuck Willis / My Baby's On My Mind / Let's Jump Tonight! (Okeh/Legacy) Don Gardner / My Baby Likes to Boogaloo / Shakin' Fit! (Candy) Roy Lanham / Stomping at the Savoy / Sizzling Strings (Bear Family) Brother Oswald / Dobro Chimes / Great Dobro Sessions (Sugar Hill) J.D. Crowe New South / Back to the Barrooms / Come on Down to My World (Rounder) Jim Lauderdale Ralph Stanley / I'll Lead You Home / Whisper (RCA) Bob Egan / Foregiveness / Bob Egan .remembering Jimmy . Ray Price / Crazy Arms / Cherokee Cowboys (Bear Family) Ray Price / I Can't Run Away From Myself / Cherokee Cowboys (Bear Family) Jimmy Day / Steel Guitar Rag / Golden Steel Guitar Hits (Philips) Don Walser / Cowpoke / Texas Souvenir Johnny Bush / A Moment Isn't Very Long / Talk to My Heart (Watermelon) Jimmy Day / Cocoanut Grove / Golden Steel Guitar Hits (Philips) Jimmy Day / Remington Ride / Golden Steel Guitar Hits (Philips) Jimmy Day / Texas Playboy Rag / Golden Steel Guitar Hits (Philips) Ray Price / Soft Rain / Cherokee Cowboys (Bear Family) Old 97s / Salome / Too Far to Care (Elektra) Iris DeMent / I Miss a Lot of Trains / Real: The Tom T. Hall Tribute (Sire) Hadacol / Poorer Than Dead / Better Than Dead (#Past) Damnations Tx / Unholy Train / Half Mad Moon (Sire) Old 97s / West Texas Teardrops / Too Far to Care (Elektra) Elena Skye Demolition Band / Shuckin' the Corn / One Dog Town (North Hollow) Elena Skye Demolition Band / Not to Cry Tonight / One Dog Town (North Hollow) Lonesome Bob / Love is Not Blind / Things Fall Apart (Checkered Past) Tom Leach / Doris Days / Live (Slow River) Paul Burch / Percy Lynn's Rag / Wire to Wire (Checkered Past) Hillbilly Idol / It All Depends On You / Town Country slowly goes the transmitter.. Neko Case Sadies /My '63 / 7" (Bloodshot) The Fendermen / Bertha Lou / (Dee Jay Jamboree) .going. The Dazzlers / Something Baby / Wild Rockabilly Vol. 1 (Lost Gold) .going. Deke Dickerson / Peroxide Blonde / #1 Hit Record (HMG) .going.and for all you Falcons fans . Andy Starr / The Dirty Bird / Dig Them Squeaky Shoes (Bear Family) gone. Damn ice! Sorry so long winded. Enjoy. Boudin Dan
Re: Buddy Guy (was Re: soul)
On Fri, 29 Jan 1999, Kelly Kessler wrote: Who can tell me more about Johnnie Johnson? I can't tell you a damn thing. Listen to some Chuck Berry records, Johnnie's all over them. Also, rent that Keith Richards flick about celebrating Chuck's birthday. Johnnie's in that, with some good shots of his hands. -- Mike Woods
Re: Buddy Guy (was Re: soul)
On Fri, 29 Jan 1999, Kelly K. wrote: Who can tell me more about Johnnie Johnson? Barry replied: Already am experienced Midwest keyboard man (St. Louis or Kansas City originally, I think) when he met Chuck Berry--this was the guy who played piano on the likes of Roll Over Beethoven, Maybelline. Thirty Days, Brown-Eyed Handsome Man, Too mUch Monkey Business, Memphis, Almost Grown., Little Queenie and Carol...It's widely accepted that his piano licks had significant influence on Berry guitar lick and therefore on all of rock and roll (with apologies to Louis Jordan and T-Bone Walker, who Berry knew just as well). This is it, in a nutshell. Johnny still plays around St. Louis quite often, usually fronting his own combo but occasionally still sitting in with Chuck or other local bluesmen. He's a very sweet old guy, and not the type to draw attention to himself. He can still play just fine, too. I catch Johnnie when I can because he's one of the last remaining links to '50's rock n roll at its very best. Kip
