Re: The Judybats
Tarhut Jeff wrote: Answer to the trivia question from a few days ago: The Beau Brummels called themselves that so they could be filed next to the Beatles in all record stores. Clevah, ha? reminds me a an interview I saw on TV with "E" (mike edwards) the lead singer of the band, the eels. Some people might not realize that "E" had 2 solo albums out before the first eels album, and when he formed the group, he wanted the group's disc(s) to be placed next to his solo albums, so he figured "eels" would do the trick. Little did he realize that a zillion EAGLES records (amongst others) would occupy the space between the "E" discs and the "eels" discs Paul np: 80's on my DMX --finally got this back
patsy cline...
patsy on AE and well worth watching.johnny cash tomorrow nite i do believetv isn't all bad at times
Re: Hooray for Dollywood
As hokey as it might sound to those of you not from around these parts (and it sounds pretty hokey to those of us in these parts) the theater at Dollywood is really a great live venue. Every show I've seen there has featured great sound and energy in a large theater that still somehow seems intimate. I was able to catch Roger Miller there just about 6 mos. before he passed away, and I also saw Hal Ketchum and Vince Gill in years past! Rob Russell Johnson City, TN [EMAIL PROTECTED] http://listen.to/thebystanders
favorite used CD's?
This is what happens when you've been on the road injesting caffeine just
to stay awake ... you get home and can't go to sleep. So, you check your
e-mail and attempt to start threads (most likely in vain). Here goes:
Driving back from our gig in Knoxville tonight, me and my sick bandmate
shared some stories about great CD's/albums we bought used, prompted by the
used CD's we picked up tonight and listened to on the 2hr. drive: Mike
Henderson's "Edge of Night," The Brother Boys' "Plow," and Bare Jr.'s
"Boo-tay" (which I bought last week but hadn't really listened much to
yet). We wondered who had given up on these treasures so that we could
pick 'em up for $6-$8 a pop?
3 of my favorite used pick-ups:
1. Springsteen's "Born to Run" (vinyl): bought it used at Raven Records in
Knoxville back in '84 -- listened to it constantly/pracitcally daily until
'89 or so (and college).
2. Webb Wilder's "It Came From Nashville" (CD): having lost or loaned out
my original vinyl of this record mucho years ago, I came across a copy of
the CD re-issue at Backdoor Records here in J.C. about two years ago. Gawd,
I do love it so -- great rockabilly vocals and licks, early songs by Steve
Earle ("Devil's Right Hand") and Kevin Welch ("Poolside"), and, as always,
the great combo of R.S. Fields rock songwriting with Webb's estimable vocal
charisma!
3. The Fugs' "Golden Filth" (cassette): file this under currently missing
in action (I've obviously loaned it to someone ... lord knows who), but I
got this at the same place (but 3 years later) than I picked up Bruuuce,
and it distorted my mind in so many ways that I became, as a result, an
English major AND a songwriter! So, mom and dad, blame Ed Sanders.
Later,
Rob
Np. "Pet Sounds" on headphones ... makes me sleepy.
Rob Russell
Johnson City, TN
[EMAIL PROTECTED]
http://listen.to/thebystanders
Re: Dry Branch Fire Squad / need twangin songwriters
At 12:35 AM 1/30/99 -0500, Nancy wrote: Hey ya'll, been quiet and lurking past week, but had to let you know about this cool band I saw tonight Dry Branch Fire Squad. I have not been this entertained in days... Any of you familiar with them? Comedy, ham bonin, bluegrass, fine pickin, singin! Since Weisberger's asleep at this ungodly hour ... yes, Nancy, you've stumbled upon a well-known, highly-regarded bluegrass institution who, despite their fine recordings, probably wouldn't be a household name if not for their relentless touring. Which actually does relent during the school year, since Ron Thomasson (the frontman/mando player) is a high school principal (Do I have this right, Jon?) But for the past 20 or so years they've hit the boards every weekend and all during the summer. Suzanne Thomas (the dark-haired singer/guitar/banjo player) has carved out a very repectable solo career for herself, mentioned frequently on this list. Though the entire band has incredible chops, they are often noted more for Thomasson's ingenius and hilarious between-song banter. He is so entertaining, one tends to forget how truly great and soulful their tunes can be. Yep, they've got it all. Of course, if you've seen them enough times, you realize that Ron's schtick is eco-friendly, i.e., he tends to recycle a lot of material. Bluegrass usually makes me nervous, I think we should explore this further, Nancy. Erin
Re: Dry Branch Fire Squad / need twangin songwriters
Hey Nancy- I do enjoy Dry Branch Firesquad also. I am a B-grass dj at WDVR-FM in NJ and this band is one of the most requested. I didn't know much about the music until last year when the station owners wanted a b-grass show! Being raised in the great state of TX, I cut my teeth on all those trubadours from there. So since I have had this show, this countryboy has realized that there is Great twangin in the Bluegrass genre! I sure do miss my country roots though! RW Shamy -Original Message- From: [EMAIL PROTECTED] [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Saturday, January 30, 1999 12:36 AM Subject: Dry Branch Fire Squad / need twangin songwriters Hey ya'll, been quiet and lurking past week, but had to let you know about this cool band I saw tonight Dry Branch Fire Squad. I have not been this entertained in days... Any of you familiar with them? My boyfriend has all their records and knew everything about them. Bluegrass usually makes me nervous, but damn, they were good. Broke up all the 90 mile an hour solos with some funny jokes, and great long winded stories about farming, naked beaches, politics and everything else inbetween. Comedy, ham bonin, bluegrass, fine pickin, singin! Tomorrow night going to catch the last set of Iris Dement after I finish an acoustic thang I'm doing Any of you songwriter twangers want to come to Memphis and play? I am doing two songwriter in the round things a month now, and would dig some Paul Burch, Ex-hubbie Jim Roll types to rock the joint some, or as much as possible on acoustic. I do one downtown that is a "low dough" gig, but the newest one at this east Memphis yuppy suburbia bar is a cool payin thing, plus you get to (or have to as some may say) hang out with me! Can come do the radio show one afternoon, gig the next night, sleep on the couch, let my boyfriend cook for us If any of you are passing thru Memphis, let me know when and if it is on gig day, I would love to have ya!!! Here is one of the jokes that the band told earlier it is better live, but here goes. "I thought honky tonk was the sound you got boppin a white guy on the head" Back to my cocktail. Nancy
Re: The Boudin Barndance Playlist - 1/28/99
Dan Ferguson writes: 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! Gee, Dan, we used to go up on the roof during ice storms when I was a d.j. and whack the antenna with baseball bats and lead pipes. Where's your gumption?! --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
RE: Dry Branch Fire Squad / need twangin songwriters
Lessee, Erin said: ... yes, Nancy, you've stumbled upon a well-known, highly-regarded bluegrass institution who, despite their fine recordings, probably wouldn't be a household name if not for their relentless touring. Which actually does relent during the school year, since Ron Thomasson (the frontman/mando player) is a high school principal (Do I have this right, Jon?) I dunno, though I suppose I could ask. He's been a teacher forever, and may have been kicked upstairs since the last I knew. I hasten to add that this is a bit misleading, though, as we're talking about rural Ohio schools. Ron and his wife raise horses (she organizes shows), so he spends a fair amount of time every day pitching hay. Suzanne Thomas (the dark-haired singer/guitar/banjo player) has carved out a very repectable solo career for herself, mentioned frequently on this list. Well... she made a very good solo album last year, but it's her first one. Prior to joining the Squad, she worked for a long time with the Hotmud Family, a sort of old-time/bluegrass band that had a couple of records out on Flying Fish, and a couple of records on a local label before that (now, there's some prime candidates for CD reissue). She and C. E. Jones (Jones Leva) had a duet act called the Kentucky Warblers going for a while, too, in between, plus she also played in a country-rock bar band between the demise of the Hotmuds and her recruitment by the Squad. IMO, she adds quite a bit to the band. Though the entire band has incredible chops, they are often noted more for Thomasson's ingenius and hilarious between-song banter. Opinions about their chops vary somewhat, I'd say, and on a member-by-member basis as well - not that I've ever heard anyone dis Suzanne's, I hasten to add (and that's all I'm going to add) - but there's no doubt that Ron's storytelling, or whatever you want to call it, is front and center. Bluegrass usually makes me nervous, I think we should explore this further, Nancy. Forget exploration; we need an intervention. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: Bluegrass Advice
Can any of you good knowledgable folks recommend a history or two of bluegrass worth reading? There aren't that many books devoted to bluegrass, which makes it a fairly easy job. Start with Neil V. Rosenberg's _Bluegrass: A History_, and follow it up with Richard D. Smith's _Bluegrass: An Informal Guide_ for more detail on latter-day developments and artists. Artis's _Bluegrass_ is pretty decent, though largely superseded by Rosenberg's later book, and Barry Willis's _America's Music: Bluegrass_ has a lot of useful detail mixed in with some dubious stuff, though it's very badly organized. In my opinion, the other book that frequently gets asked about - Robert Cantwell's _Bluegrass Breakdown_ - needs to be treated with a lot of caution, and is best tackled after grounding in Rosenberg and Smith. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Original No Depression released
OK...several of us (including me) have asked from time to time where the heck you find the actual Carter Family recording of "No Depression in Heaven"..Well, it's released again in a new comp I just ntoiced on the County Sales "What's New?" page--with details as follows: CARTER FAMILY "Original Carter Family from 1936 Radio" OHCD-4200-CD Rare radio transcripts of the CARTER FAMILY were used for this twin play CD. 16 Songs: JEALOUS HEARTED ME, MY NATIVE HOME, NO DEPRESSION IN HEAVEN, MY DIXIE DARLING, I'M WORKING ON A BUILDING, KISSING IS A CRIME, LITTLE DARLING PAL OF MINE, CANNONBALL BLUES, ARE YOU LONESOME TONIGHT, A DISTANT LAND TO ROAM, EAST VIRGINIA BLUES, KEEP ON THE SUNNYSIDE, SINGLE GIRL, MARRIED GIRL, LONESOME VALLEY, HAPPY OR LONESOME, JUST ANOTHER BROKEN HEART. Excellent song choice, eh! I assume it will be generally available soon--or this site is here for ya. Barry M.
RE: Bluegrass Advice
Shannon mentions: Another book that is edited by Rosenberg is also interesting reading, it is called "Transforming Tradition: Folk Music Revivals Examined" a couple of chapters in that book deal with bluegrass. To which I'd add that the book as a whole ought to be of great interest to P2ers interested in questions of "authenticity," etc. Other chapters deal with blues, folk music, etc. Highly recommended. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Ryan's example ...
Inspired by Ryan, I've decided to compose/perform only on zither for the next Bystanders' CD. My goal is 50 songs. Of course, I believe he can perform/write on anything he damn well pleases. Look what shifting instruments has done for the writing of people like Paul Simon (guitar to piano), John Lennon (guitar to piano), and Gillian Welch (guitar to banjo), to name but a few. Whatever the results, I'll probably request it on the local americana station and/or hang out at the listening post to hear it before I pass final judgement. Rob Russell Johnson City, TN [EMAIL PROTECTED] http://listen.to/thebystanders
RE: Bluegrass Advice
Jon: To which I'd add that the book as a whole ought to be of great interest to P2ers interested in questions of "authenticity," etc. Hmm, I'll check that out right away! g, --junior
real country
One clarification to my post on this thread yesterday: That is, in response to Todd's question, "What are people trying to say *today* when they contrast HNC or ND to 'real' country?," I was only trying to get at that contemporary usage of "real" country. I was not trying to define country, period, in other words, but rather that ideal of "real" country, "stone"' country, "hard" country that is in the vocabulary these days, usually as the right-thinking alternative to various unsatisfactory mixtures of country with rock and pop, etc I was thinking of the last I saw Dale Watson, when, after a song, he looked around and said, "Now ain't that *real* country??" That's the sort of usage I was thinking of... and so forth g, --junior
Re: real country
At 04:36 PM 1/29/1999 -0500, you wrote: At 12:25 PM 1/29/99 -0500, Todd wrote: 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*. ... 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. Here's the best explanation I've heard; Country is simply 'three chords and the truth'also the title of a GREAT book on the *real* Nashville of today. Chris Ignitors
Re: Dry Branch Fire Squad / need twangin songwriters
is a high school principal (Do I have this right, Jon?) I got the impression he was a farmer
Our Favorite Band (the band)
I'll try reposting this question, to see if anyone of our music scholars know the answer I stumbled upon an album by Our Favorite Band (OFB) which had Michael Stipe listed as a guest vocalist. I also recall seeing a Scorcher listed as a "guest" musician as well... Can anyone tell me anything about this band/release? It was on Bigtime. It was still sealed (and a cutout), but I need more convincing that it's worth the $15 the dude was askin' for! (i'm especially cautious, due to the fact that he had a sealed Dead Milkmen - "Big Lizard" LP for $25 and a used (which cover wear) "Metal Machine Music" album for $40!) I'm intrigued. Paul
Dave Alvin -Austin City Limits
Dave Alvin taped a session of Austin City Limits last night. An interesting and typically rousing performance, he was joined by Ted Roddy on harmonica for a couple of songs and Chris Gaffney and his accordian joined him near the end. It was interesting because you got to see Dave in an atypical setting. He stopped the band in the middle of songs because he wanted it to be right. (Lots of folks that I've seen at these taping just plow straight through and maybe do a repeat take afterwards.) Anyway the finished product, when the show airs, will be a good display of his talents as a songwriter and band leader and I'm sure it'll be something y'all will want on tape. Here's the set list with a couple of comments thrown in: King Of California Barn Burning (with Ted on harp) Mary Brown Border Radio (a drastic re-working of this that made go: WHOA! g) Dry River Out In California Abilene Jubilee Train (medley with Do Re Mi and Promised Land) (Ted on harp) Blackjack David Fourth Of July Marie, Marie (with Ted and Chris) I'm sure the last one was dedicated to Ms. Arsenault. Jim, smilin'
Re: Our Favorite Band (the band)
I'll try reposting this question, to see if anyone of our music scholars know the answer I stumbled upon an album by Our Favorite Band (OFB) which had Michael Stipe listed as a guest vocalist. I also recall seeing a Scorcher listed as a "guest" musician as well... Can anyone tell me anything about this band/release? It was on Bigtime. paul i wouldn't exactly call myself a music scholar, but i actually had or have this in my collection of vinyl, and i actually went and searched for it when you posted this the first time but i had no luck, so i dunno if it's been lost or just hiding from me. i remember there being some scorchers connection - warner or jason i'm thinking??? and maybe i'm completely spacing out but wasn't there some alex chilton connection, too? it's been so many years ago i honestly can't remember what it sounded like. that was back in the days i listened to the replacements, dream syndicate, love tractor, etc almost exclusively... so this really isn't much help, sorry. ro
Old 97's Saturday afternoon radio performance, east coast shows
Okay, I just found out about this, otherwise I would've posted it earlier this week, but the Old 97's will be appearing on Laura Cantrell's Radio Thrift Shop, WFMU, 91.1 FM out of NJ or 90.1 FM out of NY state between 2 and 3 this afternoon. I believe that WFMU also broadcasts in RealAudio at www.wfmu.org Even if you can't tune in today, the Thrift Shop is worth catching every Saturday from noon to 3 pm (and you might as well hang around for Trash, Twang And Thunder between 3 and 5 pm as long as you're there.) After witnessing last night's sold-old sweaty Old 97's show at Maxwell's where every audience member seemed to know the words to every Old 97's show (even the new ones), I'm ready to sucker punch the rest of the NY contingent for those extra tickets to tonight's sold-out Old 97's/Hang Dogs show at the Mercury Lounge. Wooboy, quite a set, an hour of old and new stuff (followed by another fifteen minutes of encores) which sounded quite good, one new song in particular (Home Again?) almost sounding like the perfect Everly Brothers/Redd Kross (when they were good) hybrid. Heck, I didn't even get a chance to make it to the back bar for a beer. Yup, sometimes music is better than beer. Jeff Jakowlew
Re: Our Favorite Band (the band)
ro wrote: i remember there being some scorchers connection - warner or jason i'm thinking??? and maybe i'm completely spacing out but wasn't there some alex chilton connection, too? it's been so many years ago i honestly can't remember what it sounded like. that was back in the days i listened to the replacements, dream syndicate, love tractor, etc almost exclusively... I wanna say it was Warner...the front of the album listed a whole slew of guests. I recall Doug Easley's name on the list as well...and wouldn't be surprised if Mitch Easter were on there...but i'm not too sure. and you're trying to tell me that you no longer listen to the 'Mats, Dream Syndicate, etc. almost exclusively anymore??? I'm very disappointed in you! g Paul np: Buffalo Tom - Smitten
Re: Dave Alvin -Austin City Limits
Dave Alvin taped a session of Austin City Limits last night. Speaking of Austin City Limits, anyone out there in P2 land have a phone number or something that I could get a hold of some one to order a hat and shirt from them? I've gone to there address: http://www.pbs.org/klru/austin/shopacl/index.html and have sent in thier form 3 or 4 times over the last 6 months and nothing. Anybody got any ideas? Stick
Empty Calendar?
I got a couple of reports that this post showed up empty. If you can do biorhythms, e-mail me. I want to know what went so haywire late last week in general, and how I can know next time just to stay home in bed! Anyway, here 'tis: Regarding release dates, ICE points out that just about all release dates are tentative until the dust settles in the wake of this Universal/Polygram merger. This includes smaller and indie labels reliant on major label distribution. HAVE FUN! Special days copped from Heather's Li'l Country Calendar, available from The Record Roundup, 2034 W. Montrose *= new or revised since last time *1/29: Robbie Fulks w/ Tim Carroll at FitzGeralds 1/29: Pete Seeger at People's Church, 915 W. Lawrence (sold out) 1/29: Menthol at Metro *1/30: Sam Prekop, Town Country at the Empty Bottle 1/30: Dolly Varden at Schubas 1/30: Number One Cup at Bug Jar in Rochester 1/30: Lonnie Brooks at FitzGeralds 1/30: Sloan at Metro 1/30: Sinead Lohan at Double Door 1/30: Koko Taylor at House of Blues 1/31: Johnny Rotten's birthday (also a full moon) 2/1: Number One Cup at Black in D.C. *2/2: Robbie Hunsinger, Jim Baker, Gerald Dowd and Harrison Bankhead at Hot House 2/2: RELS: Built to Spill, Cesar Rosas; Re-ish--ABBA, Johnny Cash, Miles Davis, Roy Orbison, Sugarhill Gang/Grandmaster Flash, Sex Pistols 2/2: Number One Cup at Local 506 in Chapel Hill 2/3: Number One Cup at New Brookland in Columbia SC 2/4: The Riptones in the Honky Tonk Living Room at the Hideout 2/4: Number One Cup at the 40 Watt in Athens *2/5: Sally Timms sings Black Sabbath at the Chicago Cultural Center, 7 p.m. 2/5: Flat Earth Records Showcaseat Schubas featuring: John P. Strohm (formerly of Blake Babies, Antenna), United States Three and Lola (featuring members of Mary Janes and Mysteries of Life) 2/5: Cash Money at the Empty Bottle 2/5: Number One Cup atthe Milk Bar in Jacksonville *2/6: Pulsars at Lounge Ax 2/6: The Blacks at Schubas 2/6: Number One Cup at the Covred Dish in Gainesville 2/7: Hawaiian Slack Key Guitar Masters at the Old Town School 2/7: Number One Cup at The Rubb in Tampa 2/8: Number One Cup at the Go Lounge in Orlando *2/9: RELS: Built to Spill, Sparklehorse, John Wesley Harding, Sam Prekop, Trio II (Dolly, Emmylou Linda), also what could be an interesting soundtrack, Jawbreaker, with The Donnas, Letters to Cleo, Shampoo, etc.; Re- ish -- Gene Autry, The Bad Livers (Dust on the Bible!), The Byrds, Roky Erickson, Jimi Hendrix, Elvis, Lou Reed, Duane Eddy, Jimmy LaFave, Elvis, Doc Watson David Grisman. Also, Anarchy, Angst and Bollocks: The U.K. Punk Anthology 2/9: Number One Cup at Cowhaus in Tallahassee 2/10: Number One Cup at the Bayou in Baton Rouge 2/10: Alex Chilton the Box Tops at House of Blues 2/11: Number One Cup at Rudyard's in Houston 2/11: Webb Wilder, Wayne Hancock at House of Blues 2/11: BR5-49 at FitzGeralds 2/12: Semisonic at the Vic *2/12: Big Hello at Gunther Murphy's *2/13: The Heatersons, Chris Ligon at the Hideout 2/13: NRBQ w/ Steve Ferguson at FitzGeralds 2/13: Edith Frost/Lullaby for the Working Class at the Empty Bottle 2/13: Scrawl at Lounge Ax 2/13: Casolando Valentine's Eve show at Schubas 2/13: The Cardigans at Metro 2/14: The Black Crowes at the Aragon 2/15-16: Mardi Gras with Terrence Simien at FitzGerald's *2/15: Boys Choir of Harlem at Symphony Center 2/16: RELS: The Damnations TX (YAY!!); Re-ish: Flaco Jimenez 2/18: Cow Lily in the Honky Tonk Living Room at the Hideout 2/19: Ellis Paul at Schubas *2/19: Anna Fermin's Trigger Gospel at the Hideout *2/20: The Silos, Susan Voelz, The Mary Janes at Double Door 2/20: Dave Alvin The Guilty Men w/Terri Hendrix and Lloyd Maines at FitzGerald's 2/20: Iris DeMent at the Old Town School 2/20: June of '44 at Lounge Ax *2/20 21: Lauryn Hill at the Chicago Theater (sold out) 2/23: RELS: Steve Earle and the Del McDoury Band, Waco Brothers, Sebadoh, Paul Westerberg, Kelly Willis; Re-ish--Dave Edmunds, Merle Haggard, Lightnin' Hopkins, Johnny Cash, The Meat Puppets, Ricky Nelson, Willie Nelson *2/23: Citizen King at Metro (disclosure: My nephew road manages them) 2/24: Hoot Night at Schubas: Songs about Boys' Names 2/26: Alvin Youngblood Hart at Schubas *2/26-27: Marcia Ball at FitzGeralds; 2/27 is with Bill Kirchen! *2/27: Andrew Bird with Devil in a Woodpile at Double Door (I love the idea of this bill!) *2/27: Marlee MacLeod, 8 p.m. at Borders Books Music, Evanston 2/27: Tito Puente at House of Blues *2/27: David Grubbs at the Empty Bottle 2/27 28: Waco Brothers "Waco World" release party at Schubas 3/2: RE-ISH-Marvin Gaye, Johnny Cash, Willie Nelson *3/4: Sir George Martin presents a multi-media show on the making of Sgt. Peppers Lonely Hearts Club Band *3/5: Afghan Whigs at Metro 3/6: Don Walser The Pure Texas Band at the Old Town School 3/6: Bloodshot CD release party: The Riptones, at Schubas *3/9: RELS: WILCO, Citizen King, Joe Henry, Van
Re: Playlist-Mother Road 1/30/99
Mother Road Jamie writes: Ray Wylie Hubbard--When She Sang Amazing Grace--Live Cibolo Creek Country Club Wooo-H. Iff'n ya listen real close, you can hear me playin' first-chair whistle / scream at the end of this song. g Cool disc, even if I have had to listen to the 12:48 Wanna Rock and Roll Medley approximately 32,615 times in the last two months. (immediate hit w/listeners) Great list Jamie. Keep up the good work. Thanks Jamie Joe P-2 Just Wasn't The Same Without Joe Gracey Welcome Back Horn Third Coast PS: Anyone know of a place to search for evidence of a person's involvement as a soldier in the Vietnam war? (can't say why)
You cain't never tell...
From the transcript of a 10/1/98 "chat" session with Del McCoury at country.com: email: Del, you're the world's best bluegrass singer. If you had to name only one, who would your favorite be (past or present)? Del McCoury: That's tough, I've had a lot of favorites! I like Bill Monroe, Lester Flatt, Bobby Osborne, Bing Crosby. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: Whiskeytown FYI
Kip sez: 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? I don't think that's what Jim is saying. He's saying that people complain because Waterbug isn't the impassioned genius/brat that he once was--he's a boring old fart, in essence, and his recent records would be dullsville even if he were Ryan's age--but they also complain because Ryan is still young and stupid enough to play the impassioned genius/brat without apology or regret; they wish Ryan would act more like a mature adult. And that's a contradiction. FWIW, I think Jim is exactly right on this. I also think that Ryan is, as Jim says, a little ridiculous, as are lots of extremely talented people, and he's probably never going to sound humble or mature in interviews. That's what the McEnroe analogy is about--there's no denying that John McEnroe was a complete prima donna and pain in the ass throughout his career, but there's also no denying that he was one of the most talented tennis players ever. I'm not prepared to make such claims for Ryan quite yet--I've never seen him play tennis, after all--but if his next record is as good as the first few have been, he can be as big a windbag in interviews and press releases as he likes. The music speaks for him more eloquently than he can for himself anyway. --Amy
Re: Prophet A Go Go
Prophet (from S.F. cult faves Green on Red) Ooops. Green on Red, yes. SF? I don' think so. NW
Robbie at Goose Island every Wed. in Feb
Robbie rawked hard last night at Fitzgeralds. No Jet, but got most of the new album, the Egg song, a cool duet with Tim Carroll who is excellent BTW and lot's of rockers. A long set, over 2 hours straight. Was informed that he will be playing Goose Island Brewery every Wed. in February starting next week. I dont know where he is gonna set up to play in there, but its a pretty cool place. I will be there for sure if I can. Alex "who didnt get Robbie to play the "Town of Burritoville" song...I think the record weasels would have liked it" Millar _ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com
Blueberries
I think someone on here mentioned the BlueberriesI'm trying to locate their latest (new) CD. If anyone has their record label info please pass along. I lost the issue of ND with the feature. I'm hopeless... Eugene
Re: Our Favorite Band (the band)
np: boot of the stones from nov '69 in calif. courtesy of my little bro. i like this better than "get your ya ya's out" ro Hey Ro, I don't know if you have the capacity to dub tapes, but if that show is better than YaYa's, I'd love to hear it. That's one of my favorite Stones records, and I've discovered it to be somewhat of an undiscovered gem for my buds who've only heard "Midnight Rambler" (cuz it's on Hot Rocks). BTW: I would've done this offlist, but unless someone actually lays out their address, is it possible to do a private post? Anyway, let me know if you can. Lance [EMAIL PROTECTED]
Johnnie Johnson
Thanks to all for the pointers. Johnson's on my list now. Kelly
Re: Soul
"Walker, Jason" [EMAIL PROTECTED] writes: All this re:soul business has jogged my memory about something - postcarders who own a copy of "On Golden Smog" may care to look at the hand-drawn cover, theres a sign above a barroom door that reads "Tonight: Resoul Hawkrun". As you can see, I have too much time on my hands. And of course Golden Smog's _Down By The Old Mainstream_ also featured a nice cover of Bobby Patterson's Jewel/Paula cut _She Don't Have To See You (To See Through You)_. My view of country-soul btw would be epitomised by William Bell's _You Don't Miss Your Water_ (anyone else think the Byrds cover on _Sweethearts Of The Rodeo_ completely devoid of soul?) I'd include black artists such as Otis Redding, Solomon Burke, James Carr, Joe Simon, Arthur Alexander, Clarence Carter etc etc (I know I'm missing a lot here) all of whom incorporated elements of country music into their sound. np: The Byrds - _Sweethearts Of The Rodeo_ (for comparison) cheers, - james matthews [EMAIL PROTECTED] "boogity boogity boogity boogity shoop"
Re: Soul
On Sun, 31 Jan 1999 15:17:09 +1300 James Matthews said: "Walker, Jason" [EMAIL PROTECTED] writes: All this re:soul business has jogged my memory about something - postcarders who own a copy of "On Golden Smog" may care to look at the hand-drawn cover, theres a sign above a barroom door that reads "Tonight: Resoul Hawkrun". As you can see, I have too much time on my hands. And of course Golden Smog's _Down By The Old Mainstream_ also featured a nice cover of Bobby Patterson's Jewel/Paula cut _She Don't Have To See You (To See Through You)_. My view of country-soul btw would be epitomised by William Bell's _You Don't Miss Your Water_ (anyone else think the Byrds cover on _Sweethearts Of The Rodeo_ completely devoid of soul?) I'd include black artists such as Otis Redding, Solomon Burke, James Carr, Joe Simon, Arthur Alexander, Clarence Carter etc etc (I know I'm missing a lot here) all of whom incorporated elements of country music into their sound. And let us not forget Ted Hawkins - even if his blend of folk, blues, country and soul is a tad more idiosyncratic than the above 1960s guys. Evan Cooper (who also likes Brian Eno's version of You Don't Miss Your Water on the Married to the Mob soundtrack. np: The Byrds - _Sweethearts Of The Rodeo_ (for comparison) cheers, - james matthews [EMAIL PROTECTED] "boogity boogity boogity boogity shoop"
Re: favorite used CD's?
2. Webb Wilder's "It Came From Nashville" (CD): having lost or loaned out my original vinyl of this record mucho years ago, I came across a copy of the CD re-issue at Backdoor Records here in J.C. about two years ago. Good stuff, but it pales in comparison to Hybrid Vigor, Doo-Dad, or the totally awesome Town and Country. Acres of Suede didn't do much for me. Jeff Wall http://www.twangzine.com The Webs least sucky music magazine 3421 Daisy Crescent - Va Beach, Va - 23456
RE: Whiskeytown FYI
-but they also complain because Ryan is still young and stupid enough to play the impassioned genius/brat without apology or regret; they wish Ryan would act more like a mature adult. And that's a contradiction. Somebody needs to kick his impassioned genius ass. Jeff Wall http://www.twangzine.com The Webs least sucky music magazine 3421 Daisy Crescent - Va Beach, Va - 23456
RE: HNC
Blah blah categorizing things blah blah drawing boundaries blah blah muddying the waters blah blah exact criteria by which the players are placed in column A or column B. Column A(=bands w/fiddle and/or steel) Column B (bands w/o fiddle and/or steel) mainstream country acts, alt.country acts, e.g., Garth Brooks e.g., Bottlerockets Blah blah there is the occasional steel-carrying alt.country act, and there are some mainstream acts that don't carry one, but all in all that's a reasonably accurate map. Interesting you should say this, Jon, as it seems to me that some alt.country acts exist within this description precisely because they have the fiddle and/or steel that makes them "country rock". For example Richard Buckner wouldn't sound quite so alt.country if he didn't have Lloyd Maines on steel all over his recordings.
Re: Dry Branch Fire Squad / need twangin songwriters
Nancy says: acoustic. I do one downtown that is a "low dough" gig, but the newest one at this east Memphis yuppy suburbia bar is a cool payin thing, What east Memphis yuppy suburbia bar is this? Dina
16 Reasons, All In A Line ....
* 16 REASONS TO BE EXCITED ABOUT COUNTRY MUSIC IN '99
Gordon Ely
* 01/24/99
Richmond Times-Dispatch
(Copyright 1999)
Even as perpetually paranoid business types search for the next
* big thing in country music with a do-or-die urgency, the fact is
commercial, hit-driven country is financially thriving, and
overflowing with more great artists, songs, producers and albums
than ever.
*The sounds run from pure, traditional country to rock and pop
revisionism, almost approaching the wonderful, wild diversity of
*'60s Top 40 music, when the strength of a song mattered more than
adherence to narrow dictates of style.
*Here are 16 terrific reasons to be excited about country music,
1999.
DEANA CARTER: The best of the best. Her two albums brim with
CB
soul-baring lyrics, delivered with the plaintiveness of
country, the so- phistication of pop, and a good rock wallop to
keep it kicking. Carter is perhaps the most important new artist
of the *'90s.
BROOKS DUNN: Finally released from the mindless, boot-
scootin' constraints of the waning country dance craze, this duo has
matured into one of country's landmark acts. The two still know how
to rock, but now there are equal doses of brains, breadth and - dare
I say it - brilliance to go with the boogie
THE WILKINSONS: This Canadian father, son and daughter are the
most unlikely looking candidates for stardom imaginable. But Dad
Steve (who looks more like the group's accountant than its leader) is
a terrific songsmith; a clever craftsman, commercial but never
cloying, and com-
CB
* fortable combining touches of folk, country and rock. And
daughter Amanda Wilkinson is destined to be one of country's greatest
singers. The most original act and album ("Nothing but Love") of the
decade.
THE DIXIE CHICKS: Take three women who were born to sing together.
Give them an album of strong songs, from irresistible, frivolous fun
* to blood-and-guts forthrightness. Add equal parts bluegrass, country
* and rock, and shake well. What you get is the Dixie Chicks, the
major success story of the late *'90s. Their debut album, "Wide Open
Spaces," is fresh as sea-breeze blowing through a stale, boarded-up
barroom.
SARA EVANS: A singer to hold her own with Patsy Cline and a writer
with the womanly wit of Loretta Lynn and hard-won wisdom of Kris
Kristofferson, Evans is as staggeringly gifted a talent as country
has ever produced. Her 1997 debut, "Three Chords and the Truth," was
shamefully ignored, but its follow-up and the title-song single, "No
Place That Far," are shaping up to be the hits a talent this
arresting demands.
COLLIN RAYE; TY HERNDON; MARK WILLS: These three acts have a lot
in
CB
common. None are songwriters, but each is a singularly gifted
singer and dead-on interpreter of some of the best songs the
Nashville writers' community can turn out. The productions are
polished but never plastic, and every note rings as true and tasty as
a homegrown tomato.
BILLY RAY CYRUS: Wipe that smug grin off your face and check out
Cyrus's new "Shot Full of Love." No longer carrying the baggage of
being a 15-minute-Elvis, Cyrus for the first time turns to the
best of country's writers, players and producers for collaboration.
The result is a high-energy, heartfelt foray into contemporary
country at its finest. Forget "Achy Breaky Heart." This is one of
the most astonishing revelations and reinventions of an artist I have
ever heard.
TRISHA YEARWOOD; MARTINA McBRIDE; PAM TILLIS: Few artists have
gone farther in redefining country to fit their own image, taste and
talent, with all the soul of country and the sensibilities of
precocious pop/rock progeny.
TIM McGRAW; ALAN JACKSON; PATTY LOVELESS: These are three of
traditional country's tallest torch-bearers. McGraw, in his youth,
obviously slipped in some Aerosmith with his George Jones, while
Jackson and Loveless never got any rockier than Merle Haggard, Johnny
Paycheck or Tammy Wynette. Never mind. I can think of no better
examples of just how wide and wonderful the tent that covers
* country music has grown.
GARTH BROOKS: Give the man his due. After he emerged victorious
from his much-publicized snit with his record label two years ago,
the "G- Man" uncorked "Sevens," the artistic triumph of his career,
and the 12-million-and-still-smoking "Double Live," a two-disc
* summary of just how Brooks almost single-handedly has made country
* the music of the masses.
Laurie Lewis
* BLUEGRASS STAR FOCUSES ON THE HERE AND NOW Jenifer Howk * 01/29/99 ANCHORAGE DAILY NEWS (Copyright 1999) Laurie Lewis has a yodel that can bring the house down. "I do yodel on occasion," Lewis said from her Berkeley, Calif., home. "My dad keeps telling me I should do an all-yodeling album. That would really put me over the top." Most critics might argue that Lewis is headed over the top anyway. She has received a Grammy nomination and gushing reviews in * publications from the Boston Globe to Bluegrass Unlimited, and won * international recognition from the Bluegrass Music Association. And, to top it all off, she's headlining the Anchorage Folk Festival this weekend as a guest artist. Lewis was inspired as a teenager in the '60s by the Berkeley Folk Festivals and, in 15 years, has released 11 albums. She's just finished another, due in May on Rounder Records, that she says is * "definitely a straight-ahead bluegrass album." The spirit of a folk festival drawing from many different backgrounds appeals to Lewis. "I love that they're often such a mixture." Like the festivals she visits, Lewis' music is quite a mixture. A vocalist, guitarist and widely acclaimed fiddle player, Lewis is the first to admit her tunes aren't easy to describe, though she lists influences from the Beatles to Billie Holiday. "It's a real melting pot," she said. "It's acoustic roots music." Utah Phillips, a legendary singer-songwriter, said of Lewis: * "Whatever country music is supposed to be, she's at the center of it." Lewis has been to Alaska before, in 1979. And while she expects the cold weather to keep her mostly indoors, she said she's still looking forward to returning. "Alaska seems to have gotten further away since 1979," she said. Lewis was in a serious car accident in 1994 and, through her recovery, has embraced a new personal and musical philosophy. "I'm looking at the here and now more than anything else," she said. "I don't do a lot of planning. I try to stay in what's happening now." That philosophy is reflected in her recent music. A track from her 1998 album "Seeing Things" called "Kiss Me Before I Die" begins: "The Lord giveth and he taketh away/ I might not be around later today." Lewis speaks fondly of singing partner and mandolinist Tom Rozum and bassist Todd Phillips, both of whom share her happening-now take on life and will be appearing with her in Anchorage. "There's always a musical conversation going on with these guys," she said. "It's always fresh -- you never know what's going to happen. "I think it's unusual to find musicians who stay in the moment with music -- it should be that way all the time. It should be a given."
Lucinda
ROCK'S RADIO-UNFRIENDLY SUCCESS
WILLIAMS FLOUTS CONVENTION
By JIM BECKERMAN
* 01/29/99
The Record, Northern New Jersey
(Copyright 1999)
MUSIC PREVIEW
LUCINDA WILLIAMS: 8 tonight. Irving Plaza, 17 Irving Place,
Manhattan. (212) 777-6800. Also performing: 8 p.m. Saturday. John
Harms Center, 30 N. Van Brunt St., Englewood. (201) 567-3600. Both
shows sold out.
Lucinda Williams just isn't able to sabotage herself.
Lord knows she's tried. She's argued with producers. She's
gotten herself dropped from labels. She's refused to make her songs
"radio-friendly." She's released albums six years apart.
A lot of good it did her.
Her latest album, "Car Wheels on a Gravel Road," won rave
reviews and appeared widely on 1998 year-end "10 Best" lists. Now
she's up for her second and third Grammy (best female rock
performance and best contemporary folk album).
"It's all in spite of myself," says the genre-stretching artist
* _ "alternative country" is the most used label _ who performs
sold-out shows this weekend at Irving Plaza and the John Harms
Center.
Though she's released only six records in her 20-year career,
Williams always had a large cult following, particularly among other
performers. (It was Mary-Chapin Carpenter's cover version of
"Passionate Kisses" that won Williams her first Grammy, for
songwriting, in 1992.)
Now the response to "Car Wheels," her first album since 1992's
"Sweet Old World," has upped the ante for this fiercely independent
singer-songwriter. Success at last, a final O. Henry twist to a
career that's been spent flouting the rules in the name of principle.
"That's what rocks my world, all those critics' lists," she says
from her home in Nashville, sounding more bemused than boastful.
"I love music critics, I do," she says. "Some of my best
friends are music critics. I think part of it is the writing part,
because I'm so used to being with writers."
Pain, longing, loss _ those are Williams' subjects, delivered
with the melancholy twang of a singer weaned on Robert Johnson and
Hank Williams, and written with the vivid economy of a poet.
Her father, in fact, is a poet _ Miller Williams _ and she
spent her youth in the company of writers like Charles Bukowski, John
Ciardi, and James Dickey.
From her father, she learned about words. From his migratory
existence, traveling from city to city as teaching jobs materialized,
she learned about the blues.
She also learned something else: how to question authority.
"It's in my blood," she says. "I was brought up that way. My
dad was that way, and his father was that way. My grandfather was a
conscientious objector in World War I, which was unheard of. That
was very brave back then."
At high school, in New Orleans, she was a rebel. Well, it was
the Sixties.
"I was suspended indefinitely, kicked out twice," she says.
"That would have been 1968, or '69. It was the height of the
anti-war movement. The first time I was kicked out, it was for
distributing SDS {Students for a Democratic Society} literature on
campus. I got sent to the office for that, and when I was in the
office I refused to say the pledge of allegiance."
She was suspended a second time after taking part in a civil
rights protest.
"In order to be reinstated in school, you had to go in, one at
a time, and agree never to be in another demonstration again for the
rest of the year," she says. "I never finished high school."
That same feisty independence followed her through her recording
career, beginning in 1979 on the Folkways label, and continuing
through stints on Rough Trade, RCA, and Chameleon records.
"It's a hard process. It's hard making a record," says
Williams, who, on two occasions, has scrapped completed albums and
started over. "When you've been in there a lot and gotten used to
the process more, you learn what's important and what's not. What's
worth worrying about."
When it's worth worrying about, she's immovable.
For instance, there was the RCA executive who wanted to remix
her songs _ push the bass and drums up and pull the vocals back _ to
make them more "radio friendly."
"He's jumping up and down in his Gucci shoes, and he says `Come
over and listen,' and I went and listened and I hated it," she
recalls. "He said, `Doesn't this sound great? It sounds like a real
record!' And I said, `No, I don't like it, I hate it.' They couldn't
do anything to change my mind. Nothing got on the radio."
The moral of the story: so what?
"It's not a
Gillian
Pop: Not so simple country folk Gillian Welch and David Rawlings are the country duo from hell. They write grim songs about mining and rape, and you can't line-dance to them. Andy Gill * 01/29/99 The Independent - London (Copyright 1999 Newspaper Publishing PLC) For a couple of years now, Gillian Welch has been on a quest. Her personal grail? To write the dumbest, most ignorant chorus possible. "I mean that in a good way," she adds, mysteriously. She finally called off her quest when she came up with the chorus to "Miner's Refrain", so dumb they named the song after it: "I'm down in a hole, I'm down in a hole, I'm down in a deep, dark hole", sung in due deep, dark tones. "It tickled me that it was so plain, almost stupidly simple," explains Gillian (the "G" is hard). "So then we set about writing the rest. It started out as a fairly legitimate mining song, until it was pointed out to me that I knew very little about mining." Welch's songwriting and performing partner, David Rawlings, didn't know much more about mining than she did, except for what he had learnt when travelling next to a gung-ho executive from Addington Resources, the strip-mining company. "We've got a machine that can slice the top right off a mountain," she had boasted, explaining how the tyres for this behemoth cost about a million dollars each. "Unbelievable stuff!" marvels Rawlings. "They're all driven by camera now, robotics - the guys don't even have to get in the machines." How on earth do you write a mining song when all the miners are machines? This is the type of problem that faces the contemporary neo-traditionalist country songwriter, a profession as much a prey to the grim vicissitudes of industrial style as those once employed in that industry, before the robots were brought in. Accordingly, the song turned into something even deeper and darker, Welch and Rawlings using the refrain to lament the deep, dark hole in every troubled man's soul. It's a neat solution, perfectly in accord with the songwriting tradition they espouse. *Rooted in the bluegrass sound of older country acts such as the Carter Family and the Stanley Brothers, the music that Welch and Rawlings make has a timeless, evocative quality that is hard to pin down. Certainly, you're never far from the thematic staples of sex, death, and God. The duo's 1996 debut, Revival, and last year's Hell Among the Yearlings are full of songs about bar girls and miners, drifters, still- houses and murders, and how sometimes the devil gets inside of you and makes you do the darnedest things. To the lay listener, this may sound traditional, though Welch is keen to stress the songs' contemporary nature. "There's a very strong appeal in the challenge of writing in an established, almost stereotypical form," she admits. "Can I write one and not have it be boring? Can I bring something new to it?" She can: "Caleb Meyer" is a murder ballad that is steeped in antique harmonies and pungent banjo tunings but, unlike most murder ballads, it's not the woman who dies here but the eponymous rapist, stabbed with a broken bottle by his intended victim. Welch denies any underlying agenda to this post- modern twist: "I didn't have any higher motive or anything." "But when that started to happen," adds the laconic Rawlings, "we both chuckled and went, `Oh, that's fine'." Welch's penchant for old-time music came as something of a surprise to her adoptive parents, a pair of showbiz songwriters who worked on The Carol Burnette Show. "I could always hear them in the back room, working," she recalls. "The kind of music they do is pretty different from what I do - musically, it's as if they found me in a basket on the doorstep. They don't really understand where my * love of bluegrass and old-time music came from. But they should, because they're the ones who enrolled me in a progressive, liberal school started by some old hippies. Every day we had music class, and they taught us Carter Family and Woody Guthrie tunes." Although she learnt to play many of those old songs back at school, it was only when Welch went to college and shared a house * with a country- music DJ that she heard the original artists performing them. "First off, it was their songs that influenced me, because that's how I learnt them. Later on, when I eventually heard the records, it became their sound. The Stanley Brothers were a huge influence on the sound I wanted to make, especially Ralph Stanley's singing - that's about as good as it gets for me." Welch and Rawlings met at Berklee College of Music
