Query (obscure): New World Records
Something I've been meaning to ask about: I own 2 records from the Anthology of American Music on New World Records that are just incredible. Country Music South and West was produced by Bill Ivey and features songs from the '20's-'40s by Rodgers, the Carters, McMichen, Harry Choates, Ted Daffan, etc. Going Down the Valley has Shortbuckle Roark, the Callahan Bros., Puckett, Macon a bunch more. My query: I remember that I heard several other records in this anthology of diferent genres. I also believe I learned that the entire anthology was available only to libraries and other institutions. Does anyone know the whereabouts of any of these records for purchase or dubbing? Any other info on the anthology? (I kinda think it was a bicentennial thing, as it came out in the late '70s.) Much obliged, Kelly
Re: Ryan's example ...
I couldn't agree with the "less country" part more. The last time that I saw Whiskeytown, Ryan changed guitars after every single song - literally. He's a would be punk rocker, armchair psychology aside, he's admitted it himself on Faithless Street (and in an email a mutual friend forwarded to me). At that same show we, the audience, endured a bit of endless guitar feedback on some his new songs. He's 22 years old or some shit like that - angst-filled and really to show it. I tend to agree with Slim that the next album may be feedback, here we come. All that aside - as soon as I hear his new stuff - if I'm wrong and it's amazing - I'll be the first to eat crow. The boy's got some skills fine enough to lull me to sleep at night and wouldn't I love to hear me some more of that. ---Joe Gracey [EMAIL PROTECTED] wrote: Rob Russell wrote: 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. Indeed, Kimmie's songwriting changed significantly when she taught herself to play a keyboard. It tends to open up more possibilities than guitar, somehow. Less country, though. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com _ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com
Re: Soul
Speaking of which, has P2 ever talked about the whole California country rock style of harmony where it's always in unrelentingly sweet thirds-no tension, no dissonance, no variation? Obviously, the Bakersfield thang was another kettle of fish, but I find this particular style I'm talking about cloying whether it's the Byrds, the Eagles, Desert Rose...whoever. Anybody care to edify me regarding this longstanding sweeping generalization of mine? Kelly Well, Kelly, I basically have to agree with you here, and I lay it at the feet of that cocaine-swilling, joint-bogarting monster known as Crosby, Stills, and Nash. If I hear another person telling me how great their weak, vanilla-assed harmonies are, I'm going to get out my Soul Stirrers disc and beat em over the head with it. Yeah, I'll give you something to helplessly hope for. Anyway, I will say that the Byrds sometimes managed to transcend what you're talking about (sometimes, in fact, while guilty of it). Songs like Drug Store Truck Drivin Man, Mr. Spaceman, and even Wasn't Born to Follow don't seem fall into that vocal tar pit. That is, they sound--to me anyway-- like there's a good separation of voices. And while a few songs, like Eight Miles High, Time Between, or Thoughts and Words do kinda have that unvariegated vocal arrangement, I find that the music is interesting enough so it doesn't really bother me. I've also noticed that Neil Young gets lumped in with this crowd, too, and no doubt he's been guilty. But, that's what songs like Come On Baby, Let's Go Downtown and Time Fades Away are for. Cleansing the palate of the pap. Lance (who's cranky because I have to stay up all night and do research) . . .
Re: Ryan's example ...
Ryan's actually 24 now. I'll always remember it -- he was born on the day Gram Parson's died and I just happened to interview him about that time. And he did have a punk band from age 14 through ? Deb
Bluegrass harmony addendum
BTW, for the real starting point, give a listen to Monroe's "Summertime Is Past And Gone," by the original bluegrass band. Sweet as all get-out. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: HNC
Brad says: 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. Well, shoot, anyone can *record* with a steel player; I'm talking about carrying one in the band g. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: Soul
Speaking of which, has P2 ever talked about the whole California country rock style of harmony where it's always in unrelentingly sweet thirds-no tension, no dissonance, no variation? Obviously, the Bakersfield thang was another kettle of fish, but I find this particular style I'm talking about cloying whether it's the Byrds, the Eagles, Desert Rose...whoever. Er, ah, that's your basic bluegrass harmony. Not Stanley mountain music, bluegrass. Via Chris Hillman, Herb Pedersen, Doug Dillard, Bernie Leadon, Jim Dickson (producer), et.al. Check out the newly-reissued Scottsville Squirrel Barkers, the Hillsmen reissue (Sugar Hill), the Dillards comp (There Was A Time, Vanguard), etc. Where's that dang Budrocket when you need him, anyhow? He's got a pretty good grasp of the details. Neil Rosenberg has a couple of pages on the SoCal bluegrass scene and its influence on/connection to SoCal country-rock in _Bluegrass: A History_, but I'm too tired to drag it out now. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Robbie at Goose Island every Wed. in Feb
AJM wrote: 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. And a cool cover (with crowd singalong) of Abba's "Dancing Queen". And he brought his wife up onstage for one of the encores -- "I feel like Lucy", she said as he kissed her and pushed her towards backstage. 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. Robbie is also playing the Chicago Cultural Center on Feb. 25, as part of their alternative country series. And Freakwater plays there March 25. -- Tom Mohr at the office: [EMAIL PROTECTED] (on vacation till 2-8) at the home: [EMAIL PROTECTED] np: Bruce Springsteen, _Deep Down In the Vaults_
Today in History
While visiting my folks up in Keene, New Hampshire this weekend, my dad gave me a 1999 desk calendar he had picked up for $3 at Border's; published by the good folks at the Country Music Hall fo Fame. All kinds of useful tidbits lie within, so I'll probably share some of it with the group from time to time. Today in history: In a transformation worthy of Eliza Doolittle, Porter Wagoner - he of the wagon wheel rhinestone suits - officially went disco on this night in 1979. Appearing at Nashville's Exit/In nightclub, he performed dance mix renditions of old counry standards while the colored lights went crazy. "Country music is actually pretty close to disco or rock," he told a local reporter. "Hell, you can sing 'Y'all Come' to disco." --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
Chicago Shows (was Re: Empty Calendar?)
[EMAIL PROTECTED] wrote: (the supremely useful Chicago Calendar) Couple more things for next weekend: *2/5: Sally Timms sings Black Sabbath at the Chicago Cultural Center, 7 p.m. Jon Langford is doing a show at 12:30 that afternoon, at the Chicago Cultural Center, with Cath Carroll, and (I think -- I can't find my flier) it'll be live on WNUR. And Jonboy is playing that evening, with Skull Orchard, right after Sally's show. 2/6 Sara Hickman and Tish Hinojosa at the Old Town School, with Kelly Kessler And the new FitzGerald's schedule lists James McMurtry on 2/23, and Fred Eaglesmith first week of March. -- Tom Mohr at the office: [EMAIL PROTECTED] (on vacation till 2-8) at the home: [EMAIL PROTECTED]
Re: Today in History
In a message dated 1/31/99 1:38:07 PM !!!First Boot!!!, [EMAIL PROTECTED] writes: In a transformation worthy of Eliza Doolittle, Porter Wagoner - he of the wagon wheel rhinestone suits - officially went disco on this night in 1979. Appearing at Nashville's Exit/In nightclub, he performed dance mix renditions of old counry standards while the colored lights went crazy. "Country music is actually pretty close to disco or rock," he told a local reporter. "Hell, you can sing 'Y'all Come' to disco." Yeah, well Scotch tape was invented on this date in 1928, so go figure. Mitch Matthews Gravel Train/Sunken Road np: Gillian Welch "Hell Among the Yearlings"
Re: Gracey and Stuff
GoonDaddy: Everything is still in boxes. I never knew how much shit I have. When I was single, everything I ever needed or owned would fit in an army surplus footlocker. Sleeping bag, clean t-shirt and pair of Levis', a frying pan. c'mon now, Jeff - when you were single you didn't have any *clean* t-shirts knowing better, meshel n'vegas
Re: HNC
Not knowing exactly where this started, I probably shouldn't jump in, but hey it's never stopped me before. Richard Buckner did take Eric Heywood on tour for a while. (he plays lap and pedal steel) Thank you, In a message dated 1/31/99 7:27:31 AM Central Standard Time, [EMAIL PROTECTED] writes: Brad says: 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. Well, shoot, anyone can *record* with a steel player; I'm talking about carrying one in the band g.
Re: Robbie/Tim Carroll
alex said: 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. pardon my ignorance or forgetfulness, but who is tim carroll??? i saw a tim carroll last week play guitar w/ a band from spartanburg, s.c. in nashville and i really liked his playing. is this the same guy? little guy w/ shoulder length brown hair??? i've heard the name and can't place the connection. thanks, ro
Re: Soul
um, it also has the advantage that everyone can sing it. Linda, still sodden with with populism in the wake of Friday night's concert for the People's Music Network for Songs of Freedom and Struggle featuring Pete Seeger In a message dated 1/31/99 7:28:23 AM Central Standard Time, [EMAIL PROTECTED] writes: Er, ah, that's your basic bluegrass harmony. Not Stanley mountain music, bluegrass. Via Chris Hillman, Herb Pedersen, Doug Dillard, Bernie Leadon, Jim Dickson (producer), et.al. Check out the newly-reissued Scottsville Squirrel Barkers, the Hillsmen reissue (Sugar Hill), the Dillards comp (There Was A Time, Vanguard), etc. Where's that dang Budrocket when you need him, anyhow? He's got a pretty good grasp of the details. based on the esteemed Ms. T.X. Rubies post: Speaking of which, has P2 ever talked about the whole California country rock style of harmony where it's always in unrelentingly sweet thirds-no tension, no dissonance, no variation? Obviously, the Bakersfield thang was another kettle of fish, but I find this particular style I'm talking about cloying whether it's the Byrds, the Eagles, Desert Rose...whoever.
RE: California harmonies (was: Soul)
the whole California country rock style of harmony where it's always in unrelentingly sweet thirds-no tension, no dissonance, no variation...cloying whether it's the Byrds, the Eagles, Desert Rose...whoever. Er, ah, that's your basic bluegrass harmony. Via Chris Hillman, Herb Pedersen, Doug Dillard, Bernie Leadon, Jim Dickson (producer), et.al. Check out the newly-reissued Scottsville Squirrel Barkers, the Hillsmen reissue (Sugar Hill), the Dillards comp (There Was A Time, Vanguard), etc. Where's that dang Budrocket when you need him, anyhow? He's got a pretty good grasp of the details. Jon Weisberger Well, so does Jon (and that Rosenberg book too...though I'd add that there are also, in addition to this clear bluegrass influence, rock and roll harmony influences building on what the Beach Boys and Mamas and Papas, for examples, had done--which probably takes us back even to the forever plaid/Four Freshman kind of stuff which would REALLY appall somebody who finds the BYRDS cloying!) If I happen to think there could be potential power inf a NOT-entirely unrelentingly sweet approach to these harmonies (coming shortly from Mr. Earle?) my answer to this question, for what it's worth, is that sometimes it's also powerful to have harmonies that are harmonious! (For one secondary thing this sort of question raises-- without sweet harmonies, how would you even know "dissonance and "variation" when you heard them! Variation from WHAT?) Personally, I don't think the handling of these sounds by the likes of the Byrds and the Desert Rose band is as variationless or tensionless as this origina lpost in this thread suggests... and the one that says Crosby, Stills and Nash are to blame has the history backwards, in the sense that they were a later follow-on to this Post-Byrds California style--and I can only say that LOTS of ol' rockers were fairly turned off by the "new"Crosby-dominated sound notions of CSN at the time, for the "blanding down" reasons raised . If you were a hardcore fan of the Band and Dylan and the Burrito Brothers and Let It Bleed Stones in 1968/69, you certainly were NOT necessarily in love with these developments at all! Some of the CSN smoothed-out sound seemed copped not from anything California but from Simon Garfunkle ; the first record often sounds like variations on "Cecilia" to me! Not that it doesn't have some moments...It was often said: What's wrong with CSNY is CN...I think they eventually DID get too slick and smooth and boring too--and incapable of reproducing that sound live... So let's get that straight--there was a real dividing line between 60s and 70s rock in that moment--and the lovers of the emerging 70s sound, younger than the likes of me nd tneding toward a sort of willed stoned sweetness, would support most of the blandest sounds of that decade many around here find as dull as I do. It was enough to carry you into hard core country and blues until the late 70s first punk arrvgal/revival! But that really doesn't mean the history of California country rock harmony is all sweetness and light. Barry
Old 97s in NYC last night
Was good to see the NYC and Buck Diaz Phila. parts of the list show up for dinner and this excellent show at the l'il ol' Mercury Lounge last night...I'm probably the only one awake now! This gig, last of the current Old 97s tour, turned out to be pretty much a small room/big sound smash...The texas boys used this last show to showcase almost all the songs that will appear on the new CD due in April, they said--and there are some good ones there. Reports that the country side of what they do is somewhat downplay now are, I think, true--vbut it's definitely still there in the mix of songs and sounds. It also seems to me that Rhett's songwriting is only getting sharper, and amongest these new rock and roll and pop songs there's a "jumps out" ready for an MTV hit in this new song "Nineteen"...it's only as calculated as a Chuck Berry teenage song was--and it's nearly as catchy as one of those. Maybe someobody can make some well-deserved money here, in addition to the damn good music. In opening acts-- Our local Hangdogs sound tighter and more impassioned in delivering their material than ever; it's really working now, and the oddly-named "Sea of Cortez" did turn out to be an alt.country band in a sort of post-Jayhawks, boy can we ever afford a lot of expensive instrument mode...A lot of people play this stuff!) Barry
Re: Robbie/Tim Carroll
thanks linda! now it all comes back to me. In a message dated 1/31/99 9:22:23 AM Central Standard Time, Tim Carroll has a standout track, "Open Flame" on Bloodshot's compilation of Nashville outsiders, Nashville: The Other Side of the Alley. He's appeared from time to time with Lonesome Bob and Tommy Womack, and he also often backs Webb Wilder with Duane Jarvis, he of another great track from the Bloodshot deal, "Cocktail Napkin." Sire signed Carroll, then sat on his release for months. It's now supposed to come out in April, I think. There's a review in the Jan/Feb No Depression. Linda
Re: HNC
Excerpts from internet.listserv.postcard2: 31-Jan-99 RE: HNC by "Jon Weisberger"@fuse.ne Well, shoot, anyone can *record* with a steel player; I'm talking about carrying one in the band g. Using that map, Joel Phelps, Richard Buckner, the Waco Brothers, Blue Rodeo Son Volt are not alt.country. All have "carried" steel players on the road, as has that defunct Opry stalwart American Music Club. Carl Z.
Clip: House of Rep Acknowledges Bristol TN/VA Birthplace of Country Music
My home region getting some "props" here from the House of Representatives (frankly, you'd think they'd have more "important" things to do ... but I appreciate it nonetheless). Check out the last line, especially. Rob Clip: Recognizing the contributions of the cities of Bristol, Tennessee, and Bristol, Virginia, and their people to the origins and development of Country Music, and for other purposes. (Introduced in the House) HCON 214 IH 105th CONGRESS 2d Session H. CON. RES. 214 Recognizing the contributions of the cities of Bristol , Tennessee, and Bristol , Virginia, and their people to the origins and development of Country Music, and for other purposes. IN THE HOUSE OF REPRESENTATIVES February 11, 1998 Mr. JENKINS (for himself and Mr. BOUCHER) submitted the following concurrent resolution; which was referred to the Committee on Education and the Workforce CONCURRENT RESOLUTION Recognizing the contributions of the cities of Bristol , Tennessee, and Bristol , Virginia, and their people to the origins and development of Country Music, and for other purposes. Whereas the cities of Bristol , Tennessee, and Bristol , Virginia, have long been a gathering place for musicians from the nearby mountainous countryside; Whereas phonographic recordings made in Bristol in August of 1927 launched the careers of the Carter Family and Jimmie Rodgers, who are recognized as the first commercially successful modern Country Music artists; Whereas these recordings have been called the `Big Bang of Country Music' by the Country Music Foundation in its publication `Country, the Music and the Musicians'; Whereas Jimmie Rodgers has been named the Father of Country Music and was the first artist to be inducted into the Country Music Hall of Fame; Whereas the original members of the Carter Family have been recognized as Country Music's First Family in part because their works have had an unparalleled influence on succeeding generations of Country Music artists; Whereas `The Roots of Country Music', a three-part television series which aired nationally on the Turner Broadcasting System in June of 1996, recognized the significant contribution of the cities of Bristol to the development and commercial acceptance of Country Music; Whereas in 1984 the Tennessee Senate recognized Bristol as the `Birthplace of Country Music'; and Whereas in 1995, the Virginia General Assembly recognized Bristol as the `Birthplace of Country Music': Now, therefore, be it Resolved by the House of Representatives (the Senate concurring), That the Congress-- (1) recognizes the critical contributions of the cities of Bristol , Tennessee, and Bristol , Virginia, and their residents to the origins and development of Country Music; (2) congratulates the cities of Bristol , Tennessee, and Bristol , Virginia, for launching with the Bristol recordings of 1927 the careers of the Nation's first widely known Country Music artists; and (3) acknowledges and commends the cities of Bristol , Tennessee, and Bristol , Virginia, as the birthplace of Country Music, a style of music which has enjoyed broad commercial success in the United States and throughout much of the world. Rob Russell Johnson City, TN [EMAIL PROTECTED] http://listen.to/thebystanders
RE: HNC
Using that map, Joel Phelps, Richard Buckner, the Waco Brothers, Blue Rodeo Son Volt are not alt.country. Now just a goddamn minute. I didn't say that bands that carry steel players aren't alt.country. I said that mainstream country acts got 'em and/or fiddlers, and alt.country acts don't, and followed that with a qualifier - to wit, that there are exceptions, which y'all are busy listing as though it's some kind of refutation. It ain't, especially if the same couple of bands and steel players keep turning up. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: HNC
Excerpts from internet.listserv.postcard2: 31-Jan-99 RE: HNC by "Jon Weisberger"@fuse.ne I said that mainstream country acts got 'em and/or fiddlers, and alt.country acts don't, and followed that with a qualifier - to wit, that there are exceptions, which y'all are busy listing as though it's some kind of refutation. It ain't, especially if the same couple of bands and steel players keep turning up. 1) Most of these "exceptions" are the folks who get talked about extensively here, and whose records appear at or near the top of p2's year end polls. If these artists are expections, I need a clear definition of what is alt.country. 2) The only steel player who appears twice on my list is Eric Heywood, who plays with Son Volt and Richard Buckner. Even there, he's toured extensively with both acts. The other acts ohave their own steel players. I did not list examples such as Greg Leisz, who plays with five billion acts (as do Nashville players like Paul Franklin), nor did I list acts such as Maral, who do use steel, though not very much. These are acts that use steel extensively, take steel players on the road, and are widely considered standard-bearers of whatever we try to define as "alt.country". Carl Z. who won't start listing alt.country acts with fiddle unless there's a request
Re: HNC
Carl Z. who won't start listing alt.country acts with fiddle unless there's a request Please do. I'm curious. Dina
RE: HNC
Excerpts from internet.listserv.postcard2: 31-Jan-99 RE: HNC by "Jon Weisberger"@fuse.ne I said that mainstream country acts got 'em and/or fiddlers, and alt.country acts don't, and followed that with a qualifier - to wit, that there are exceptions, which y'all are busy listing as though it's some kind of refutation. It ain't, especially if the same couple of bands and steel players keep turning up. 1) Most of these "exceptions" are the folks who get talked about extensively here, and whose records appear at or near the top of p2's year end polls. If these artists are expections, I need a clear definition of what is alt.country. Ha, you're not going to get me to play that game; far better minds than mine have been ruined by attempting the exercise g. Whether they appear at the top of P2's year end polls or the bottom matters little in terms of looking at the numbers, and as far as I know, the majority of the acts appearing on P2's year end polls or reviewed in ND don't tour with a pedal steel guitar player; if you want to take issue with that, go down the lists, weed out the bluegrassers g and then see how many of them carry a steel guitar. As far as I know, the majority of those acts derided as HNC do. The point being not that this makes the alt.country acts bad, but that, suggestions to the contrary notwithstanding, the absence of the instrument, or of the fiddle, is not a reliable marker for HNC, and especially ought not to be used as a point of derision by alt.country fans. And yes, Paul Franklin gets a lot of studio work, but 1) so do a decent number of other folks - Sonny Garrish, Bruce Bouton, Robbie Turner, to name a few - 2) virtually every album coming out of Nashville's got steel guitar and/or fiddle on it (the most notable exceptions being the band acts like Diamond Rio) and 3) most importantly, behind the A-list of studio guys there's a whole bunch of B-list guys who go out on the road to play behind the mainstream acts, and there isn't in the alt.country field. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Robbie/Tim Carroll
R Tim Carroll is a fellow Nashvegan who is signed to Sire. He moved here about five years ago from NYC he had an extremely well known band called the Blue Chieftains. These guys were doing alt. Country in the late 80's early 90's. I played a show with Tim and met him in 91' at a club called Graffiti in PGH. I believe he also did a stint with Lucinda on guitar although I could be wrong on that. He's the real deal. Checkout his song "Punk rock, honky tonk girl". Too bad Sire is dropping the ball again. Dutch Crowd of One -- From: rooney [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Subject: Re: Robbie/Tim Carroll Date: Sunday, January 31, 1999 9:27 AM alex said: 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. pardon my ignorance or forgetfulness, but who is tim carroll??? i saw a tim carroll last week play guitar w/ a band from spartanburg, s.c. in nashville and i really liked his playing. is this the same guy? little guy w/ shoulder length brown hair??? i've heard the name and can't place the connection. thanks, ro
Re: HNC
Excerpts from internet.listserv.postcard2: 31-Jan-99 RE: HNC by "Jon Weisberger"@fuse.ne the absence of the instrument, or of the fiddle, is not a reliable marker for HNC, and especially ought not to be used as a point of derision by alt.country fans. Fair enough, and I for one wouldn't call'em on that. (Hell, Johnny Cash has cut too many records without fiddle or steel for that to be a reasonable call in my book.) I would say though, that steel and fiddle (off the top of my head, Dina, this includes the Jayhawks, Geraldine Fibbers, Freakwater, Blood Oranges, etc) have been prevalent in alt.country bands' music. Excerpts from internet.listserv.postcard2: 31-Jan-99 RE: HNC by "Jon Weisberger"@fuse.ne And yes, Paul Franklin gets a lot of studio work, but 1) so do a decent number of other folks - Sonny Garrish, Bruce Bouton, Robbie Turner, to name a few - 2) virtually every album coming out of Nashville's got steel guitar and/or fiddle on it (the most notable exceptions being the band acts like Diamond Rio) and 3) most importantly, behind the A-list of studio guys there's a whole bunch of B-list guys who go out on the road to play behind the mainstream acts, and there isn't in the alt.country field. Agreed, though Nashville sports a larger central infrastructure of players (and money to pay those players), which bands working in other cities don't have access to, regardless of their tastes. I know of several bands that would love to play live with a steel player but can't afford or find one. Pittsburgh, for example, doesn't have dozens of steel players available, nor I would guess do most towns not named Nashville or perhaps Austin. This might be the launching point for a thread amongst themusicians on the list. Are there instruments you'd like to use either live or in the studio that you are unable to use due to cost or lack of interested players? Carl Z.
Re: FINAL CALL! TWANGFEST!
, we're already makin' plans for Twangfest3, once again taking place at Off Broadway in faboo St. Louis, MO on June 11-13. uh, my calendar show these dates to be Friday through Sunday. Does it be starting (or not) on night of June 10th, the Thursday, again--or is there a Sunday night show? Barry.
Re: FINAL CALL! TWANGFEST!
On Sun, 31 Jan 1999, Barry Mazor wrote: , we're already makin' plans for Twangfest3, once again taking place at Off Broadway in faboo St. Louis, MO on June 11-13. uh, my calendar show these dates to be Friday through Sunday. Does it be starting (or not) on night of June 10th, the Thursday, again--or is there a Sunday night show? Not sure where you got those dates from Barry, but Twangfest is indeed Thursday, June 10th thru Sat. June 12. No Sunday show, other than the one in your head after three nights of hanging with some of these characters... Your Twang Gang
RE: HNC
Carl says: the absence of the instrument, or of the fiddle, is not a reliable marker for HNC, and especially ought not to be used as a point of derision by alt.country fans. Fair enough, and I for one wouldn't call'em on that. (Hell, Johnny Cash has cut too many records without fiddle or steel for that to be a reasonable call in my book.) I would say though, that steel and fiddle (off the top of my head, Dina, this includes the Jayhawks, Geraldine Fibbers, Freakwater, Blood Oranges, etc) have been prevalent in alt.country bands' music. I still find that "prevalent" a bit hard to swallow, so I'd be interested if you or someone would undertake to analyze the best-of lists, or a sample of several months' worth of ND reviews, or the ND Top 40, or some fairly sizeable list of alt.country releases/acts in these terms. In any event, we seem to be agreed on the main point. Nashville sports a larger central infrastructure of players (and money to pay those players), which bands working in other cities don't have access to, regardless of their tastes. I know of several bands that would love to play live with a steel player but can't afford or find one. That's surely a factor, perhaps the major one, but I think there are perhaps differing sets of expectations involved, too. This might be the launching point for a thread amongst themusicians on the list. Are there instruments you'd like to use either live or in the studio that you are unable to use due to cost or lack of interested players? We'd love to have a theremin player, but they all say they're holding out for the big bucks. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/ Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Is this old news?
I ran across a pretty interesting CD today, a 1993 release called Rocky Box. Am I just now tumbling to something that's pretty well-known, or do I have a surprise for everyone? Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: Whiskeytown FYI
On Sat, 30 Jan 1999, Amy Haugesag wrote: Kip sez: 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? Amy H. retorts: I don't think that's what Jim is saying. Well, I didn't really think that's what Jim was saying, either. I was just trying to get some dust flying g. 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. See, I don't think it is a contradiction. It is completely unreasonable to think (hope?) that impassioned, creative geniuses might also beconsiderate, thoughtful human beings? Besides, Adam is 24 now, he ain't all *that* young anymore. And really, why do people pin Westerberg's lameness on him getting older, as if his actual chronological age is the key to this? Maybe he's simply said all that he has to say. The problem is, he keeps talking g. Kip
Re: Del McCoury song
At 11:53 AM 1/31/99 -0500, you wrote: McCoury (interesting tidbit: listproc rejects a post that begins with "Del," wondering whether it was meant to be a command issued to the listproc itself, and "suggesting" that if not, the post be rephrased) has recorded "I Feel The Blues Moving In" twice, most recently on the GrooveGrass Boyz CD (it's not a GrooveGrass (tm) cut, but the regular Del McCoury Band). That Groovegrass disc rocks my butt. Leroy Troy's old timey/rock version of Skynyrd's Mississippi Kid is great! Sweetheart of mine with Bootsy Collins is another good one. In addition to the Groovegrass things, The straight bluegrass rendition of The Del McCoury Band's version of White House Blues must be pushing nearly 200 bpm. I like it, I love it, I want some more of it. On the version of I Feel The Blues Moving In, you would swear that Mike Bub is going to slap a hole right through the top of that doghouse bass. Also on the don't miss list, - Mac, Doc, and Del straight bluegrass/old time on Sugar Hill and Groovegrass 101 on WB, all Groovegrass, all the time with Bootsy, Doc Watson, and Scott 'F**ker' Rouse. Jeff Wall http://www.twangzine.com The Webs least sucky music magazine 3421 Daisy Crescent - Va Beach, Va - 23456
Suggestions for Newport Folk Festival
Date: Sun, 31 Jan 1999 05:48:12 -0500 (EST) X-Authentication-Warning: nysernet.org: majordom set sender to owner-folk_music@localhost using -f To: [EMAIL PROTECTED] From: michael epstein [EMAIL PROTECTED] Subject: Suggestions for Newport Folk Festival Sender: [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] The web site for the Newport Folk Festival has been partially updated for '99, and they are asking for performer suggestions. (from the website: http://www.newportfolk.com/ ) Our plans for 1999 our now taking shape. Our Friday program will feature "Cry, Cry, Cry" as well as a special guest or two to be announced later. We are thrilled about this line-up, which includes three of our favorite singer-songwriters - Dar Williams, Lucy Kaplansky and Richard Shindell - and we do expect this event will sell out early on, so make your plans before too long! As for the Fort programs, we have many offers pending, for artists that will make this year's event one of our best. In some ways it will be difficult to follow last year, with artists like Lyle Lovett and the Indigo Girls on the bill, but we need to close out the century with a classic! Please e-mail any suggestions to us at [EMAIL PROTECTED] or [EMAIL PROTECTED] Michael Epstein Jeff Wall http://www.twangzine.com The Webs least sucky music magazine 3421 Daisy Crescent - Va Beach, Va - 23456
RE: steel in alt.country (was: HNC)
Nashville sports a larger central infrastructure of players (and money to pay those players), which bands working in other cities don't have access to, regardless of their tastes. I know of several bands that would love to play live with a steel player but can't afford or find one. That's surely a factor, perhaps the major one, but I think there are perhaps differing sets of expectations involved, too. I also have the feeling that a lot more bands would have steel if they could! By coincidence--this subject came up just last night at that NYC Old 97s show--because the apparently wealthy start-up band "Sea of Cortez" (they were also throwing around Martins and Fenders) had a working steel player--andd (rumor has it) those Buck Diaz boys have just been adding promising steel player to their band too...But the difficulty of finding one that you could and might want to work with most places was an issue. (Those Ghost Rockets, steel and all, should have something to say about this too.) Barry
Neil Young news
apologies for P/P2 cross-posting, but I know there are some people out there who will be interested in this - from sonic net newsflash Stevie Neil Young Plans Acoustic Tour, New Album, Box Set Folk-rock legend begins solo outing March 3 in Vancouver, preps new album and multi-CD career retrospective. The next year in Neil Young's life is shaping up to be an unusually prolific period in a career that has spanned decades and musical genres. In addition to a series of live performances by the iconoclastic singer/songwriter, there will be an album of new material and the first installment of a multi-CD career retrospective. Young will kick off a solo acoustic tour March 3 with a show at Queen Elizabeth Hall in Vancouver, Canada. The month-long string of U.S. West Coast and Canadian dates is being billed as "An Evening With Neil Young," according to Elliot Roberts, the folk-rocker's long-time manager. "It will be a mix of some new stuff and older material," Roberts said of the tour, which will feature dates in Seattle, Wash., as well as Portland, Spokane and Eugene, Ore. Young also recently re-entered his Northern California home studio to lay down additional tracks for his 29th studio LP. The album is currently untitled and without an official release date, but Young is expected to debut songs from the project during his upcoming tour. Originally due March 23, the new album is on hold until Young completes work on two new tracks. Among those who have contributed to the recording are: bassist Donald "Duck" Dunn, pedal-steel guitarist/producer Ben Keith, star session drummer Jim Keltner and keyboardist/songwriter Spooner Oldham. Additionally, Young continues work on the first installment of his long-rumored career-retrospective box set, according to Warner Bros./Reprise Records spokesperson Bob Merlis. "It's not currently scheduled, but we hope to have it out later this year," Merlis said. Although Roberts said he couldn't confirm the set will feature eight CDs, he said that number was probably accurate. The set is slated to cover Young's career -- from his work with his teen-age band the Squires, through his early '60s group, the Mynah Birds (which also featured funk-pop idol Rick James), until the end of his stint with the influential Los Angeles-based folk-rock band Buffalo Springfield in 1968. Included among that material will be three CDs of live material that Roberts said featured "staggering" performances from the early stages of Young's solo career. "These are shows that defined Neil as an artist," Roberts said. The earliest live disc in the set is from Young's first appearance at the small Toronto club, The Riverboat, from the late '60s. That show in Young's hometown was one of his first live gigs following his departure from Buffalo Springfield. The other two performances are from the early '70s, Roberts said. The second live disc features a show at the Hammersmith Odeon in London, England, with Young's hard-rocking backup band Crazy Horse. The third live CD is from an appearance at the Massey Hall in Toronto, recorded just before Young released his landmark 1972 album Harvest, which features such classic rock ballads as "Heart of Gold" (RealAudio excerpt of studio version) and "Old Man." The show also found Young previewing material from his 1973 follow-up to Harvest, Time Fades Away. "[The third live disc] has all the songs for his next two [studio] albums in their original form," Roberts said, "and the performances are just staggering." Roberts said Young is hoping to release the entire set in October. Young's solo acoustic tour is scheduled through the end of March, with a date at the Sacramento, Calif., Opera Hall on March 17 and two shows at the Pantages Theater in Los Angeles on March 22 and 23. -- Gil Kaufman
Re: steel in alt.country (was: HNC)
Son Volt an interesting case in point - they've been touring lately without Eric, resulting in some songs being dropped from the set list (notably "Left a Slide". Damn shame). On others, Dave Boquist has been forced to do some interesting, inventive things on his six string to cover for the missing steel guitar. He also gets to play less fiddle. IMHO, it's damaged the SV live sound/repertoire somewhat. Although some of the new material certainly heads into rockier territory, fiddle and steel seem to me integral to the Son Volt sound Stevie
Re: Is this old news?
At 05:39 PM 1/31/1999 Jon wrote: I ran across a pretty interesting CD today, a 1993 release called Rocky Box. Am I just now tumbling to something that's pretty well-known, or do I have a surprise for everyone? If you're talking about the CD "Rocky Box: Rockabilly - Boxcar Willie with The Skeletons" K-Tel 3190-2, it's something of a revelation, though it's been out for almost 6 years and has been available in the $5.99, then $3.99 bins at Best Buy for the last year or so. It's not a rare release, exactly, but I don't think it's probably all that well-known either. It's cool to see those particular characters together, and any recording with the Skeletons on it is worth owning. (Though of course any Skeletons recording isn't close to how fantastic they are live, as anybody'll tell ya) b.s. barely following the Super Bowl with the TV sound off...can't stand Madden. p.s. That JL disc is in less-than-great condition Jon, though it plays. I'll keep looking. "The truth ain't always what we need, sometimes we need to hear a beautiful lie." -Bill Lloyd
Re: Robbie/Tim Carroll
At 10:32 AM 1/31/1999 EST Linda wrote wrote: Tim Carroll has a standout track, "Open Flame" on Bloodshot's compilation of Nashville outsiders, Nashville: The Other Side of the Alley. He's appeared from time to time with Lonesome Bob and Tommy Womack, and he also often backs Webb Wilder with Duane Jarvis, he of another great track from the Bloodshot deal, "Cocktail Napkin." Sire signed Carroll, then sat on his release for months. It's now supposed to come out in April, I think. There's a review in the Jan/Feb No Depression. Also Linda, there's an EP-CD GOOD ROCK FROM BAD (copyright 1996) on P2er Jerker Emmanuelson's Sound Asleep label with 7 roots-rockin tracks: Open Flame She Does My Heart Good I Think Hank She Just Knows Punk Rockin' Honky Tonk Girl (the P2 wimmen's anthem?) But Why Too Rock'n' Roll This is a fine disc, and I got my copy through Bloodshot (who may still offer it) but I bet either of our P2 providers would be able to get a copy. I'm very fond of this record, and it was a big disappointment when Mr. Carroll's new record got bumped from its original September release date in that Sire deal. b.s. "The truth ain't always what we need, sometimes we need to hear a beautiful lie." -Bill Lloyd
January '99 Topsoil Playlist Plus House Concert Info
I never sent out a playlist last month due to the holidays, so this one is compiled from the previous two months on Topsoil. If you want off this list, let me know. The sold out Alejandro Escovedo house concert happens this Wednesday (2/3) at 8pm. Stay tuned because I will be putting the tickets for the Saturday March 6 Greg Trooper house concert on sale on Monday 2/8. Please don't email asking for tickets until I send out the announcement that day. After that it will be first come, first serve. These shows have become immensely popular and I'm trying to give everyone a fair shot at tickets. Tickets will be $10, and you can find out more about Greg Trooper at http://earth.vol.com/~jessi11/index.htm. If you'd like on my house concert mailing list, let me know. Now, on to the January playlist for Topsoil. Cheers. Steve Gardner [EMAIL PROTECTED] www.topsoil.net === WXDU-Fm 88.7 Durham, NC Steve Gardner, "Topsoil" E: [EMAIL PROTECTED] January Roots Report 1. Greg Trooper - Popular Demons - Koch [This is Greg Trooper's 3rd album and it is his best yet. It's produced by Buddy Miller (aka the King Midas of music). Greg has some fine guests on here including Buddy and Julie Miller, Steve Earle, Emmylou Harris and Duane Jarvis.] 2. Paul Burch - Wire to Wire - Checkered Past [I've been following Paul for a few years now. I'm not sure if he just got better, or if it just clicked with me (probably the latter) but I really really really like this new CD. I would consider it one of the best country records of the year.] 3. Gerald Collier - Gerald Collier - Revolution [Probably my second favorite release from '98 although many of the songs don't fit into a show about twangy music. Great pop singing and songwriting from this former lead singer for the Best Kissers in the World. Everyone should have this CD in their collection.] 4. Clodhopper - Red's Recovery Room - ? [Wilco-ish alt.country. Great songs and a great sound.] 5. Hazel Dickens, Carol Elizabeth Jones and Ginny Hawker - Heart of a Singer - Rounder [The female three tenors of bluegrass.] 6. Richard Buckner - Live at Schuba's Tavern - MCA [A promo only live EP with Richard and Eric Heywood.] 7. Various - My Rough and Rowdy Ways - Yazoo [Another fine Yazoo comp. This time they mine music from the 20s and 30s that deals with raising hell.] 8. Marah - Let's Cut the Crap and Hook Up Later On Tonight - Black Dog [Ragged but right. Marah may not be for everyone, but they are certainly someone I can enjoy. The only way I can think to describe this band is by spouting out the general term alt.country. However, this stuff is pretty darn unique. Listen and see if you like it. I sure do.] 9. Pine Valley Cosmonauts - Salute the Majesty of Bob Wills - Bloodshot [This is the best Bloodshot compilation yet. There's lots of good playing and singing on this disc from the likes of Robbie Fulks, Alejandro Escovedo, Kelly Hogan, Neko Case and many others. Get it!] 10. Hank Williams - The Complete Hank Williams Box Set - Mercury [The question I get asked most often with regards to this set is "Isn't 10 CDs a little extreme? Don't you ever get sick of it?" Answer: NO. I love everything on this set which means I love pretty much everything Hank ever did. If the set was 20 CDs and it was all this quality I'd buy it too. Of course, it'd take me twice as long to save up the money. Put this on your Xmas list this year. It's much more fun than a new pair of shoes...and it'll last longer too.] 11. Lyle Lovett - Step Inside This House - Curb/MCA [A magnificent 2 CD set of Lyle's favorite songwriters. Lyle takes the lead vocal duties for Townes Van Zandt, Guy Clark, Steve Fromholz, Willis Alan Ramsey and others. His version of Townes' "Lungs" is probably my favorite cut on the disc, but there are lots of good ones to choose from.] 12. Rock n' Roll Summer Camp 98 - Rock n' Roll Summer Camp 98 - Black Dog [Members of Marah, Blue Mountain, the Neckbones and a few others get together for a summer retreat and walk away with an album under their belts. This CD is a ton of fun. It just goes to show what great things can happen when musicians who are friends first get together for fun and music.] 13. Alejandro Escovedo - More Miles Than Money - Bloodshot [This live record hopped back up the chart due to his appearance at Pine Hill Farm on 2/3. If you still haven't heard this CD you need toit's fabulous.] 14. JD Crowe and the New South - Come On Down to My World - Rounder [Another great bluegrass CD from JD Crowe. Once again he's put together a stellar new band.] 15. Various - Mississippi River of Song - Smithsonian Folkways [Soundtrack to the PBS miniseries documenting music along the Mississippi River.] 16. Howard Armstrong - Louie Bluie Film Soundtrack - Arhoolie [My search of stringband versions of ragtime music led me to Howard Armstrong and this magnificent release. This
RE: All Music Guide
Can anyone recommend or not the All Music Guide to Country Music? I haven't seen this volume, but I'd be cautious; the AMG website, while useful, isn't always reliable. They seem to have a hard time properly tracking more than one person with the same name; the most egregious mistake that I've seen in this regard, which I hope has been corrected by now, was their consolidated discography for Earl Taylor the bluegrass musican and Earl Taylor the jazz musician... Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Hellcountry
i just want to publically thank Stacey for helping us pop our touring cheery so comfortably as part of her Hellcountry series at the Kendall. We had a blast. The food was great, the people were great, the one dollar Pabst Blue Ribbon beers were a trip back down highschool memory lane. But seriously, it was real great time and got us off to a great start. Thanks Stacey! Good luck with your move to Nashvilee! Elena Skye
mermaid ave.
Copied from the Postcard 1 digest: Man in the Sand, the film about the making of Mermaid Ave. was shown today at a music related film festival in Portland. Supposedly this was a pre-release video version - I don't know when it is to be formally released. Anyway - don't miss this movie. The film focuses on Bragg and Nora Guthrie but includes lots of footage of the practice and recording sessions with Wilco. It provides some Woody history which offers a great context for the Mermaid songs - gave me a new perspective on "At my window sad and lonely." There is some interesting footage of Bragg and Tweedy going over song writing credits and a hint of the conflict that went on when selecting songs for the album. There is a really funny sequence where the mixing/editing process is haunting Bragg and his young son walks in - I won't give it away here. Also some really funny stuff with Bragg and Natalie Merchant. Throughout the film Nora Guthrie provides narration about her dad and his life. The film provides interesting insights on the special relationship that Nora and Bragg develop through the project. Musical highlights include fragments of California Stars, Way over Yonder, She Came Along to Me, Ingrid Bergman, At My Window..., and an unreleased Merchant sung children's song. We got great full versions of Hoodoo Voodoo and the unreleased When the Roses Bloom Again - I'm not sure about that title. I spoke with some folks who attended and had never heard the album or Wilco who greatly enjoyed the film. It is put together very well and wonderfully weaves the story of Woody's life into the story of the recording. Don't miss it. There was a very brief segment with Arlo talking about This Land is Your Land. Does anybody know if Arlo was involved in the Woody archives project or how he feels about the music on Mermaid Ave.? Why hasn't Arlo tried what Bragg and Wilco have done?
Re: California harmonies (was: Soul)
Barry Mazor wrote: Post-Byrds California style--and I can only say that LOTS of ol' rockers were fairly turned off by the "new"Crosby-dominated sound notions of CSN at the time, for the "blanding down" reasons raised . If you were a hardcore fan of the Band and Dylan and the Burrito Brothers and Let It Bleed Stones in 1968/69, you certainly were NOT necessarily in love with these developments at all! No shit. Now there's some stone countryrock. What promise!! Band/Dylan Burritos Stones. What the hell happened? The next thing I know, Im in some girl's dorm room with frangipani, patchouli, candles, indian prints and listening to CSN, Carol King, James Taylor and shudderThe Moody Blues. Then a bunch of mopey stuff by (I think I'll restrain myself here) certain popular f*lk singers. No wonder I wound up . (well that's another story). So let's get that straight--there was a real dividing line between 60s and 70s rock in that moment--and the lovers of the emerging 70s sound, younger than the likes of me nd tneding toward a sort of willed stoned sweetness, would support most of the blandest sounds of that decade many around here find as dull as I do. It was enough to carry you into hard core country and blues until the late 70s first punk arrvgal/revival! But that really doesn't mean the history of California country rock harmony is all sweetness and light. Barry testifies to the truth. I think I only listened to early Ray Price, Hank Williams and Muddy Waters etc. until well hell, 1996. Oh yah, and the Allmans etc. Rhythm Aces. Well there were some bright spots. Stuart npimh: Have you heard about the Midnight Rambler
Re: Today in History
Porter Wagoner - . "Country music is actually pretty close to disco or rock," he told a local reporter. "Hell, you can sing 'Y'all Come' to disco." Now *that* is muddying the waters
Re: WOW! (from Alex)
Oh, and the other thing is, we found this great CD shop today... as in they're Alt Country section was about the size of their Pop music section. Anyway, we came across that Lucinda williams CD that was stolen for cheep. I got this email from the boy, who is in London. Alt.country the size of Pop? Can this be true? You English P2ers know?. Is it only outside the U.S that one can find this stuff in retail shops? Stuart thinking about the British Invasion of the 60s
Re: Dixie Chicks and other voices
vgs399 wrote: I would be interested in knowing how much a voice, quality, tone and so forth influences you in your likeability quotient of any cd. For example - Although I acknowledge the musicianship on the Dixie Chicks "debut" cd, I totally dislike Natalie Maines' voice. For me, her voice is grating; similar to a mid-pitched meat grinder. Sara Evans - Absolutely piercing alto quality. Never modulates and sings from the back of her throat. I get a total kick out of any reviewer who has labeled her the next coming of Patsy Cline. Not a bad voice, but I wish she'd tone it down considerably. Trisha Yearwood - a dramatic soprano who shoves the Wagnerian principle down our throats. A wonderful voice hampered by an inability to sing from her head.Influence? Linda Ronstadt - another great voice, full of quivering vibratto, but devoid of sincerity and emotion. A voice means a lot to me in liking/disliking a recording. I would be interested in any of your thoughts regarding vocal performance. Who do you like or dislike and why?Tera Interesting obeservations. Two singer who pop to mind are Heather Myles and Tracy Nelson. I like them both, but find Myles to be rather limited in terms of range or emotional impact. There is a kind of flatness there that bothers me. Nelson is at another extreme. Too much voice. It starts to sound like opera. I wish she'd tone it down and make another straight country record. Trisha Yearwood I like some, but hearing her sing in an awful duet of I Fall To Pieces with Aaron Neville (who I'm not crazy about, but also like) on the Rhythm country and Blues disc, makes her sound really tepid and emotionless. Maybe they should have asked Patsy Cline to sing with Neville. Nice to see you back Tera Stuart
Re: real country [was re: old 97s in Toronto]
Jon Weisberger wrote: let me commend to your attention the fine essay on "Country Music As Music" by Bill Evans, "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." Interesting, but it how does one get to be called a country musician? And how does one differentiate between specific set of unique musical characteristics on one hand, and certain shared assumptions about melody, etc., on the other. Likewise the pairing of boundaries and possibilities is curious. It all seems sort of circular to me. 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. And who is in authority to name what is and what is not country. But I don't quite understand this transmission thing. Especially in the age of mass media. Care to elucidate?
Re: favorite used CD's?
At 3:16 AM -0500 on 1/30/99, Rob Russell wrote:
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!
I dunno why Webb's so ignored around here, but I've been a fan since he
opened a coupla shows for Joe Ely a decade ago, I think touring behind
"It Came From Nashville." And I still think "It Gets in your Blood" is
one of the best songs about loving music that I've ever heard.
Bob
Re: Whiskeytown FYI
Whoa, I must've missed the part about how you concluded that Ryan is not a considerate thoughtful human being. Linda In a message dated 1/31/99 5:08:45 PM Central Standard Time, [EMAIL PROTECTED] writes: See, I don't think it is a contradiction. It is completely unreasonable to think (hope?) that impassioned, creative geniuses might also beconsiderate, thoughtful human beings?
Re: More new shows in San Francisco
Also, I think on February 9th at The Freight and Salvage in Berkeley - Fred Eaglesmith returns! keep dancing, -ldk
