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 Yah, well, I guess ol' Porter's not one of the cognoscenti. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: Is this old news?
If you're talking about the CD "Rocky Box: Rockabilly - Boxcar Willie with The Skeletons" K-Tel 3190-2It's cool to see those particular characters together... That's the one, and it is, indeed, an interesting combination. Box and The Skeletons doing "Achy Breaky Heart" - who'da thunk it. Talk about muddying the waters... Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: HNC
If I recall correctly, the term was coined to identify a non-twangy type of country music, in which the steel and fiddle, when present-is put way back in the mix. The derision of HNC acts, is, I think, based on just this attempt to de-hickify the music and make it palatable to the suburban woman demographic (which is not a slur... So you've said. I don't think you recall correctly, though - or, if you do, I think that what you correctly recall isn't correct, mostly because the steel and fiddle, which are usually present, aren't especially way back in the mix. Shania and Mutt, for instance, will beat you to death with the damn fiddles - in fact, Glen Duncan told me, when I was interviewing for a Bluegrass Unlimited article on Longview that he considered the stuff of theirs that he played on to be (or, more accurately, to include) "a bluegrass/mountain based thing," and said that Lange is into "rootsy" stuff; I'm a bit dubious of that bluegrass/mountain part, but I'm not willing to dismiss the first-hand testimony of an extremely knowledgeable guy without carefully considering it. His take on these matters pointed, first and foremost (and IMO correctly) to the "really big drums," and he went on to note that at most sessions, "the only guys from a country background are the fiddle and steel players," which suggests that important differences reside in the way that the guitars, drums and keyboards are *played*, not the presence or absence of steel and fiddle. A lot of those instrumentalists grew up on the Eagles *and* the Rolling Stones; they may represent polar opposites to the cognoscenti, but not all of us are fortunate enough to be in that group. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: Whiskeytown FYI
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. I hasten to note that *I* don't pin Waterbug's lameness on his age; he's not that old, for one thing (at least not relative to some of the people who are occasionally mentioned in the same breath as him), and more important, I've long maintained that the reason he sucks so much these days is indeed that he's run out of things to say. There's more to it than that--there's the fact that he doesn't listen to anything remotely related to the kind of stuff he plays, which puts him in a sort of vacuum that doesn't seem conducive to his producing good records, and there's the whole business about how the quality of his records started declining around the time he quit drinking (but let's not get into that whole discussion again). But basically, the 'Mats put out approximately six brilliant, era-defining records, and that seems to be the extent of what Westerberg has in him to produce. That's a lot more than many other musicians have in them, so I can't get too worked up anymore about the unlikelihood of him ever putting out another good record, at any age. --Amy
Re: Robbie/Tim Carroll
Linda wrote:. The review does say that "Girl That's Hip" is on the record, and I think that line is in the Punk Rockin' (etc.) song so maybe that's just what he's calling it. "Girl That´s Hip" is not the same song as "Punk Rockin´ Honky Tonk Girl". There´s a version of that song (Girl That´s Hip) on Duane Jarvis´ great CD from last year. By the way, heard from Tim´s lawyer the other day, and he said that Sire WILL release the CD, but he wasn´t sure exactly when. Let´s keep our fingers crossed. Jerker Sound Asleep Records Sweden
Re: real country
"Real" country is probably a bit different for anyone here as well as those artists who say that they wish to get back to their roots and do some "real" country. I would imagine that defining "it" would take into account an individual's preferences, exposure to different musical styles while growing up and any/all labels as assigned by the newsmedia or music historians. However, the sense that I get from performers today is that "real" country music pretty much encompasses a timeframe from the fifties through the sixties with the likes of Hank Williams, Johnny Cash, Loretta Lynn, George Jones etc; ruled the charts. At times, I have inquired what elements of that music made it "real"? I've been told for the most part that the music was simplistic in its beauty, being that it was devoid of heavy-handed commercialism which includes "lush" instrumentation, pronounced drumming with a decided rural/folk-like appeal. By that definition, I suppose we could rule out many of our lauded country greats as being "real". I just think this term is a bit different for everyone but that it seems to be generationally defined. If a person grew up liking George Jones and believes that Jones epitomized country then that will be the standard by which he/she defines all other country music. Watson has been quoted as saying that Buck Owens and Merle Haggard were some of his major influences. I suppose we could conclude that for Watson, the aforementioned two are "real" country for him. However, for brevity sake, may I add that my Grandmother (who was a bluegrass fan) once told me years ago that Merle Haggard was just another rock-n-roll upstart. Perception is a mighty sword. Tera -Original Message- From: BARNARD [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Saturday, January 30, 1999 10:41 AM Subject: "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
Third Coast Music Network Playlist 1 / 31 / 99
New Music Night I was hunkered down, ready for the hit, and was still knocked square on my ass by Cisco's "Bad Man" tonight. Man, what a band, and what a freakin' song. I'm pretty sure I'm officially in love with Cisco. That Greta Lee / Jon Byrd duet cut me deep too. When Mr. Byrd takes lead on that second verse, well, it's a keeper. Top shelf pickin' too. Excellent work. Jimmie Tarlton - John Henry / All Bound Down In Birmingham / Put Together Blues Pawtuckets - Hatchie Bottom / Set Up Joe Grushecky - Everything's Going To Work Out Right / It's A Hell Of A Life Ian Moore - Paris, Tx. / You're A Big Girl Now Cisco - Crazy Ones / Bad Man Michelle "Evil Gal" Wilson - Ay La Bas / I Would Rather Do Without It Bottlerockets - Dinner Train To Dutchtown / If Walls Could Talk Karlo Broussard - Key To My Baby's Back Door / I'll Try One More Time Greta Lee - The Cryin's Over and Done / Run Away Led Kaapana - Les Flames Of Hell / Radio Hula Whiteleather - Don't Call Me A Fool / It Doesn't Matter Anymore Allen Fontenot Country Cousins - Zydeco Jam David Olney - Snowin' On Raton / Avery County Pat O'Bryan - That's A Lot Like Heroin / Southbound Train Hezekiah and the Houserockers - Whoopin' Blues / Early One Morning Blaze Foley songs: Texana Dames - Picture Cards Pat Mears - Darlin' Kimmie Rhodes - If I Could Only Fly La Touche V - Cowboy / Thanks Tony Sarno - Livin' For The Rider / Get Out The Back Door Old Dogs - Cut The Mustard / Still Gonna Die Jimi "Prime Time" Smith - I'll Play The Blues For You Beaver Nelson - One Car Collision / Stray Dog Buchwheat Zydeco - Trouble / Wait A Minute Baby Stillmen - Drinkin' Black Coffee / Why Am I Blue Flaco Jimenez - Soul Mates / Le Felicidad Somehow the Deliberate Strangers disc fell through the cracks of my life. I'll find it and get some on next week. There's some good stuff on it. This was fun. *Everyone* shoud have a radio show. Radio would be different. Joe Horn Third Coast Music Network is a daily four-hour radio show that airs on KSYM, 90.1 fm., San Antonio College Radio. For more info, visit the site. A HREF="http://www.accd.edu/tcmn/" Third Coast site; ACCD/A
Re:Soul
Hello! About soul music - just get out and buy Sam Cooke "Night beat" and Howard Tate's " Get it while you can" and You brought some of the best soul effort coming true. Little Buster "Looking for a home" also come to mind. Country soul - Did You get the australian TWOFER of Delbert Mc Clinton with "Victim of life's circumstances" and "Genuine cowhide" on one disc - a treat.. What about a "desert island disc(donuts)" - what you want on a island with just you and the compact disc player and some all-time favourite disc's. Rock on! lø
Re: Our Favorite Band (the band)
Our Favorite Band first put out a 7" vinyl EP on Praxis Records. Yes, the very same label that put out the first Jason The Nashville Scorchers EP. It´s sort of lo-fi kind of trash country. The LP however, is much better produced and is full of great "alternative" country. Check it out! Jerker Sound Asleep Records Sweden PS. Does anyone know what ever happened to the band after the LP?
Re: Robbie/Tim Carroll
I remembered that "Girl That's Hip" song the minute I hit the send key. 'Tis another goodie. I thought Sire was definite about April, now, but I guess nothing's really definite in the record business right now. Linda, hoping all this hoo ha isn't upsetting Miles O Music's business
Hey Kelly K
Who was that guy who sang "Ramblin' Man" at the Heather's Country Calendar shindig? I've tossed the program (a girl just cannot save all this paper but always throws out the wrong thing), but that song is still hangin' and hauntin'. I mean, the song itself will do that to me but the guy who sang it did an amazing job with it. Solo acoustic, sang it like he meant it, and he had the voice. He's since turned up in Diane Izzo's band I think? And this guy Eric who used to work with me at Borders and now teaches banjo at the Old Town School was telling me at Metro that he is or was in a band that does country covers. Please don't tell me he's the one who's also in that awful Country Melvin's band. If so, not that anyone asked, I wish he'd get his light out from under all that claptrap. Linda, who did indeed intend to post this to the list np. Ramblin Man in the jukebox o' the mind. Might as well just let it play
question about Bottlerockets/Austin
Does anyone know the name of the label in Austin that the Bottlerockets are recording for? Offlist is fine. Joyce Linehan Artist Management 10 A Burt Street Dorchester, MA 02124 http://www.empathetic.com
Re: Neil Young news
Stevie Simkin wrote, quoting from sonic net newsflash: 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. This is from the Emmylou Online newsletter: * * NEW MOON RISING * * According to The LA Times EmmyLou and Linda Ronstadt have been up at Neil Young's ranch in Northern California singing background vocals on some new Neil songs. Young's soon to be released new album(with a tenative March 23rd release date) is reportably in the same vein as Harvest Moon. At this time the track selection is not known. Young reportably has recorded some 15 to 20 songs and it is not known if the tracks with EmmyLou will be part of the new record. We can only hope! (Aquarian Resourses) -- Tom Mohr at the office: [EMAIL PROTECTED] (on vacation till 2-8) at the home: [EMAIL PROTECTED]
RE: GE SMITH
I'm sure he can, but as someone else said just watching the guy was painful. I use to watch a good deal of SNL in those days with buddies of mine who were pretty good guitarists themselves, and they would look upon those skit-ending close-ups on him as comedy sketches in their own right... [Matt Benz] Really. Never have I seen-well, Paul Shaffer, excluded-, a bandleader try so hard to interject himself into a show. And his endless parade of cool guitars (what, one for every "go to commercial?") left me speechless with jealousy, and close ups of him showboating...goodnight, Alice! He got ripped for his work with Dylan live, also: I saw him written up as a souless player. On the other hand, his work on Wait's "DOwntown Train" was great. But then we don't have to look at him.
Re: Today in History
Jon Weisberger wrote: 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 Yah, well, I guess ol' Porter's not one of the cognoscenti. .But of course he is. and you too. Maybe the right term was illuminati. Or elect? The better sort? Men of wealth and taste? All it meant was people who paid attention to such things more or less. Stuart less than careful .
FW: Wintergrass (2/25 - 2/28 Tacoma, WA) Update - Other Bands
-Original Message- From: Bluegrass music discussion. [mailto:[EMAIL PROTECTED]] On Behalf Of Trisha Tubbs Sent: Monday, February 01, 1999 2:44 AM To: [EMAIL PROTECTED] Subject: Wintergrass (2/25 - 2/28 Tacoma, WA) Update - Other Bands Here's an update on bands/artists performing at Wintergrass this year. There will be five indoor stages, about 50 workshops on Fri. and Sat., a separate Wintergrass Academy (2/23 - 2/25), evening dancing, great Northwest hospitality, open mikes, great coffee and lattes (so what else would you expect from the Northwest?), and tons of jamming. There are lots of hotels in the area, but be sure to get your reservations for a room. Shuttle buses provide transportation to the concerts from the major hotels. For more info on Wintergrass: www.halcyon.com/healey/wintergrass/ Additional bands/artists who weren't on my first list: Pete Wernick's Live Five, Kelly Joe Phelps, Kate MacKenzie Top Regional Local bands who have been hired: 5 on a String, Backfire, Blue Hill, Crossfire, Departure Bay, Great Northern Planes, Alicia Healey and Liz Savage, Holly Gwinn Graham, Knott Brothers, Lonesome Ridge, Mistuya Family Band, Northern Pacific, Noteworthy, Ohop Valley Boys, Out of the Blue, Roundhouse, Rhythm Roundup and Sam Hill. Artists listed in an earlier email: Tony Rice and Peter Rowan, IIIrd Tyme Out, Chesapeake, Laurie Lewis w/ Tom Rozum Todd Phillips, Bluegrass Etc., Dry Branch Fire Squad, J.D. Crowe and the New South, Laurel Canyon Ramblers, Cache Valley Drifters, Cornerstone, Gibson Brothers, Sidesaddle, Danny Barnes, Buellgrass, BIll Frisell, Mark Graham, Orville Johnson, Mark Johnson, Emory Lester
RE: FINAL CALL! TWANGFEST!
-Original Message- Subject: Re: FINAL CALL! TWANGFEST! Here are some of the rumored headliners for the event. Charlie Feathers Gene Clark Stoney Edwards Phil Ochs Bryan White [Matt Benz] KIp: I think we've got Bryan White confirmed: he's agreed to do the show for a call girl and a chicken dinner, and uh, $50,000, which is damn chump change for us! Other good news: looks like Shields Yarnell will emcee for us, which means 3 nights of Mime! Wow. Myself, I can't wait for that; anything's better than that mega pain in the ass Yates: He damn near ran thru my entire month's supply of blow, and jesus, we're still paying for that escapade of his with the monkey! Got a call back from Dwight; we talked for awhile. You know that his gal Bridget and I go way back; yeh, yeh, that whole affair back in 85. Hey, I was young! We can laugh about it now, and she'll probably make the trip with D; Hey,- here's some news: he's gonna do all covers for TF!! Won't that be cool? Everybody likes his cover versions. I'm still "Negotiating" with Sara Evans; I'll let you know how *that* goes...heh heh heh. Aww, the life of a music biz mogul! Hey, did you know that Ryan Adams and Bryan Adams have the same booking agent? Gad dam, I spent dam near a half hour just trying to get the secretary to understand who I was talking about! Anyway, I got Bryan Adams for friday night. He promised to do "Cuts Like A Knife." More later, Matt love, Your Twang Gang
Re: FINAL CALL! TWANGFEST!
Hans asks: Why not Elvis? Cheap joke! I'm glad you asked, Hans. We almost had the King onboard until one of his boys told him about Matt's, um, "relationship" with Ann-Margret. We (well, everyone except Matt, of course) met with him in his suite atop Ceasar's Palace in order to try and convince him it was just tabloid rumors, but he nixed the comeback, right then and there. He was furious, what can I say. He called us a "goddamn lyin' and cheatin' bunch of alt.country posers" and said we probably voted against Nixon anyway. I got out of the room just as he started hurling his collection of police badges at us like kung-fu death stars Sheesh, what a sore loser!!! --junior
Re: All Music Guide
Jon Weisberger wrote: 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... My favorite being Vincent Bell (guitar player, real name Gambelli) and Vince Bell. But then again, the BMI website has them confused too. Sarah W. http://www.mindspring.com/~vincebell/
Re: All Music Guide
As far as the All Music Guide goes, I've found it helpful sometimes for getting a little background on this or that name that comes up. Not the kind of reliable info you can get from someone like Dr. Malone, but then this is a little more current. What's annoying about it is that in an apparent effort not to offend anyone, just about any record gets four stars. Three if they're really opposed to something. So it's near useless for getting a sense of which record you might choose if you're trying out someone new. And of course, the further we get from 1997, the more useless it will be. Still, for all that, I do peruse it from time to time. I'm glad I own it. Will Miner Denver, CO
Waterloo Top 50/ Texas Top 10 1.30.99
1. Lucinda Williams: Car wheels...TX 79 2. Ani Difranco 66 3. Dave Matthews 59 4. Baz Luhrman 57 5. Willie Nelson TX 54 6. Susan Tedeschi 54 7. Billy Bragg Wilco 53 8. Lyle Lovett TX 47 9. Lauryn Hill 47 10. Beck43 11. Robert Earl Keen TX 40 12. Everlast36 13. LeeAnn Atherton TX/IS 35 14. Chris Isaak 31 15. George Devore TX 28 16. Dixie Chicks TX 28 17. Bad Livers TX 27 18. Shawn Mullins KGSR 27 19. R.L. Burnside 27 20. V/A: Pearls In The Snow TX 26 21. Cake26 22. Andrea Bocelli 25 23. Reckless: Kelly Live TX 24 24. B.B. King24 25. Los Super 7 TX 22 26. Elliott Smith 22 27. Madonna22 28. Black Crowes 22 29. Sarah McLachlan 22 30. Air 21 31. Buena Vista Social Club 21 32. Gourds: Gogityershinebox TX 20 33. Gourds: Stadium Blitzer TX 19 34. New Radicals 19 35. Sheryl Crow 19 36. Vallejo TX 17 37. Tom Waits 17 38. Keb Mo 17 39. Belle and Sebastian 16 40. Jewel 16 41. Metallica16 42. Reckless Kelly: Millican TX 15 43. Storyville: Piece... TX 15 44. Beatles15 45. Ray Wylie Hubbard TX 14 46. Lucinda Williams: Lucinda TX14 47. Fatboy Slim 13 48. U2 13 49. Liz Phair13 50. Offspring13 Waterloo Texas Top Ten for week ending January 30th, 1999 1. Lucinda Williams - Car Wheels On A Gravel Road 2. Willie Nelson - Teatro 3. Lyle Lovett - Step Inside This House 4. Robert Earl Keen - Walking Distance 5. LeeAnn Atherton - Lady Liberty 6. Dixie Chicks - Wide Open Spaces 7. George Devore The Roam - George Devore The Roam 8. Bad Livers - Industry Thrift 9. Various - Pearls In The Snow 10. Reckless Kelly - Live At Stubbs
Re: Whiskeytown FYI
On Sun, 31 Jan 1999 [EMAIL PROTECTED] wrote: Whoa, I must've missed the part about how you concluded that Ryan is not a considerate thoughtful human being. Well, I don't "know" the guy, maybe you do. Maybe he shows all kinds of thoughtfulness and considerate behavior behind closed doors with friends. What this all gets back to are his public words and actions, which is all we (the public) have to go by. Again, none of this is to say that he doesn't have talent, much the way (as Amy H. pointed out) that John McEnroe sure could play him some tennis. Kip 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: FINAL CALL! TWANGFEST!
In a message dated 2/1/99, 9:10:54 AM, [EMAIL PROTECTED] writes: Charlie Feathers Didn't he die recently? Or am I thinking of someone else? Deb
Re: FINAL CALL! TWANGFEST!
Ok, I get it now, it's a joke. Trying to quit caffeine today and I'm not too quick on the uptake Deb
RE: Help find song, Dear Okie
Reply to: RE: Help find song, Dear Okie Dear Okie is written by Rudy Sooter and Doye O'Dell. It's on the following LPs: - New Lost City Ramblers, Modern Times, Folways FTS 31028 (1968) (or on CD: New Lost City Ramblers, Volume II 1963-1973: Out Standing in Their Field, Smithdonian/Folkways 40040 (1993)) - Doye O'Dell, Folk Music in America, Vol. 6. Songs of Migration Immigration, Library of Congress LBC-06 (1978). John Patterson wrote: You know, "Dear Okie-if you see Arkie, tell him Tex has got a job for him out in Californy," etc. I think it was by Hank Thompson, but All Music Guide doesn't list it by him. Anybody know what album it's on? -jp
Re: HNC
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? It's hard as hell just to find a guitar player with any decent country chops here in Philadelphia, much less a pedal steel player (though as Barry mentioned in another post, we've been lucky enough to latch on to one). From what I can tell, there are only 2 or 3 guys playing the pedal steel regularly in bands in the greater Philadelphia area, and maybe a handful more playing some lap steel. The situation's only moderately better w/ fiddle players. (Add in to the equation the fact that you may actually want them to play along w/ a guitar with, gasp, distortion, and 2 of the 3 run out the door to begin with.) So yes, it seems, at least here, more a question of supply than taste, and I think Carl's probably correct that it's the same in most other places. I can't think of an countryish band in town that isn't searching for that elusive "utility" man, a la Jim (Dave?) Boquist, who can add some banjo/fiddle/steel into the mix without having to carry an individual player for each instrument. (Overheard at a recent show of ours: Young woman: What is he playing? Her Date, with confidence: It's called a floor guitar, sweetheart. Young woman: Oh, I want to learn to play the floor guitar.) For what it's worth, the inclusion of a pedal steel or a fiddle doesn't seem, to me, to be a very fruitful point of (qualitative) differentiation between the HNC and "alt" country crowds. Too much of it on both sides of the fence to be different except by degree...
Re: GE SMITH
James Gerard Roll wrote: I disagree with you here. I am not a fan of showboating . . . but a certain amount of TV/Pop music is 'the show' and entertaining people is part of the bag. snip yeah, what he said. Hell, if I had the money I'd buy all them guitars and play them on TV too, and I bet most of you guitar players out there would too. The problem with just standing there on TV and not moving or anything is that it conveys unhappiness and boredom rather than cool. It's like learning how to act. Bob Wills demanded that the guys in his bands learn how to smile while they played because they looked so somber otherwise, and he was entertaining depression-era audiences who wanted to forget their too-real troubles. I don't begrudge Paul his antics either; obviously Letterman wants that and its part of the act, or he'd make him stop. I saw GE on the Dylan tour and I thought he was a model citizen. In fact, it took me awhile to realize that was him because he had dropped the TV demeanor and was much more subdued. His playing strikes me as controlled and inventive and tailored to the act, which is, after all, what a sideman's fucking job is... I know guitar players who grimace a lot while they play, and some who don't. I hardly think it is fair to condemn a guy for grimacing unless you happen to know him well enough to know if its an act or real. I daresay its real, since the ones I know who do it aren't even aware of it. I know Dave Grissom pretty well and he does that and when John Conquest dissed him for it I thought it was just fucking stupid since Dave is anything but a poser, but then Conquest specializes in talking about people he knows nothing about. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: Ryan's example ...
Show me his gift certificate? That's so L.A., Weiss. -Original Message- From: [EMAIL PROTECTED] [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Monday, February 01, 1999 12:49 PM Subject: Re: Ryan's example ... Ryan's actually 24 now. I'll always remember it -- he was born on the day Gram Parson's died. Yeah, and alligators can be found in the Manhattan sewer system. Show me his gift certificate. Otherwise I ain't buying. NW
PLAYLIST - Monday Breakfast Jam - 2/1/99- KRCL 91FM
Here is the playlist for Monday Breakfast Jam on KRCL 91FM, SLC, Ut for Feb. 1, 1998. Monday Breakfast Jam is an eclectic morning drivetime presentation totally programmed and present by me over KRCL 91FM in Salt Lake City, a non-profit, volunteer operated, listener support community radio station with a 19 year history of bringing diversity in music and information to the state of Utah. The show generally revolves around contemporary singer/songwriters, folk, folk-rock and rock artists. A little bluegrass, jazz, world or spoken word pieces thrown in. No dictated playlist are given to on air programmers, so we are free to play what we want within FCC guidelines, unless the show is of a specific genre like the blues, reggae, etc. If, after reviewing this playlist, you feel that your music would fit in the general vicinity of what I do, feel free to forward me copies at the snail mail address below. Be aware that it is station policy that any mail, regardless of recipient name on it, arriving at the station address is consider property of the station and not the individual programmer. Thanks to all the artists who have forwarded stuff for their kind (and much appreciated) support. Feel free to forward me any promo material. It will get listened to for possible inclusion on a later show. The Iceman (Doug Young) email: [EMAIL PROTECTED] snail mail: Doug Young 3855 Nordin Ave. Ogden, UT 84403 Station copies should be mailed to KRCL 230 S 500 w, Suite 105 SLC, UT 84101 Attn: Music Director Format: Cut Artist Album Label MONDAY BREAKFAST JAM PLAYLIST FOR February 1, 1999 OUT ON THE RUNWAY SEE THROUGH ME RANDALL BRAMBLETTCAPRICORN BARABBAS THROUGH A GLASS DARKLY DAVID OLNEY PHILO GUILTY EITHER WAY UNDERNEATH DAVID WILCOX VANGUARD TOM DOOLEYMUSIC FROM MY FUNERAL SNAKEFARMRCA HEARTS ON FIREPRAYER BONES THE FLATIRONSCHECKERED PAST BLACKBERRY WINTER REST OF OUR DAYS THE PAWTUCKETS MADJACK COME ROLLIN' IN TIRED OF DROWNING THE COUNTRYPOLITANS ULTRAPOLITAN SEVERED PROUD DEEP, DARK BLACK D BRAXTON HARRIS IDEAL LIFETIME TO LATE LOVE THINKETH NO EVIL PETER HIMMELMANN KOCH A HEART WITH 4 WHEEL DRIVEHAMMER NAIL PAUL THORN A M MAN IN THE MOVIE SONYA HUNTER SONYA HUNTER INNERSTATE SYLVIA HOTEL SYLVIA HOTEL CHERYL WHEELER PHILO TONIGHT IS JUST FOR USCELTIC WOMAN (various) MARIAN BRADFIELD VALLEY ENTERTAINMENT SUITCASE OF LEATHER POSTCARDS FROM ALONG THE WAY THE DELEVANTES CAPITOL FOR THE PRICE OF A SONG LET'S CUT THE CRAP HOOK UP LATER TONIGHT MARAHBLACK DOG LONG TIME GONELAST TRAIN HOME LAST TRAIN HOME ADULT SWIM WHEELS (LIVE) THIS WORLD IS NOT MY HOME LONE JUSTICE GEFFEN SACRE COEUR NIGHT IN A STRANGE TOWN LYNN MILES PHILO WEREN'T YOU THE ONE 29 NIGHTS DANNI LEIGH DECCA I HATE THE COLD THIS AIN'T OVER YET GRETA LEEself-release HOLD ON SECRET ANNIVERSARY JEFF TALMADGEBOZART LIKE SHE WAS A HAMMER FUSE JOE HENRYMAMMOTH WHEN IT COMES TO YOU ON EVERY STREET DIRE STRAITS WARNER BROS. FORGET THINKIN' THE LAST HURRAH BEAVER NELSONFREEDOM WE NEVER DANCED LIFE NEIL YOUNG CRAZY HORSE GEFFEN 1000 PROMISES LATER TRUE LOVERS OF ADVENTURE MARY LEE'S CORVETTE WILD PITCH SWALLOW THIS PHONESMASHING THE SERENE RACHEL SAGE MPRESS TRICKLE DOWN UP UP UP UP UP ANI DIFRANCO RIGHTEOUS BABE LEVELLAND WHERE'D YOU HIDE THE BODY JAMES MCMURTRY COLUMBIA LOCK ME UPABOUT TIME MEGAN PETERS PAINLESS COAL DIAMONDS COAL DIAMOND KEVIN MEISEL ONE MAN CLAPPING JOYCE COUNTRY CEILLI BAND SONGS
Re: WOW! (from Alex)
stuart wrote: 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 Well, I don't know about large alt.country sections in music shops. Usually the alt.country gets mixed in with the mainstream country which adds up to a pretty large selection. You can get Lucinda, Robbie, loads of Alison Krauss and Dale Watson in the Southampton HMV shop, and I know you can a get quite a lot more in London stores (hell, you can *even* buy the Okeh Wranglers in HMV shops now) Lucinda Williams is very 'vogue' in serious music circles in the UK. She was voted no. 4 by a Sunday Times reviewer for album of the year, which is pretty amazing, and Robbie Fulks' 'Let's Kill Saturday Night' get a good review by Q magazine. However, it's one thing being popular among the people who know better, and another thing having mass appeal over here, which they don't. Steve Earle has always had a good/better press and support over here than the Nashville 'stars' and Lucinda could probably do the same. However, acts that are too strongly country and less rock influenced would find it tough in the UK because country music is generally seen as a joke. I bet there aren't any other Brits on P2 that can get Let's Kill Saturday Night in their local library Louise -- If you like rocking country music, check out the Okeh Wranglers web site at: http://dspace.dial.pipex.com/bluesmoke
Sunday's digest
Can anyone out there email me Sunday's digest? My copy didn't show up in ye olde emailbox. Thanks in advance, Stuart Munro
Vince Gill
I'm surprised no one's mentioned Vince's two-hour all-request concert
Saturday on AE. I probably would've preferred just a straight two-hour
show from Vince. It seemed like his heart wasn't in to some of his more
pop-oriented stuff -- unlike the obvious enthusiasm he showed when given a
request for something from The Key or a shuffle tune. Anyway, the man
sure can sing and pick -- highlights for me were the two songs from The
Key -- the duet with Patty Loveless ("My Kind Of Woman, My Kind Of Man"
and "The Key To Life"). Both of 'em just tore me up. I was surprised
"When I Call Your Name" wasn't chosen, but it was still a pretty standout
show.--don
RE: Vince Gill
On Monday, February 01, 1999 3:02 PM, Don Yates
[SMTP:[EMAIL PROTECTED]] wrote:
I'm surprised no one's mentioned Vince's two-hour all-request concert
Saturday on AE. I probably would've preferred just a straight two-hour
show from Vince. It seemed like his heart wasn't in to some of his more
pop-oriented stuff -- unlike the obvious enthusiasm he showed when given
a
request for something from The Key or a shuffle tune. Anyway, the man
sure can sing and pick -- highlights for me were the two songs from The
Key -- the duet with Patty Loveless ("My Kind Of Woman, My Kind Of Man"
and "The Key To Life"). Both of 'em just tore me up. I was surprised
"When I Call Your Name" wasn't chosen, but it was still a pretty standout
show.--don
I pretty much agree with everything Don said, but I had to turn the sound
of when Vince trotted out Branford Marsalis. What was up with that?
Joyce
Re: Jimmy Day
Chad wrote: Hey folks, Sorry for not paying attention, but would someone mind clueing me in on the circumstances surrounding Jimmy Day's death. I've been in nothing but browse mode lately, so any info would be much appreciated. Chad, smilin', even more than Jim, Smilin' Jim that is... not Day. np Steve The McCourys (write me offlist and I'll tell you how much I really think it stinks! g) advanced stomach cancer. Took everybody by suprise. Sonofabitch just up and died on us. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
NDubb
On Mon, 1 Feb 1999 [EMAIL PROTECTED] wrote: ooops. It was supposed to be "Show me his *birth* certificate." Duh. That's Anybody needing the *real* scoop on Mr. Weiss, just E-Mail me late next week. I'm planning on a little visit to LA next week just to check on his P2 creds. Boy, he'd better hide those Yanni CD's that I just know he has in his collection. g Also, hoping to come back with a framed copy of the (in)famous tallywacker list. JC NP: UNCUT: Sounds of the New West Man, that Celexico is killing me, just killing me. Any thoughts about their _Black Light_ release?
RE: Vince Gill
Reply to: RE: Vince Gill What's wrong with Branford? That was the best part of that show I saw. Rather than just playing the hits it's nice to see Vince add a little something interesting to the proceedings. How many chances to you get to Vince Gill duel with a real saxophone (alto? soprano? Whatever it is)? It wasn't one of the lame ideas like the BackStreet 98 degrees Snyc Boyz singing Billy Joel songs at the American Music Awards. CD Joyce Linehan wrote: On Monday, February 01, 1999 3:02 PM, Don Yates [SMTP:[EMAIL PROTECTED]] wrote: I pretty much agree with everything Don said, but I had to turn the sound of when Vince trotted out Branford Marsalis. What was up with that? Joyce RFC822 header ---
Re: steve earle cd
I've just made up a cd with various live performances of Steve Earle from the radio. It really sounds nice. If you are interested, they are $10. 14 songs, over 60 minutes long. Email me offlist for the track listing and sources of the songs. thanks tommy np: Blue Mountain "Babe" Im interested.
Fw: CFP: Popular Music IASPM-US Natl. Mtg. (Murfreesboro, 30 Sep-2 Oct 1999)
Howdy, Of possible interest... -Original Message- From: Catherine Lavender [EMAIL PROTECTED] To: [EMAIL PROTECTED] [EMAIL PROTECTED] Date: Tuesday, January 26, 1999 11:17 PM Subject: CFP: Popular Music IASPM-US Natl. Mtg. (Murfreesboro, 30 Sep-2 Oct 1999) CONFERENCE ANN0UNCEMENT/CALL FOR PAPERS IAPSM-US (International Association for the Study of Popular Music, United States Branch) 1999 National Meeting. WHEN: Sept. 30-Oct. 2, 1999 WHERE: Middle Tennessee State University (MTSU), Murfreesboro, TN DON'T STOP TILL YOU GET ENOUGH: POPULAR MUSIC The 1999 IASPM/U.S. conference welcomes papers on the cultural roles of music and musicians; the means by which music gets to its audiences; and the ways in which music is interpreted and used by listeners in a variety of contexts. Within this broad frame, the conference will focus especially on consumption practices. In the study of popular music, attention is sometimes focused on producers at the expense of consumers: we still understand and investigate very little who it is who listens to popular music, how they hear it, and how that music affects their lives. Thus we encourage papers on this topic. In addition, we welcome disciplinary and interdisciplinary examinations of (among other topics): * various histories and traditions in popular music * institutions, politics, and popular music * race and popular music * the dominant discourses of popular music/popular music studies * gender studies and its relation to popular music studies * technology and new media * authorship issues in popular music * performance theory and performance styles * new ways of understanding both "popular" and "music" GRAD STUDENT AWARDS: IASPM-US will offer three awards of $200 each to the three best papers presented by graduate students. ABOUT THE LOCATION: Murfreesboro is located approximately 35 miles from Nashville. We will plan several panels, speakers, and recreational activites around music-making activities in the Nashville area. Deadline for proposals: May 15, 1999 Please send all proposals to (submissions by e-mail are strongly encouraged): Professor Thomas Swiss Chair, Program Committee e-mail: [EMAIL PROTECTED] 1514 Buresh Ave Iowa City IA 52245 For more info, contact: Professor Paul Fischer Dept. of Recording Industry Box 21 Middle Tennessee State University Murfreesboro, TN 37132 Phone: (615) 898-5470 FAX (615) 898 5682 e-mail: [EMAIL PROTECTED] conference info is also available at: www.mtsu.edu/~pfischer
FW: Riders in the Sky on Penn Teller NO BG CONTENT
-Original Message- From: Bluegrass music discussion. [mailto:[EMAIL PROTECTED]] On Behalf Of Ken Irwin Sent: Monday, February 01, 1999 6:51 PM To: [EMAIL PROTECTED] Subject: Riders in the Sky on Penn Teller NO BG CONTENT Tonight's the night folks, Riders In The Sky make their appearance on Penn Teller's Sin City Spectacular. Check your local listing for time. It's on the FX Channel.
Re: Vince Gill
I'm surprised no one's mentioned Vince's two-hour all-request concert Saturday on AE. I probably would've preferred just a straight two-hour show from Vince. I thought the whole request part of it was kinda silly, especially since it was only so real to begin with, seeing that they already did guitar changes before each phone caller requested the song they wanted to hear. Makes you wonder just *how* fake it was. I mean, they very easily could have just taken the callers in the order that they wanted to play the set. Never trust TV land. Meanwhile, I must say that that boy can really play some electric geetar. There was one song with an extended solo that really really stunned me. No idea what it was called, of course. NW
Re: WOW! (from Alex)
Louise Kyme wrote: Well, I don't know about large alt.country sections in music shops. Usually the alt.country gets mixed in with the mainstream country which adds up to a pretty large selection. yeah, tho tower in london have a (fairly small) alt country section Lucinda Williams is very 'vogue' in serious music circles in the UK. She was voted no. 4 by a Sunday Times reviewer for album of the year, which is pretty amazing, and Robbie Fulks' 'Let's Kill Saturday Night' get a good review by Q magazine. there has definitely been an awakening of interest in the scene in the UK in the past 18 months or so. We're getting a lot of people touring or at least visiting (Whiskeytown, Wilco, Son Volt, Chris Whitley (?!), Hazeldine and Casal, Gillian Welch last week, Lucinda last month, etc etc) and the intelligent press is sitting up finally and discovering good American roots music. A number of albums of interest made best of lists in the press - Lucinda of course (I still havent managed to bring myself to listen to it more than once), Lovett, Mermaid Avenue, Welch spring to mind. People are starting to discover that there is more to country than big hats and tight jeans and blander than bland music (sorry all you HNC fans out there, but it is BLAND). Steve Earle has always had a good/better press and support over here than the Nashville 'stars' and Lucinda could probably do the same. However, acts that are too strongly country and less rock influenced would find it tough in the UK because country music is generally seen as a joke. yes. And why? Pumpkinhead. Shania "look at me I'm a prettier Celine Dion" Twain. Billy Ray effing achy breaky Cyrus. Keith "wouldnt know soulful music if it hit me like an express train" Harling. These pillocks and pillockesses and the rest of their brood have a lot to answer for. I bet there aren't any other Brits on P2 that can get Let's Kill Saturday Night in their local library Southampton? really? 12 miles down the road. wow.Stevie grouchy again. Sorry.
Re: Vince Gill
Well, Don, interestingly enough... I wasn't going to mention this till you brought it up, but I too saw that Vince Gill special and was pretty impressed. On Saturday in my area we got both the Austin City Limits with Old 97s and Whiskeytown *and* this Vince Gill special. Now, although some of the Gill was a bit schmaltzed-out for my taste, what surprised me--watching these two shows back to back--was the degree to which Vince and band (to my ears, of course) basically kicked the butt of the 97s and Wtown. It was awfully interesting to see them juxtaposed so closely I came close to taking a more tolerant Weisbergian view of Nashville corporate country many gs, since Vince had tons more musicianship, more country tradition, more everything, than both "alt.country" bands put together. He's got that voice, fo course, but besides that he's got great chops as a player and, obviously, a real grasp of all the country subgenres (no western swing there, but hey, he's Nashville...). However much one likes 97s or Wtown, they didn't cut much mustard next to Vince, I must confess Now if Vince just had his bangs hanging down all sloppy-ass, then I guess he'd have it all g, --junior
Re: Vince Gill
Yeah, as Neal points out, the "request" format was a bit awkward, since the guitar tech was anticipating each "request" (!), but I thought that was a minor drawback. Overall, especially since the performance was live, I thought it was a pretty impressive-sounding set Can you imagine what he could do in a club, with dancers, etc? --junior
The Mountain
I'll respectfully disagree with our El Lay rock critic about this album. I must admit to having misgivings about Earle singin' bluegrass, but on first listen, I'm impressed by how good he actually sounds. He ain't no Jimmy Martin, but he sure doesn't embarrass himself either. Factor in the typically outstanding accompaniment of the mighty McCoury band, and also take into account that a number of the songs sound like some of Earle's very best, and you've got what'll surely be one of the year's best twang albums. Or so sez me.--don n.p. Steve Earle and the Del McCoury Band - The Mountain
Fw: Nevers Tour Stuff
Howdy, Since we were talking about the Nevers, Judybats, et. al., the other day... -Original Message- From: [EMAIL PROTECTED] [EMAIL PROTECTED] Date: Sunday, January 31, 1999 06:05 PM Subject: Nevers Tour Stuff Hey Everybody: We have some more live dates to announce. FRI, FEB. 5 - Nashville TN - Exit/In SAT, FEB. 6 - Knoxville TN - Moose Lodge (formerly BH, the Library) FRI, FEB. 12 - Nashville TN - NEA Extravaganza - 12th and Porter That's right, we're finally returning to Knoxville - where it all started. It's important that we get up there every now and then to make sure nobody's knocked over the Sunsphere. Come on out if you can! There are a few new things up at www.nevers.net - so surf on over. There are a couple of .wav sound files up there too. (sorry Mac users, no disrespect intended) See ya! Paul Co. The Nevers
Re: Vince Gill
Matt Benz wrote: Junior's comparison is fair enough; I have no doubt Gill was more impressive, but did either Old 97's or Whiskeytown play anything remotely country sounding? I believe that Whiskeytown played the very beautiful (and very country sounding) "I Lost the Battle but I Won the War". Ryan said something about doing it for his mother. It's one of those songs that cuts through the Whiskeytown hype and b.s. and makes you realise that Ryan has flashes of astounding inspiration amidst all the crap. One day maybe we'll get an album's worth of Caitlin/Ryan duets. That would be something to hear. Stevie
Re: steve earle cd
Tommy Miller said: I've just made up a cd with various live performances of Steve Earle from the radio. It really sounds nice. If you are interested, they are $10. 14 songs, over 60 minutes long. Email me offlist for the track listing and sources of the songs. thanks tommy This si bootlegging my friend. Plain and simple. Don't do it. I ran a tape tree of Steve Earle stuff, and I had the opportunity to ask his permission. He said go ahead as long as no one is making a profit off it. You are making a profit off something that does not belong to you. Don't do it. And don't even talk about your time. If your not doing it for the love of the music don't do it. keith aka moondog
Gerald Collier
Speaking of alt-country types with steel players, Collier's added a new pedal steel guy to his band (no, I don't remember his name), and rather than bein' an atmospheric afterthought, he's an integral part of Collier's ever-more-twangy sound. Gerald's writin' *shuffle tunes* now f'r chrissakes, and they're damn good ones. He played Saturday night at the Crocodile on a bill with the Gully Jumpers and the Supersuckers. The Gully Jumpers are a bluegrass outfit fronted by a guy from Zeke (I kid you not). Anyway, the Zeke fella (I don't remember his name either -- that's what happens when you hang with boozers) is in need of a much better supporting cast -- the old hippie geezers on mandolin and banjo would have a hard time keeping up with Jerry Garcia, let alone some bluegrassers with chops. Still, the Zeke fella's heart is obviously in the right place (I really enjoyed hearin' him sing "Ashes Of Love"), and I wouldn't be surprised if he makes some waves with his bluegrass thing in the future. As for the Supersuckers, they went totally country for this show (with Gerald's pedal steel guy sittin' in), and I gotta say their twangy stuff is a helluva lot more enjoyable than their usual jokey, somewhat shallow garage-punk. Their country stuff may also not be terribly deep, but it often hits the emotional mark, while also bein' loads of fun. Collier was the star of this show though -- despite bein' sandwiched in the middle of it. I don't believe he played *any* songs from his two albums. All new songs, with a handful of well-chosen covers (Jones, Frizzell, Pierce, Walker/Owens -- a killer version of "Close All The Honky Tonks"). Collier's new stuff still isn't exactly hardcore honky tonk, despite the presence of a coupla shuffles. In fact, you could imagine a close proximity of his new sound by de-emphasizing the electric guitar on last year's fine self-titled album, and intensifying the country elements. Lyrically, his songs can still be a bit callow at times, but Gerald's true songwriting gift is his mastery of melody and the pop hook. That's still definitely there, but now it's been given a more hard country re-casting. Needless to say, I couldn't be happier. BTW, Seattle P2ers, he's opening for James McMurtry this Friday at the Tractor. I imagine the more discerning among ye will be there (excluding of course that hopeless Scott McCaughey suckup Jim Cox). And don't forget this Thursday -- Hot Club of Cowtown at the Tractor (and earlier that night makin' a live appearance on Swingin' Doors). And while I'm pluggin' shows, there's a cool double-header we're plannin' on makin' this Saturday -- Christy McWilson (of the Picketts), Jake London and others at the Elysian, and then Edith Frost across the street at the Breakroom. If you haven't seen Jake yet, you really oughta. The man also has a gift for melody and the pop hook, and not counting Cox's ukelele act, he's easily Seattle's most musically talented P2er. Seriously, Jake can write a good tune, and he knows how to put it across. Check him out and see for yourself.--don
Thanks, Boston
I wanted to de-lurk long enough to acknowledge the fine P P2 contingent in Boston. I live in Newport, RI and going to Boston for shows can be problematic for me for a number of reasons, not the least of which is that I hate to drive, especially alone and at night. I recently met a fellow, Pete Gallant, on Postcard and we began to go to Boston shows together. So far we've seen Son Volt, Golden Smog and Fred Eaglesmith. At these shows I've met Tom Stoodley, Morgan Keating, Stacey Taylor, Rebecca Katic and Lisa (ooh, sorry Lisa, I've forgotten your last name) and a nice fellow lurker named Martin. Pete and I had planned to drive up for the Old 97s show on Thursday (1/28), but at the last minute Pete realized he had a conflict and couldn't go. I decided to take the bus up for the show and to stay overnight in my daughter's dorm room (she and some friends was going to the show, too). Tom, Rebecca, Martin Lisa were at the show (along with Tom's friend Kathy (?) and another friend, Dave). Tom suggested I stay over another night for Stacey's Hellcountry show on Friday, featuring Elena Skye and the Demolition String Band. He kindly offered to get me to and from the show (and my daughter graciously agreed to to allow her mom to hang around an extra night). I jumped at the chance both to see ESDSB and to finally get to a Hellcountry show. Both shows were fantastic. Tom may write a review of the Old 97s. I'll just say that if you get a chance to see Elena Skye don't miss it. I had a head cold that seemed to reach its peak on Friday night. My eyes burned and were watering, my nose was running and I was tired from the Old 97s show the night before, but when Elena Skye and the Demolition String Band hit the stage and Boo, the guitarist, played the opening riff I was cured. Halleluiah! So go see Elena Skye and the Demolition String Band...The Cure for What Ails Ya!! And, Thanks, Tom for being such a nice guy. Nice is definately under rated. Karen Without music, life is a mistake--Friedrich Nietzsche
RE: WOW! (from Alex)
Steve Earle has always had a good/better press and support over here than the Nashville 'stars' and Lucinda could probably do the same. However, acts that are too strongly country and less rock influenced would find it tough in the UK because country music is generally seen as a joke. yes. And why? Pumpkinhead. Shania "look at me I'm a prettier Celine Dion" Twain. Billy Ray effing achy breaky Cyrus. Keith "wouldnt know soulful music if it hit me like an express train" Harling. These pillocks and pillockesses and the rest of their brood have a lot to answer for. Stevie, this kind of implies that before 1990 or so country music was widely respected in the UK. Is that correct? Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/ Website revised 2/1/99
Suckered (Re: Zeke)
As for the Suckers, I don't know. If you say they passed muster, Don, I ain't gonna question you. But these guys have struck me as being schticky without the requisite creativity needed to back up their schtick. How they got to record with Willie Nelson AND Steve Earle is one of the great wonders of my world. Here's hoping they stop cutting the cheese. gotta agree with you there Lance. It might have been amusing back when I was 18 (back when the Young Fresh Fellows, Descendents and others took care of such yucks) but nowadays I find their overblown Ramones cartoon rock to be stuck in the shallow end of the pool and their country thing to be even more painful. At least that was the case when I saw them live on the 6th Street stage at SXSW a couple years back. In a spree of must-sees, this was a rare show I actually walked out on. And is Zeke the punk Zeke on Epitaph? Or am I corn-fused? Neal Weiss
Re: Our Favorite Band (the band)
At 12:01 PM 1/30/99 EST, you wrote: 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 remember being terribly underwhelmed by it when released, expecting a more Scorchers sounding record. Of course, that was years ago and now I'm more amenable to the country sound. I bet that didn't help one bit. Jeff Miles of Music mail order http://www.milesofmusic.com FREE printed Catalog: (818) 883-9975 fax: (818) 992-8302, [EMAIL PROTECTED] Alt-Country, rockabilly, bluegrass, folk, power pop and tons more.
Re: Vince Gill
Ph. Barnard wrote: However much one likes 97s or Wtown, they didn't cut much mustard next to Vince, I must confess To each his own... -- Chad Hamilton University of Texas Graduate School of Business [EMAIL PROTECTED]
Another thumbs up on Cisco
Finally caught up with that Cisco the Reasons Why "Wishing You Well" disc, and while I figured that anything that was a favorite of b Neal W. and Jeff Wal--together again at last-- probably had to be good, it really IS... anyway This guy can write and he can sing and his band does back him and it's all getting delivered, and with the needed production capability behind him for maybe a fuller sound on disc than he's yet given here we have a new heavyweigl alt.country contender. The Steve Earle meets Buck Owens (or, at least, Dwight Yoakum) comparison is valid enough--and on some of the ballads he sounds a bit like Buddy Miller as well. But that's to say he firts shows up doing that level of work (how much higher than this vcan you get around here)...and I just want to stress that the work's original. It;s NOT that he's really borrowing stuff from these people in sensibility; he's got something of his own here--which you hear in the rockin' wit of something like "The Bum You Say I Am"--and in some seerting slow ones, like the albukm closer "Can't Take This Anymore"...It's almost always a good sign when somebody who can rock and/or honky tonk out like this comes through with the ballads too. MoM has this one, and several other places online...and don't hesitate. Barry
Re: Hey Kelly K
This was an amazing interpretation of this song. Anna sang it as a heartaching, borderline bitter ballad. It was indeed pretty wonderful. I think it's the Paulina Hollers that my friend Eric plays in. Those are all good credits for Lenny Dietsch. I'll keep watching for him. (I wonder if the Paulina Hollers are named for Paulina street here. My street ends in it, but since it's a block off Ashland it must also run right through Bucktown/Wicker Park.) Tonights cabdriving lesson was brought to you by, Linda Ray In a message dated 2/1/99 9:51:26 AM Central Standard Time, [EMAIL PROTECTED] writes: I thought Anna Fermin turned in a similarly strong, understated wonderfully sung torch version of "Oh, Lonesome Me". Those were two of the highlights for me.
rocking billy, panter burns
Hey there, Might anyone have info on either Rocking Billy and the Wild Coyotes Tav Falco's Panter Burns The Goblins Who, oddly enough, are all playing tuesday at different venues in Chicago. Thank-ee Later... CK ___ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO [654-5866]
Eaglesmith in Chicago
Hey there, Thanks to p2-er Rich (who knows _everybody_) I got into the Folk Alliance benefit at the Old Old Town School (pretty cool, eh?) Fred put on a really cool show in a nice small venue. He played pretty much what you would expect him to - bunch of stuff off of Lipstick Lies and Gasoline, Big Hair, When Did We Become White Trash, etc. Sounded _great_. One thing I thought was odd was that since he would follow his funnier songs with serious songs, some of the lines in the serious tunes got laughs. For instance, I always thought 'You're Spooking the Horses' was a sad breakup type tune, but it had most of the audience chuckling. Fortunately, it wasnt overt enough to spoil anything for me. And the best part by far was Fred making fun of the old, rich, folk music audience. Multiple times. Heh heh heh. Later... CK $20 richer after a superbowl pool ___ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO [654-5866]
Greg Garing Friends
I saw Greg and Friends this past Friday night for the first time. I asked my friend, Holly Tashian what to expect and she told me I was in for a treat. Well, she was right. It was a great show at a very nice smaller venue, Emmerline Theater in Mamaroneck, NY. Some familiar songs and a few originals too. Greg surrounds himself with very fine musicians (I just hope I get the names right): Bob Clark - bass and guitar Barry Mitterhoff - mandolin Buddy Woodward (Ghost Rockets) - banjo and bass Mary Olive - (sorry I can't remember your last name -but I do remember you wonderful voice) - vocals It was a great show - I look forward to seeing them in the future. Back to lurking... Kat
Greg Garing and Friends
I saw Greg and Friends this past Friday night for the first time. I asked my friend, Holly Tashian what to expect and she told me I was in for a treat. Well, she was right. It was a great show at a very nice smaller venue, Emmerline Theater in Mamaroneck, NY. Some familiar songs and a few originals too. Greg (guitar fiddle) surrounds himself with very fine musicians (I just hope I get the names right): Bob Clark - bass and guitar Barry Mitterhoff - mandolin Buddy Woodward (Ghost Rockets) - banjo and bass Mary Olive - (sorry I can't remember your last name -but I do remember you wonderful voice) - vocals It was a great show - I look forward to seeing them in the future. Back to lurking... Kat
Re: David Olney
Carl Z said: While prepping for tonight's broadcast, I'm listening to some new releases. From what little I've heard of it, David Olney's Through a Glass Darkly is looking like a contender for next year's best-of list. This record blends excellent Townes Van Zandt-styled songs (including one TVZ cover) with subtle arrangements incorporating strings, electric guitar, piano, oboe, and other disparate instruments. It's a marvelous album. I just picked this up last week and have to agree. This one's going to be in my top 10 unless this year is just a blockbuster. This is the first time Olney produced himself, and the result is his best studio album ever. I read somewhere that Emmylou was going to record and release Olney's "1917" on her next album. She could absolutely nail that song. Anyone have info on when she's due to release something new?
Re: How to Produce a Rock Record (fwd) g
from Ken Irwin of Rounder Records X-X-Sender: [EMAIL PROTECTED] Date: Mon, 1 Feb 1999 12:56:11 -0800 Reply-To: "Bluegrass music discussion." [EMAIL PROTECTED] Sender: "Bluegrass music discussion." [EMAIL PROTECTED] From: Ken Irwin [EMAIL PROTECTED] Subject: Re: How to Produce a Rock Record (fwd) g To: [EMAIL PROTECTED] Subject: HOW TO PRODUCE A ROCK RECORD! First, spend about a month on "preproduction", making sure that everything is completely planned out so that no spontaneity is necessary or possible in the studio. If there are no "hits" there, make the band collaborate with outside songwriters. Line up extra studio musicians who are better players than the band themselves, just in case. Next, book the most expensive studio you can find so that everyone but the band gets paid lots of money. The more expensive, the more the record label will take the project seriously, which is important. Book lots and lots of time. You'll need at least 48 tracks to accomodate all the room mics you'll set up for the drums, all of which will be buried by other instruments later anyway, and for the added keyboard tracks, even if the band has never had a keyboard player. And for all the backing vocal tracks, even if the band only has one singer. Then, record all the instruments one at a time, but make the drummer play to a click track for every song so the music has no chance to breathe whatsoever. That way you can use lots of MIDI gear. Do multiple takes of each song. Use up at least 30 reels of 2-inch tape. Take the best parts of each take and splice them all together. You might even use a hard-disk recording system like Pro Tools, then transfer it all back to analog two-inch. Spend at least two weeks just compiling drum tracks like this. You'll need to rent at least a half a dozen snare drums, and you'll have to change drum heads every couple hours. If you really do it right, the entire band will never have to actually play a song together. Now, start overdubbing each instrument, one at a time. Make sure everything is perfect. If necessary, do things over and over until absolute perfection is achieved. Do a hundred takes if you must. If this doesn't work, get "guest musicians" in to "help out". Don't forget to hire someone who's good with samples and loops so the kids will think its hip! Better get some turntable scratching on there too. Be sure to spend days and days just experimenting with sounds, different amplifiers, guitars, mics, speakers, basically trying every possible option you can think of to use up all that studio time you've booked. No matter how much time you book, you can use it up this way easily. Everyone involved will think they're working very hard. Make sure you rent lots of expensive mics and expensive compressors and expensive preamps so you can convince yourself and everyone else how good it's sounding. Charge it to the band's recording budget of course. Make sure you have at least two or three compressors IN SERIES on everything you're recording. Any equipment with tubes in it is a sure bet, the older the better. The best is early-1970s-era Neve equipment, old Ampex analog recorders, and WW2-vintage tube microphones, since everyone knows that the technology of recording has continuously declined for the past 30+ years. Don't forget to get some old "ribbon" mics too. Make sure that by the time it's finished everyone is absolutely, totally sick of all the songs and never wants to hear any of them again. Oops! Now it's time to mix it! Better get someone with "fresh ears" (who's never heard any of it before) to mix it in a $2000/day SSL room with full automation. Make sure he's pretty famous, and of course you have to fly to LA, NYC or Nashville to do this, because there simply are no decent studios anywhere else. Make sure he compresses the hell out of everything as he mixes it. Compress each drum individually and then compress an overall stereo submix of 'em. Make sure to compress all the electric guitars even though a distorting guitar amp is the most extreme "compressor" in existence. Compress everything else, and then compress the overall mix. Add tons and tons of reverb to the drums on top of all those room mics, and add stereo chorus on everything else. Spare no expense. Spend at least two weeks on it. Then take it home and decide to pay for someone else to remix the whole thing. Then get some New York coke-head mastering engineer to master it, and make sure he compresses the hell out of everything again and takes away all the low end and makes it super bright and crispy and harsh so it'll sound really LOUD on the radio. (Too bad about all those people with nice home stereos.) Oh-oh! Your A+R guy just got fired! Looks like the record will never be released! Jeff Wall http://www.twangzine.com The Webs least sucky music magazine 3421 Daisy Crescent - Va Beach, Va - 23456
RE: How to Produce a Rock Record (fwd) g
OWWWCCHHH! That really hurts, guys! You're just making this up - there's no way...how could the major labels..Naaahhh. You guys are such a bunch of kidders. Junior Walker ;) -Original Message- From: Jeff Wall [SMTP:[EMAIL PROTECTED]] Sent: Tuesday, 2 February 1999 13:19 To: passenger side Subject: Re: How to Produce a Rock Record (fwd) g from Ken Irwin of Rounder Records X-X-Sender: [EMAIL PROTECTED] Date: Mon, 1 Feb 1999 12:56:11 -0800 Reply-To: "Bluegrass music discussion." [EMAIL PROTECTED] Sender: "Bluegrass music discussion." [EMAIL PROTECTED] From: Ken Irwin [EMAIL PROTECTED] Subject: Re: How to Produce a Rock Record (fwd) g To: [EMAIL PROTECTED] Subject: HOW TO PRODUCE A ROCK RECORD! First, spend about a month on "preproduction", making sure that everything is completely planned out so that no spontaneity is necessary or possible in the studio. If there are no "hits" there, make the band collaborate with outside songwriters. Line up extra studio musicians who are better players than the band themselves, just in case. Next, book the most expensive studio you can find so that everyone but the band gets paid lots of money. The more expensive, the more the record label will take the project seriously, which is important. Book lots and lots of time. You'll need at least 48 tracks to accomodate all the room mics you'll set up for the drums, all of which will be buried by other instruments later anyway, and for the added keyboard tracks, even if the band has never had a keyboard player. And for all the backing vocal tracks, even if the band only has one singer. Then, record all the instruments one at a time, but make the drummer play to a click track for every song so the music has no chance to breathe whatsoever. That way you can use lots of MIDI gear. Do multiple takes of each song. Use up at least 30 reels of 2-inch tape. Take the best parts of each take and splice them all together. You might even use a hard-disk recording system like Pro Tools, then transfer it all back to analog two-inch. Spend at least two weeks just compiling drum tracks like this. You'll need to rent at least a half a dozen snare drums, and you'll have to change drum heads every couple hours. If you really do it right, the entire band will never have to actually play a song together. Now, start overdubbing each instrument, one at a time. Make sure everything is perfect. If necessary, do things over and over until absolute perfection is achieved. Do a hundred takes if you must. If this doesn't work, get "guest musicians" in to "help out". Don't forget to hire someone who's good with samples and loops so the kids will think its hip! Better get some turntable scratching on there too. Be sure to spend days and days just experimenting with sounds, different amplifiers, guitars, mics, speakers, basically trying every possible option you can think of to use up all that studio time you've booked. No matter how much time you book, you can use it up this way easily. Everyone involved will think they're working very hard. Make sure you rent lots of expensive mics and expensive compressors and expensive preamps so you can convince yourself and everyone else how good it's sounding. Charge it to the band's recording budget of course. Make sure you have at least two or three compressors IN SERIES on everything you're recording. Any equipment with tubes in it is a sure bet, the older the better. The best is early-1970s-era Neve equipment, old Ampex analog recorders, and WW2-vintage tube microphones, since everyone knows that the technology of recording has continuously declined for the past 30+ years. Don't forget to get some old "ribbon" mics too. Make sure that by the time it's finished everyone is absolutely, totally sick of all the songs and never wants to hear any of them again. Oops! Now it's time to mix it! Better get someone with "fresh ears" (who's never heard any of it before) to mix it in a $2000/day SSL room with full automation. Make sure he's pretty famous, and of course you have to fly to LA, NYC or Nashville to do this, because there simply are no decent studios anywhere else. Make sure he compresses the hell out of everything as he mixes it. Compress each drum individually and then compress an overall stereo submix of 'em. Make sure to compress all the electric guitars even though a distorting guitar amp is the most extreme "compressor" in existence. Compress everything else, and then compress the overall mix. Add tons and tons of reverb to the drums on top of all those room mics, and add stereo chorus on everything else. Spare no expense. Spend at least two weeks on it. Then take it home and decide to pay for someone else to remix the whole thing. Then get some New York coke-head mastering engineer to master it, and make sure he compresses the hell out of everything again and takes
PLAYLIST: Fear Whiskey 2/1/99
This is the Fear Whiskey playlist for this week's show. Fear and Whiskey can be heard every Monday from 7-10pm ET on 88.3fm in Pittsburgh and on mp3 netcasts via http://www.wrct.org. Past playlists are available at http://www.andrew.cmu.edu/~cz28.fear.html. This week's show featured an hour of (Mid-Western) swingin' live acoustic music with Pittsburgh's Coal Train, who play Thursday night at Grafitti with Moxy Fruvous and Feb. 20 at the Pittsburgh Deli Company. (There's also a Deliberate Strangers song in the playlist to note their record release show at Rosebud on Wednesday). Next week's show will consist of love songs in anticipation of Valentine's Day. The show after that (Feb. 15) will feature breakup songs. I've prattled on long enough. Here's the setlist. ARTIST SONG boxhead ensemblecoastal boarder sam prekop the shadow gastr del sol black horse ralph carneyfun fun fun bonnie prince billy one with the birds bruce cockburn silver wheels deliberate strangersmather's mine david olney the colorado kid clodhopper 1000 days of shame fred eaglesmith angel of the lord richard buckner boys, the night will bury you calexicotulsa telephone book barbara manning stain on the sun greta lee he ain't comin' here hadacol better than this delicious militia men are weak honky tonk confidential (ain't a) texas gal bob wills and his texas playboysstay a little longer meat purveyors leave that man alone hillbilly idol it all depends on you vic chesnuttduty free holly golightly no hope bar bandloving you is sweeter than ever neko case my 63 ennio morricone the good, the bad and the ugly coal train meat skins 5/$1 coal train ohio blues coal train saint james infirmary coal train carbolic in my coffee coal train tucker smith coal train mountain girls coal train minor swing coal train the devil's train coal train jumpin' with symphony sid coal train the china doll rag coal train the leslie rag chris cavacas anonymous chuck e. weiss oh marcy hank williams i can't help it (if i'm still in love with you) paul kelly i'll be your lover now elvis costello baby's got a brand new hairdo sonic youth sugar kane american music club crabwalk
re: GE SMITH
Joe Gracey wrote: I saw GE on the Dylan tour and I thought he was a model citizen. In fact, it took me awhile to realize that was him because he had dropped the TV demeanor and was much more subdued. His playing strikes me as controlled and inventive and tailored to the act, which is, after all, what a sideman's fucking job is... Has GE's tenure in Philly's finest sons, Hall Oates, been mentioned? Paul np: Reed/Cale - Songs for Drella (just got done watching the E! True Hollywood story on Andy Warhol...who, come to think of it, was never in Hollywood)
Re: David Olney
Excerpts from internet.listserv.postcard2: 1-Feb-99 Re: David Olney by "John Kinnamon"@one.net I read somewhere that Emmylou was going to record and release Olney's "1917" on her next album. She could absolutely nail that song. Anyone have info on when she's due to release something new? I'd imagine it won't be for at least a few months after the next Trio record is released. Carl Z.
