Earle on Swedish TV
Hi there, Steve Earle did a great version of "Outlaw´s Honeymoon" on Swedish TV last night. He was also interviewed. I´m really looking forward to seeing him in Oslo, Norway on May 12! Jerker Emanuelson Sound Asleep Records Sweden np. Bukka Allen-Sweet Valentine
Lil' Uglies
For all you P2 ers out there in Nashville. The Little Uglies will be playing the Sutler Monday night at 8pm. They're a cross between Jason and the Sorchers and the Replacements. Should be a good show Dutch
Twangfest 3 update
Lest you think your Twang Gang is employing the House impeachment manager method of news dissemination, we thought we'd better let y'all in on what's been going on with plans for Twangfest 3 (June 10-12 in St. Louis, as you'll recall), rather than just let things sorta leak out. (1) Headliners: Yes, we have confirmed a date with the Damnations TX for Twangfest. They'll be headlining on Friday June 11. We've got offers out to some other great folks, too, so the fireworks ain't over yet. (2) Other Bands: The band selection committee is questioning their sanity as we speak, as they pore over the nearly 50 submissions for the remaining Twangfest performance slots. Lots of great bands stepped up to the plate, so we should have one hell of a lineup to announce at the end of the process. Stay tuned. (3) Non-Profit Status: Yes, with the aid of some generous pro bono legal aid, we are indeed applying for our humble cause to be a non-profit organization. This shields the committee members from personal liability, and more importantly, it means that all donations to Twangfest are TAX-DEDUCTIBLE. Which leads me to... (4) Sponsorship: The kind folks at No Depression Magazine have already signed on to be a sponsor of Twangfest 3, and while we doubt they'll go for our suggestion of changing their name to No Twangfest Depression, they will be giving us even higher visibility than we've had previously. If you know of a deep-pocketed, or even medium-deep-pocketed organization or company who would like to market themselves to the twang community, please pass along the info to Marie Arsenault at [EMAIL PROTECTED] Once again, we emphasize that all money given to Twangfest will be TAX-DEDUCTIBLE. (5) Friends of Twangfest: This year, we'd like to make it possible for you to help defray the ever-increasing costs of staging Twangfest--*and* save money on your taxes next year. For a $100 donation, you will be an official Friend of Twangfest, which will get you a pass for all three days, a Twangfest 3 T-shirt, and an "Edges From the Postcard 2" CD. Not only that, but your name will be announced from the stage of the Off Broadway club by one of our dashing emcees. Donations of *any* amount will be most welcome, though, and any dough you part with will be...you guessed it, TAX DEDUCTIBLE. Contact Marie Arsenault at the address above for more details. (6) Web site: Yes, we're in the process of making the www.twangfest.com web site even more informative than ever. Right now you can see the brand-new Twangfest 3 logo, which will be emblazoned over all our ads, posters, T-shirts, and condoms. We even have a slogan this year: "Wanna Sit In?", which won out over such suggestions as "Wanna Have A Warm Beer?" and "Wanna Help Me Drag Alex Millar Out Of His Room?" There will be lots more info to come, but in the interest of X-Files style full disclosure, we thought we ought to fill you in on at least this much. If you've got questions or suggestions, please direct them to us at [EMAIL PROTECTED] Muchas smooches, Your Twang Gang [EMAIL PROTECTED] * www.twangfest.com
PHILCLIP: Elmore and the band
From the Boston Globe, 2/19/99 Leonard's 'Cool' collaboration with Coyotes By Joan Anderman, Globe Correspondent, 02/19/99 Fact and fiction have rarely merged in quite such a strange and supple way as when crime novelist Elmore Leonard and Greenfield, Mass., rock band the Stone Coyotes discovered each other in a small Los Angeles nightclub. It was 1997, and Leonard was searching for a muse. He was plotting the sequel to his 1990 book (and subsequent film) ''Get Shorty,'' about loan-shark-turned-Hollywood-producer Chili Palmer. Leonard had decided that in the new novel Palmer would be the manager of a band, one with a female lead singer, but beyond that, the 73-year-old writer hadn't a clue. ''I was listening to Sinatra, and jazz. I had a lot to learn about rock 'n' roll. I listened to Alanis Morissette and Fiona Apple. I liked Gwen Stefani from that band No Doubt. I heard a lot of female singers. You know there's a big pile of them out there now,'' Leonard says on the phone from his home in suburban Detroit. Although he confesses he had no idea what he was looking for, none of the well-known women in rock struck Leonard as the model he was hoping to find. Then one late-summer night, on the advice of an industry acquaintance, Leonard went to the famed Troubadour on the Sunset Strip to hear the Stone Coyotes. ''Right away I thought, `Yeah, that's the music I want.' There was a story to the songs, and it had sort of a country thing to it,'' says Leonard. ''I liked the fact that the drummer uses marching sticks and a weird little set, and that his son plays bass on a barstool. Someone said the band is like AC/DC meets Patsy Cline. And I thought Chili could understand it.'' Author and rock band began their unusual collaboration that night, and over the next several months Leonard concocted the fictional Texas band Odessa based on the Stone Coyotes' look, their struggles in the business, and the band's stripped-down, rock 'n' twang sound [poster's note: There's yer twang content]. He commissioned songs from the band to use in the book, songs that also appear on the Stone Coyotes' new CD, ''The Church of the Falling Rain.'' In a truly novel configuration of frontman and backup band, Leonard and the Stone Coyotes are now on tour together; he reads, they play. So far they've hit hot spots like LA's Viper Room and the Mercury Lounge in New York. Tonight, Leonard and the Stone Coyotes will appear at the Lansdowne Street Music Hall. The collaboration marks something of a career boost for the Stone Coyotes, an all-in-the-family rock band composed of singer/songwriter/guitarist Barbara Keith; her husband, Doug Tibbles, on drums; and Doug's son from a previous marriage, bassist John Tibbles. They've spent the past 10 years writing, practicing, and making home recordings in the basement of their house in Greenfield, near where Keith grew up. But the small-town garage band image is deceptive. Before they escaped Los Angeles for the quiet comforts of Western Massachussetts, Doug Tibbles was a successful writer of TV scripts, and Keith, who came up in the Greenwich Village folk scene, wrote songs recorded by Barbra Streisand, Olivia Newton-John, and Tanya Tucker. She had also signed a three-record deal with Warner Bros., but walked away from it - returning the advance money - after concluding that she was moving in the wrong musical direction. She went underground, and resurfaced a few years later with a screaming electric guitar. Leonard was so taken by Keith's declaration of independence, he included it in his new book, ''Be Cool.'' ''I think he was looking for a certain power. He definitely liked the idea of staying true to your school, and musically sticking to your guns,'' Keith says on the phone from Greenfield. In a business where artists are more often compensated for selling out rather than pursuing a vision, the Stone Coyotes are an exception to the rule - and at an unlikely time of life: Doug and Barbara are both in their 50s. ''If we had really thought about it, we never would have predicted this,'' says Keith. ''We didn't have a master plan or a career strategy. We thought if we just kept improving, getting the groove down ... It's so much fun to play a song, and play it well, that's almost satisfaction enough. But you want security, too. We just weren't sure if it would come from the music business.'' Suddenly catapulted into the spotlight via the back door, other doors are opening as fast as you can say ''major-label interest.'' ''I don't know exactly what it means yet,'' Keith says. ''It's not like some AR guy was sitting in the audience and liked us. We don't sound exactly like something else. And we're not easily swept into any new trend. But there is a stir. I think this is a really unique chance to get up and show what we can do,'' Barbara says. ''The Church of the Falling Rain'' is now available only at the band's Web site, www.thestonecoytes.com, which Leonard - a loyal fan, to say the least -
Re: Bookstore gig question
Tom Mohr wrote: Covivant and I were in the Borders in OakBrook IL this morning, and I happened to notice a sign taped up by the cash register, which read something like this: Attention All Cashiers Performers are contractually entitled to free coffee, tea, and soft drinks. NO FOOD. This reminds me of when we have done things at swanky hotels and they come up to us and ask us to use the service entrance to load in, obviously because they don't want us mingling with the guests. Some things never change... -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: Return of the Grevious Angel
Is Son Volt conspicuously absent OR is this only a partial listing? This does look like a partial listing, but I'm sure someone out there knows.. A listing of tracks from the GP tribute album, "Return of the Grevious Angel: A Tribute to Gram Parsons", from a blurb in today's Tennessean "She" -The Pretenders with Emmylou Harris, "Ooh Las Vegas"-Cowboy Junkies, "Sin City"- Beck and Emmylou Harris, "$1000 Wedding" Evan Dando and Juliana Hatfield, "High Fashion Queen"- Chris Hillman and Steve Earle, "Juanita"-Sheryl Crow and Emmylou Harris, "Sleepless Nights"-Elvis Costello, "Return of the Grevious Angel"- Lucinda Williams and David Crosby, "100 Years"- Wilco, "Hickory Wind"-Gillian Welch and David Rawlings, "In my Hour of Darkness"-The Rollng Creekdippers, "Hot Burrito #1"-The Mavericks "Proceeds from the album, tentatively scheduled for mid-May of Almo Sounds, will benefit the Vietnam Veterans of America Foundation's Campaign for a Land Mine Free World."
Mountain Stage Broadcast Schedule
Broadcast Schedule West Virginia Public Radio broadcast schedule-Sunday, 3:00pm The week of 02/21/99LAURA LOVE BAND EDDIE FROM OHIO JULIE GOLD CHUCK BRODSKY JENNY ALLINDER ALLAN FREEMAN 02/28/99Encore MARK O'CONNOR MAURA O'CONNELL GUY CLARK JULES SHEAR MARCH 1999 03/07/99CRY CRY CRY with DAR WILLIAMS LUCY KAPLANSKY RICHARD SHINDELL JAY UNGAR MOLLY MASON GENGHIS ANGUS JULIE BUDDY MILLER O3/14/99Encore RICKY SKAGSS KENTUCKY THUNDER LOUDON WAINWRIGHT GREG GREENWAY KEVIN JOHNSON 03/21/99Encore BETH NEILSEN CHAPMAN RADNEY FOSTER ANDY BEY MATTHEW RYAN RICHARD GOLDMAN DON DIXON 03/28/99Encore ALTAN WHISKEYTOWN SIXTEEN HORSEPOWER JOHN HAMMOND In the Chicago area, Mountain Stage is on WDCB, College of DuPage radio, 90.9 fm, Fridays 7-9 p.m. http://www.wvpubrad.org/mtnstage.htm TWM
Re: Return of the Grevious Angel
In a message dated 2/22/99 3:59:57 PM !!!First Boot!!!, [EMAIL PROTECTED] writes: Is Son Volt conspicuously absent OR is this only a partial listing? This does look like a partial listing, but I'm sure someone out there knows.. SV may have bowed out, considering that UT was already on the previous GP tribute. Mitch Matthews Gravel Train/Sunken Road
Lulubelle Dies
Reply-To: "Bluegrass music discussion." ([EMAIL PROTECTED])
From: [EMAIL PROTECTED]
Subject: Lulubelle Dies
Myrtle Eleanor Cooper, whom WLS National Barndance producer John ("Renfro Valley")
Lair nicknamed "Lulubelle" when he first teamed her with Red Foley, died last week in
North Carolina. She was 85, and became both a musical partner and very quickly the
wife of Skyland Scotty Wiseman.
Lulubelle Scotty were the top stars of the WLS National Barndance and remained with
the Chicago-based show until they retired in 1958. They sang both comic songs and
ballads; Scott on the clawhammer banjo and Lulubelle the guitar. Lulubelle's smiling,
witty personality almost stole the act in spite of the gentle Scott trying to leash
her in. In fact, she would sometimes hone in on other Barndance acts, sometimes to the
chagrin of its other performers, most notably Jethro Burns of "Homer Jethro" fame.
In 1936, "Radio Guide" readers voted Lulubelle "National Radio Queen," the most
popular woman in radio. She later served two terms in the North Carolina Legislature
after she and Scotty retired to Ingalls, NC.
Scott, author of the team's signature song "Have I Told You Lately That I Love You"
and co-author ("revisor") of Bascomb Lamar Lunsford's "Mountain Dew," died in 1981.
Lulubelle then remarried a family friend from North Carolina, Ernest Stamey.
Scotty also wrote "Brown Mountain Light," "Far Beyond the Starry Sky," "Remember Me
When The Candle Lights Are Burning" and many other ballads and novelties he sang in
duets with Lulubelle. He was heavily influenced by fellow WLS pioneer and early
country recording artist Bradley Kincaid.
In the early 60s the Wisemans came out of retirement to record LPs for Starday;
Lulubelle (who in later years insisted on being called "Lula Belle") recorded
"Snickers Tender Memories" for Old Homestead in 1986 which is still available on
cassette.
Lulubelle Scotty also broadcast on WSM's Grand Ole Opry in 1948, 1950 and 1952. They
made seven Hollywood films including the apparently lost Paramount "National
Barndance," and starred in the films with Roy Acuff and Roy Rodgers among others. The
duo recorded 78s for Columbia, Bluebird, Vogue (picture records), Conqueror,
Brunswick, London, Mercury and Vocalion. They also were members of TV's "Ozark
Jubilee" and performed from 1949 thru 1957 on WNBQ-TV, Chicago.
On personal appearances Lulubelle Scotty shared the stage with the likes of Gene
Autry, Fibber McGee Molly, George Gobel (then "Little Georgie Goebel"), Lum Abner,
Burl Ives and Tennessee Ernie Ford.
Lulubelle was born in Boone, NC, 40 miles from Scotty's birthplace in Ingalls altho
they didn't meet until their tenure began on the WLS Barndance. Lulubelle leaves a son
and a daughter.
BILL KNOWLTON: "BLUEGRASS RAMBLE," WCNY-FM: Syracuse, Utica, Watertown NY
(since 1973)
...my research, by the way, tells me they were, for a time on WLW. Anybody know
anything about that?!
Re: Blue chip radio report
In a message dated 2/22/99 10:00:15 AM Central Standard Time, [EMAIL PROTECTED] writes: Sawyer Brown may not record any more videos. CMT has refused to play "Drive Me Wild" without editing. The group refuses to edit the video. Meanwhile, the lack of video airply on CMT doesn't seem to have hurt the single at all- in fact, it's doing better than most of the group's recent releases. The reason CMT is refusing to play this video is because of a short introduction by WWF rassler Stone Cold Steve Austin. I guess he is to lowclass for HNC fans. I think it is class discrimination. Stone Cold Slim Chance
PLAYLIST - Monday Breakfast Jam: A Morning Drivetime Show 2/22/99 KRCL 91FM, SLC, UT
Here is the playlist for Monday Breakfast Jam on KRCL 91FM, SLC, Ut for Feb. 22, 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. My playlists come from about 85% out of my personal library with the rest coming from station libraries. 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 22, 1999 FLY LIKE COWBOYS HORSES AND HILLS ALLEN DOBB RESOURCE KEEP ON PLAYING LONG ROAD TO ONE HARRY BRYAN CANADIAN TUNES SHE USED TO LIE CEREAL KILLERS BUCK PARSONS SILVER HILLS BEEN SO GOOD TO YOU ONE WAY DOWN JORY NASHTHIN MAN YEAH, YEAHNIGHT IN A STRANGE TOWN LYNN MILES PHILO I'M DRIVING DRIVE CHRIS WEBSTERCOMPASS FADIN' FAST WHAT I DESERVE KELLY WILLIS RYKODISC DREAMLAND JOHN STEWART DARWIN'S ARMY JOHN STEWART DARWIN'S ARMY FOLK ERA FORGET THINKIN' THE LAST HURRAH BEAVER NELSONFREEDOM SLOW DANCE ACROSS THE MOONSECONDS FLAT SECONDS FLAT REDBIRD YOU'LL NEVER BE THE SUN TRIO II HARRIS, RONSTADT PARTONASYLUM SUN EXPLODES BAREBACK HANK DOGSHANNIBAL HIGH LONESOME MOONPRAYER BONES THE FLATIRONSCHECKERED PAST AMERICA COME HOME THE JOEL RAFAEL BAND THE JOEL RAFAEL BAND RELUCTANT ANGEL THERE'S A PANTHER IN MICHIGAN WHO ARE THESE PEOPLE? TROUT FISHING IN AMERICA TROUT ITHACAGLENCREE PETER MULVEY BLACK WALNUT WOMEN WHO FLY DEEP SPACE/VIRGIN SKY JEFFERSON STARSHIP INTERSOUND TRACTOR HEADS TAILS LAURIE SARGENT REPRISE NEED FOR RELIGION TRUE LOVERS OF ADVENTURE MARY LEE'S CORVETTE WILD PITCH HEATHER ON THE MOOR 10TH ANNIVERSARY COMPILATION TEMPEST MAGNA CARTA JAMA CROSSING THE BRIDGE EILEEN IVERS SONY THE MAGDALENE LAUNDRIES TEARS OF STONE THE CHIEFTAINS w JONI MITCHELL RCA YOU'RE A HEATHEN OF LOVE CELTIC WOMAN (various) MARIAN BRADFIELD VALLEY ENTERTAINMENT HOW DID WE GET SO GOOD AT SAYING GOODBYE A.J. CROCE A.J. CROCE PRIVATE MUSIC TEXAS RUBYFIT TO SERVE A.J. CROCE RUF BECAUSE THE WIND TRAIL JIMMY LAFAVE BOHEMIA BEAT GIRL AT THE END OF THE BARLOVE SONGS FOR MYSELF WALTER CLEVENGER THE DAIRY KINGS PERMANENT PRESS SOMEBODY NEW THIS AIN'T OVER YET GRETA LEEself-release LOSER'S WEEP SIMPLE GEARLE STACEY EARLE GEARLE LIGHTING UP THE MIGHTY MISSISSIPPISYLVIA HOTEL CHERYL WHEELER PHILO KANSASHALF MAD MOON THE DAMNATIONS TXSIRE GIANT ON
Neil Young - ripping off or not?
This is forwarded from the Petty list. I have included the whole thing so you understand the context. I can't remember if it was on P or P2 that the comments about Young's high ticket prices circulated. Maybe this sheds some light... Stevie Andy Wedam wrote: Here in Portland the going rate for Neil Young is as I recall $35 at the Schnitzer (sic). There is a $150 option or some such thing to benefit the Bridge School Concerts which includes some sort of dinner or gathering w/ Neil Young. On Mon, 22 Feb 1999 [EMAIL PROTECTED] wrote: In a message dated 99-02-21 18:44:27 EST, you write: hats off to the heartbreakers and everyone involved in setting the ticket price at $45. looking back, they could have sold them at three to four times that amount and they still would have sold out in an hour. -- i agree cowboy! neil young is selling for 125 or something like that. the stones tickets were like 150! that's just so outrageous. Tom and the HB's are so totally awesome to their fans - they know who really, reallly loves them. at first i thought 45 was kind of steep, but then i remembered back for the 1997 shows they were about 31.50 i think so it is a bit of a raise but not too terrible. he has some mighty fine principles doesn't he? sigh - that's just one of the many reasons i love him so! man i'm so excited for the shows - can't WAIT!!! ---Mr. Breeze "Oh, here is the dog. Is I watching him or he watching me?"
Lists Announcement
Hello Postcard2 Subscribers: With the permission from Postcard2, I would like to invite you to visit two newly established email discussion lists. The first deals strictly with beginner banjo tips and pointers as well as on going discussion about anything and everything a fledgling needs to know. You can find it at: http://www.onelist.com/subscribe.cgi/BgnrBanjo The second deals strictly with jugband music. Most likely, the only email discussion list dealing with jugbands from the past and present. You'd really be surprised how many people are keeping this music alive and well. You can find it at: http://www.onelist.com/subscribe.cgi/Jugbandz Thank you very much for your interest. Hope to see you at either of these lists one of these days. Cheers, Bill Bubb Listowner - [EMAIL PROTECTED] [EMAIL PROTECTED]
Folk Music List
Hello Postcard2 Subscribers: With the permission from Postcard2, I would like to inform you about a recently established email discussion list, dealing with folk music. The list will be like attending a big folk festival. One never knows exactly who will show up. We'll cover everything from folk, cajun, bluegrass, blues, celtic, cowboy and mining songs, old time and traditional music. You'll get workshop and venue information and even storytellers are welcome aboard. You can reach it at http://www.onelist.com/subscribe/FolkFest Thank you kindly for your consideration. Hope to chat with you down there someday soon. Cheers, Bill Bubb Listowner - [EMAIL PROTECTED]
Don minus Phil
SWEET DREAMS AT DON EVERLY'S COUNTRY INN YOU CAN CLOSE YOUR EYES AND DRIFT BACK IN BOB ALEXANDER * 02/14/99 The Tennessean (Copyright 1999) Column: GETAWAY Kentucky You are the dearest land outside of heaven to me. Kentucky I miss your laurel and your redbud trees. I know that my mother, dad and sweetheart are waiting for me Kentucky I will be coming soon. Kentucky, by Carl Davis Don Everly, the country-at-heart half of the legendary Everly Brothers recording duo, has pined in song for his native Kentucky since his uprooted childhood. *And now he finally has a little place of his own in the Bluegrass State. "For years I had been looking for a cabin near where I was born, and I found one with 55 rooms!" the singer says with a laugh, relaxing before a crackling fire at his Everly's Lake Malone Inn near Dunmor. "I believe as you get older, you begin to appreciate your roots," says Don, who at 62 is two years older than his brother, Phil, who lives in California. "It's wonderful to sit around like this and talk, and go for little walks. It really uplifts my heart and spirit." A living museum The lobby of the rustic lodge is filled with guitars, autographed * photos of Don's heroes and friends from both the country and rock 'n' roll sides of the music business. It also boasts gold records from Everly Brothers hits, including Bye Bye Love, Cathy's Clown, Bird Dog, Wake Up, Little Susie and All I Have to Do Is Dream. One corner is reserved for family snapshots of the young brothers enjoying carefree summer days long ago poignant times captured in the lyrics of their ballads. Except for a few years when the brothers both lived in California in the 1960s, Don has been based in Nashville, where he is active in * the country music community. But he considers the Bluegrass State his spiritual home. The Everly Brothers' earnest version of the old ballad Kentucky, from the duo's album Songs Our Daddy Taught Us, has opened their live concerts for decades. In April, the brothers returned to the stage of Nashville's Ryman Auditorium, where they performed as Grand Ole Opry members in the late 1950s. After an emotional introduction by their mentor and friend, Chet Atkins, they opened the historic show with a captivating medley of their Kentucky songs, including their hauntingly beautiful Green River. "I'm a sentimental guy, and that was a very emotional night for us," says Don. A piece of home His Kentucky inn is about 15 miles south of Central City near Lake Malone State Park, a popular recreational area. It was built in 1974 by oil magnate Ray Ryan, who wanted a private hunting lodge and getaway for himself and his Hollywood friends, including Dean Martin, William Holden and Frank Sinatra. But when Ryan couldn't get a permit to build an airplane landing strip near the lodge, he opened it to the public. Don and Phil Everly were paying guests at the inn for years. It served as the brothers' base camp during their annual Everly Brothers Homecoming concerts, held each Labor Day weekend since 1988 in nearby Central City. When the property came up for sale, Don says he jumped at the chance to own a piece of his beloved Kentucky. The inn's restaurant serves country portions of home-style chicken and fish dishes, and its Lake Malone Old Kentucky Favorite Breakfast comes with sugar-cured ham and red eye gravy. Don, whose culinary talents are well-known among his friends, says he would like to introduce some of his favorite recipes to the dinner menu. "There's not a plate of pasta in Nashville that's better than mine," he brags. Everly's Lake Malone Inn is just down the winding road from the coal-mining hamlet where Don was born, and where he and Phil spent summers with relatives after the family left Kentucky in pursuit of radio jobs. The brothers come from a performing family. Their parents, Ike and Margaret, were well-known throughout the Midwest as country singers and musicians. As soon as Don and Phil could hold guitars, they became part of the family's radio show. The Kentucky inn is about an hour north of Nashville, and two or three times a month Don and his wife, Adela, drive up to their retreat. He says he enjoys playing the role of country innkeeper, particularly talking with guests, signing autographs, posing for pictures and leading walks through the rolling countryside. Strictly country On Friday and Saturday nights, guests are entertained by Big Willard and the Silvertones.
Mr. Earle amd Ms. Willis
EARLE CLIMBS THAT MOUNTAIN * TALENTED ARTIST TURNS HIS ATTENTION TOWARDS BLUEGRASS BY FISH GRIWKOWSKY * 02/15/99 The Edmonton Sun (c) Copyright 1999 The Edmonton Sun. All Rights Reserved. * THE MOUNTAIN: Steve Earle and the Del McCoury Band (ADA) -- If you bought El Corazon in '97, one of the tracks you'll probably recall is I * Still Carry You Around, Earle singing with a competent bluegrass band in tow. This is an album full of just that, the band being Del McCoury's. TD This is not Copperhead Road. Earle is a strange animal. A song such as More Than I Can Do from I Feel Alright, for example, showed just how happy he was to be out of prison, rocking down the house. Last album he spent more than a little time mourning the death of folk icon Townes Van Zandt. The result was great. Now he's taken the Marty Stuart approach and immersed himself in a musical project. * If you like bluegrass, which you should, this a fine collection. The usual all-star cast is there: Emmylou and Gillian Welch, along with Stuart and Sam Bush on the subdued last track, Pilgrim. The tone is varied and the playing competent. Though Earle works best in a kind of Springsteen mode, harmonicas and guitars fighting for * attention, his nasally voice suits bluegrass, especially when McCoury joins him in harmony a la Bill Monroe or Flatt and Scruggs. It's a good album, but at the same time it's not going to be for everybody. * Music's past is filled with wonderful genres, and bluegrass is one of them, certainly better than the dorky anthems that proliferate the radios of North America at the end of this century. Earle told me once that he was going to do a CD this year about the path music had taken since Jimmie Rodgers left the scene. Looks like he stopped in the Ozarks for a while. Good on him. (4) - - - WHAT I DESERVE: Kelly Willis (Ryko) -- Kelly Willis is one of the very few artists (Emmylou Harris, Junior Brown, Lyle Lovett) who can please ears on both sides of the country fence. Her lyrics are straightforward enough to please hot country sensibility and deep enough to deserve a "yup" from the y'alternative pumpkin patch. It ain't all empty and happy, but it ain't all painfully gritty and real either. So what we have here is a sort of white flag, a truce between two distinct and uncommunicative sides. Which mostly turns out well. Kelly Willis is also a singer, besides all this labelling, and her voice, though decent, can take some getting used to. She has a meandering style, one that never strays too far, so there is also a homogeny to What I Deserve that requires a second or third listen to pick up on the subtlety. But Cradle of Love really shows off her voice with a kind of sentimentality (without the cheese) that Karen Carpenter often hit. She sings mostly about relationships, ill and healthy, newborn and gone, which is what all good country is about. There's a track called Talk Like That that hits your heart in a very different way than the next song, Not Forgotten You, but this is Willis's skill and though her overall punch is a little soft, this is still a hell of a record for any laid-back occasion. (3 1/2)
Ms. Willis
Kelly Willis all grown up; A new album. Her own songs. john t. davis * 02/18/99 Austin American-Statesman (Copyright 1999) `My Gawd," said Kelly Willis' luncheon companion. "The last thing I'd think you wanted to look at is another plate of barbecue." It was a reasonable enough assumption. Shortly after Willis blew into town in 1987, her band, Kelly and the Fireballs, landed a regular gig on the outdoor stage at Green Mesquite BBQ, on the corner of Barton Springs and Lamar. Willis herself, then on the shy side of 20, virtually personified the phrase "a mere slip of a girl," but she was the possessor of a Kelly-and-a-half voice that yanked enough heads sideways to make a chiropractor about two-thirds rich. (That voice was -- and remains -- a wondrous instrument, warmly flavored with a Southern purr, and as richly burled as walnut paneling. When Willis sings, it is the aural equivalent of a cat curling up in your lap.) All the same, there are only so many nights a girl wants to come home after midnight smelling like an ambulatory brisket . . . One couldn't blame Willis if she regarded what Little Richard used to call "bobby-cue" with ambivalence. "Naw," she said on this February day, as she tucked into a bowl of jambalaya crowned with a glistening hunk of Elgin smoked sausage. "God, you can't live in Texas and not like barbecue." Speaking of the Green Mesquite days, she sounded as though she were analyzing another girl's performance: "I was so self-conscious and scared that I don't even remember what happened . Other people go, `Oh, remember when this happened?' And I go, `Oh yeah. . .' But I would never have remembered it on my own because all my memories are about just being terrified." A decade-and-change later, at the ripe old age of thirty-and-a- half, Willis remains as burdened by fears, doubts, second guesses and insecurities as anyone in her audience. But she has uncovered a liberating secret. Well, it's not a secret, exactly -- it's just something everyone has to discover for themselves. Namely, that freedom only comes from taking chances, not from avoiding them. Onstage, she said, "I used to joke that I wanted to tell everyone to stop looking at me, `I know I'm in the middle of the stage here, but I don't want you to look at me!' " But, she continued, "The more you perform and the more you actually are bad or mess up, you come to realize it's not the end of the world. You get more confident. You get better. You get used to whatever it was you were afraid of." A similar revelatory process informed the making of her fifth (including the limited-edition 1996 EP, "Fading Fast") and long- deferred album, "What I Deserve." Not only is it her debut effort for a new label, Rykodisc, "What I Deserve" also features six songs written or co-written by Willis. She has never been as well- represented as a writer on an album. The remainder of the disc is fleshed out by songs from the late English songwriter Nick Drake, Austin's Damon Bramblett, Paul Westerberg (formely of the Replacements), Gary Louris of the Jayhawks, veteran RB master Dan Penn and a pair of tunes from her spouse, Bruce Robison. Measuring the artistic distance between "What I Deserve" and her last full album, 1993's "Kelly Willis," she said, "I think it's just the natural growth that anyone would have over five years, especially coming out of your mid-20s, when you're just figuring out who you are. Mostly, I think it's just that I got more confident. There's a point of view and a focus to this album that's a lot different for me. I take a long time to write a song, and that's usually because it's about something real, and I want it to end up sounding real." "Sounding real" is especially important to Willis, whose career has sometimes resembled a series of Procrustean beds. Guided for years, for better or worse, by other musicians, managers and producers (most notably country hitmaker and MCA Nashville president Tony Brown), Willis often found herself being twisted and stretched like a piece of State Fair taffy. If it serves no other purpose, "What I Deserve" will stand as her declaration of independence. From Willis' point of view, the title track and "Talk Like That" (her first solo writing credit on record) are the most important . The songs could not be more different. "Talk Like That" is a reminiscence, inspired by a show she played * with bluegrass virtuoso Ricky Skaggs, that illuminates the power that voices have to conjure up a sense of place. "I can hear my father/And his Oklahoma
Del
* The Del McCoury Band - Inside story: Taking bluegrass to the masses DAN FINK * 02/19/99 York Magazine (Copyright 1999) It's a hectic time for Del McCoury these days. In the past year, he switched to Ricky Skaggs' Ceili Music record label, signed on with new management, and has not one but two records out. *His collaboration with country rocker Steve Earle will put McCoury on - hang onto your hat - "Late Night with Conan O'Brien." *Bluegrass music on hip, late-night TV? What's going on here? *York County's most famous picker and one of bluegrass music's most honored players was typically low-key. "I guess every music has its day," McCoury said in his folksy drawl. "I've been around it since the '40s. I was never a big promoter. I just like to play and make records." At age 60, he's playing and making records as well as ever. He * and his band have won a slew of International Bluegrass Music Association awards in the past decade. Now comes the collaboration with Earle. The two men met about four years ago, and McCoury and his band recorded a cut on Earle's * 1997 bluegrass-flavored "El Corazon" album. About a year ago, Earle * and McCoury talked about another bluegrass record, one that would pay tribute to the spirit of the legendary Bill Monroe. "He said he wanted me and the boys to work on it with him, so I said sure," McCoury said. "We never thought it would be so quick, though. A couple of months later, he came back to us with a bunch of songs, and we did 'em. He's fast. And I admire him, too. He's a great songwriter." The result is "The Mountain," the latest in a series of records from Earle to be heaped with critical praise. The record is due out this month and Earle and the Del McCoury Band will head out on a world tour at the end of March. First, though, come a few local appearances. Saturday, Del and * the boys will be at the Strand (minus Earle) to headline Bluegrass '99. Joining McCoury for two shows will be Doyle Lawson and Quicksilver and the Lewis Family. This weekend, PBS's "Sessions at West 54th" will feature a performance of Earle and the band taped in New York last October (see it at midnight Sunday on WITF-TV). Rolling Stone's America Online Country Web site described the show as an "inspiring summit * between the genre-busting Earle and the finest bluegrass ensemble in the world." Next month, the Earle-McCoury tour kicks off with four sold-out shows in Nashville starting March 3. They make a stop in Philadelphia at the Theater of Living Arts on March 16 and squeeze in the appearance with Conan O'Brien on the 19th. Then they'll be on the road through at least June. *Bill Knowlton, host of "Bluegrass Ramble," a weekly music program on public radio station WCNY-FM in Syracuse, N.Y., said McCoury and Skaggs are nudging the music into the mainstream. *"They are kickin' butt in bluegrass right now," Knowlton said. "Del is the one making records. He's the one making the personal * appearances. He's bringing bluegrass to newer audiences, and he's * doing it while keeping the traditional bluegrass sound." It's all a far cry from the little farmhouse McCoury grew up in near Glenville in southern York County. Del and his brothers, Jerry and G.C., all learned to play music, thanks to their parents, Grover Cleveland and Hazel. "My dad was a good singer, but my mother had the instrument talent," Jerry McCoury said. "She played guitar, piano and a pretty good harmonica. Still plays harmonica a little bit." G.C. taught Del to play guitar, and they played together in a quartet while Del was still in his teens. That was right around the time Monroe added the legendary * guitar-banjo combo of Lester Flatt and Earl Scruggs to his Bluegrass Boys band. That band - Monroe singing and playing mandolin, Flatt on guitar, Scruggs on five-string banjo, Chubby Wise on fiddle and Cedric Rainwater on bass - is generally credited with inventing the * bluegrass sound: several acoustic string instruments, with lots of bluesy harmonies, fast tempos and high-pitched vocals. *"People say that was kind of the classic bluegrass band," Del McCoury said. "They set the standard. That's what made me want to do music." After graduating from Spring Grove High School in 1956, McCoury * played in a couple of different bluegrass bands as a banjo player * before heading to Nashville to hook up with Monroe and the Bluegrass Boys in 1963. Two years later, with his wife Jean homesick for Pennsylvania, he came back to York County. Initially, he worked in a sawmill through
Another Bluegrass Definition
* Basically Bluegrass/ Bluegrass goes slightly out of bounds with Northern Lights Tanya Bell* 02/19/99 The Gazette (Copyright 1999) *Many bluegrass bands are happy to stick to the traditional style started by Bill Monroe and the Blue Grass Boys in the 1940s. But Northern Lights wants to give the sound its own twist. "A lot of bands want to preserve that exact sound, but that's not what I want to do," says Lights mandolinist and vocalist Taylor Armerding. The band will perform tonight at the Black Rose Acoustic Society. "The core philosophy of the band has been to try not to be totally bound to what would be the traditional * boundaries of bluegrass, but not out of the genre," he says. The band blends jazz, rock 'n' roll and classical influences into their original music, but they also * stick to the three-part harmonies that bluegrass is known for. *Conventional bluegrass is a style of American country * music that combines elements of dance and religious * folk music. The vocal range is usually higher than * most country music, and bands usually consist of guitars, banjo, bass, fiddle and mandolin. Northern Lights doesn't stray far, because that would take away from what they originally fell in * love with: the honest, earthy quality of bluegrass. "The speed element is very hypnotic to me. It's very homespun and not processed in any way. It's very real. You have a sense of what it's about," says Armerding. "It's very happy-sounding music." Formed in 1975 in New England, Northern Lights has had quite a bit of turnover. Since their first album release in 1976, the band has taken on many forms. For a while it seemed as though they broke up and reformed about every two to four years. Some members would leave to take on "real jobs," while others simply moved away. Armerding is the only original member. Now the group is made up of Bill Henry on guitar and vocals, Chris Miles on bass and vocals, Mike Kropp on banjo, and Armerding. Occasionally Armerding's son, Jake, joins the group on fiddle when he's not tackling college courses. Miles joined in 1996 and the rest of the bunch has been playing together since 1991. And for a traveling band, these guys maintain some pretty demanding "real jobs." Armerding is a newspaper editor in Andover, Mass.; Henry does engineering and draft work for nuclear submarines; Kropp sells music equipment and Miles does music session work and teaches bass. But with all of the changes in band lineup plus the members' demanding work schedules, they still have managed to maintain their own sound. "Every person has taken (the music) to a place it would have gone," Armerding says. The band is putting the finishing touches on an album to be released this spring. It's the eighth Northern Lights album, the second recorded by the current lineup. The lyrical themes are heavily steeped in relationships and life in general. "We just write from our own experience or the human * experience. We sing about classic bluegrass themes, * like life on the road - if you're singing bluegrass, you're not flying in jets." They spend about 60 days on the road each year. The band also is choosing cover songs not from the traditional repertoire, including the Beatles' "If I Needed Someone." Despite the new types of music being thrust into * the limelight these days, Armerding says, bluegrass has maintained a stable place in the music world. *"(Bluegrass) has a very intense and loyal following. You find thousands of people at festivals, but it's never going to be an arena type of music. It's not growing with great rapidity, but it has a good, solid niche."
Back in Black
Man In Black looks back * 02/19/99 Belfast News Letter (Copyright 1999) *JOHNNY CASH - country music's Man in Black - lived on the wild side of life over a large part of his singing career, and his reputation as a drug addict and acknowledged 'Outlaw' is part of American folklore. The Cash personal recollections on amercurial lifestyle and thoughts on his more famous contemporaries are related in an autobiography to be published on March 1. BILLY KENNEDY reports JOHNNY CASH was part of the "Millionaire Quartet" who recorded on the Sun label in Memphis during the 1950s. The other three were up- and-coming rockabilly guys who were all the rage at the time - Elvis Presley, Carl Perkins and Jerry Lee Lewis. The four, according to Johnny, got along well while appearing at shows but only once did they come together for a recording session. That was with Elvis seated at the piano leading the other three in * renditions of bluegrass and gospel standards. All had come from a Southern gospel background, but each had to some degree strayed off the righteous path. Presley in the 1950s, says Cash, was a highly sensitive young man. "He was easily hurt by the stories people told about him being on dope and so on. I myself couldn't understand why people wanted to say that back in the fifties because in those days Elvis was the last person on earth who needed dope. "He had such a high energy level that it seemed he never stopped - though maybe that's why they said he was on dope. Either way, he wasn't, or at least I never saw any evidence of it. I never saw him use any kind of drugs, or even alcohol; he was alwaysclear-headed around me, and very pleasant. "Elvis was such a good guy, and so talented and charismatic - he had it all - that some people couldn't handle it and reacted with jealousy. It's just human, I suppose, but it's sad." The Cash-Presley relationship was cordial, but not that tight. "I was older than he was, for one thing and married for another. I took the hint that when he closed his world around him. I didn't try to invade his privacy. I'm so glad I didn't because so many of his friends were embarrassed so badly when they wereturned away at Graceland. "In the 1960s and 1970s he and I chatted on the phone a couple of times and swapped notes now and again. If he was closing at the Las Vegas Hilton as I was getting ready to open, he'd wish me luck, but that was the extent of it," recalls Johnny. "The Elvis I knew was the Elvis of the 1950s. He was kind when I worked with him; a 19-year-old who loved cheeseburgers, girls and his mother, not necessarily in that order (it was more like his mother, then girls, then cheeseburgers!). "Personally I liked cheeseburgers and I had nothing against his mother, but the girls were the thing. He had so many girls after him that whenever he was working with us, there were always plenty left over. "As an entertainer Elvis was so good. Every show I did with him I never missed the chance to stand in the wings and watch. We all did, he was that charismatic." The late Carl Perkins, whose big hit was Blue Suede Shoes, was very special to Johnny Cash, very close. "We'd been raised on the same music, the same work, the same fundamentalist Christian religion; we were in tune with each other. Carl was countrified and country-fried from south-west Tennessee, while I was a country boy from Arkansas. "We shared a lot in the Christian values area. Neither of us was walking the line as Christians, but both of us clung to our beliefs. Carl had great faith and at his depths, when he was drunkest, what he'd talk about was God and guilt - the samesubjects I would bring up when I was in my worst shape. "Whenever Carl drank, he's get drunk, and he drank often. It seemed like the Perkins car couldn't keep enough whiskey in it. And when he was drunk he would cry. "But he was man of his word. If you asked him for help and he agreed, he'd be there without fail. If he borrowed money from you and told you he'd pay it back Monday, that's when you got it," said Johnny. Jerry Lee Lewis, a performer with a wild reputation, was, as Cash recalls, one who took things seriously. "He'd just left Bible College when he first go to Sun Records, so we all had to listen to a few sermons in the dressing room. Mostly they were about rock 'n' roll leading us and our audiences to sin and damnation, which Jerry Lee was convinced washappening to him every time he sang a song like 'Whole Lot of Shakin' Going On'. "I'm out here doing what God don't
Mr. Earle
* SOUND CHECK // Steve Earle turns to bluer pasture * 02/19/99 The Orange County Register REVIEW COUNTRY * Steve Earle and the Del McCoury Band "The Mountain," E-Squared *If you're going to cross the country-folk-rock line and do your * first pure bluegrass album, it doesn't hurt to bring along one of * the top bluegrass bands in the business. *Steve Earle's music has always had shadings that pointed to this, though, so it's no surprise that his latest effort, "The * Mountain," with the Del McCoury Band, is top-shelf bluegrass. It's a record that stands as much on the strength of Earle's songwriting as the McCoury family's fine pickin' and grinnin'. The genesis of the disc came in 1995 when Earle was touring with the acoustic combo of Peter Rowan, Roy Huskey Jr. and Norman Blake in support of his album "Train a Comin." Bill Monroe, the Father of * Bluegrass, strolled on stage one night uninvited and sang several songs with the band. Earle called it "the biggest thrill of my life" and probably would have dedicated this record to Monroe if not for the death of Huskey two years ago from lung cancer. At any rate, this music is worthy of Monroe, and that's no shallow compliment. Earle's best songs have always been exquisite in their * simplicity, a prerequisite to respectable bluegrass, and that quality abounds here, perhaps most strikingly in the title song. "The Mountain," a tale of life in the coal-mining business, resonates with a mournful blend of defiant pride and resignation. And Earle displays a knack for tapping into the cheerful desperation that has always defined southern mountain music in songs such as "Yours Forever Blue," "Leroy's Dustbowl Blues," "Lonesome Highway Blues" and "Pilgrim." Throughout, the instrumental work of the McCourys is exceptional, particularly the lead banjo breaks of Rob McCoury and the intricate mandolin work from Ronnie McCoury. The brightest light of the effort is "I'm Still in Love With You," a bittersweet duet with Iris Dement, whose sweet, fragile vocals draw a clever, comfortable contrast with Earle's gruff tone. Tongue in cheek, Earle says in liner notes he made this album for "immortality. I wanted to write just one song that would be * performed by at least one band at every bluegrass festival in the world long after I have followed Mr. Bill (Monroe) out of this world. Well, we'll see." *Chances are better than good that the close-knit bluegrass community will embrace this album and Earle will get his wish. *You might enjoy if you like: Bluegrass music, previous Steve * Earle. By GENE HARBRECHT The Register
MP3
Spinner.com to Offer MP3 Downloads; Leading Internet Music Service Adds Digital Download Capability to Its 100 Plus Channel Player * 02/22/99 Business Wire (Copyright (c) 1999, Business Wire) BURLINGAME, Calif.--(BUSINESS WIRE)--Feb. 22, 1999--Spinner.com, the first and largest Internet music service, announced today that it will expand its streaming audio service to let users download licensed MP3 or other digital song files, making Spinner.com the first Internet music site to offer a complete Internet music solution. Spinner.com's current site lets listeners hear its growing collection of 150,000 whole songs on 100 plus unique channels, get artist and CD information, rate songs and purchase CDs. TD "Spinner.com will be the first streaming music site to let listeners hear an extensive collection of whole songs, and download licensed songs at a click of a button," said Dave Samuel, CEO and founder of Spinner.com. "This preview before you buy option is the most compelling way for listeners to know what they want to buy before downloading." "Offering the most complete range of legal music listening and buying options on the Internet is good for listeners and good for record labels," added Samuel. "Spinner.com has strong and symbiotic relationships with the major and independent record labels, and we're working with them to ensure continued trust and support for our venture." Earlier this month, Spinner.com closed a $12 million round of financing, led by Sony Music Entertainment, Intel Corp. and Amerindo Investment Advisors, Inc. These investors joined existing investors Allen Co., Arts Alliance, IDG Ventures, and Phoenix Partners. Spinner.com will remain digital format agnostic, offering MP3 or another standard, dependent upon which format emerges as the industry standard. It expects to launch digital download service in 2Q99. About Spinner.com Spinner.com is the first and largest multi-channel Internet music service with a database of 150,000 digitized songs delivered over 100 plus highly specialized music channels. Covering an unprecedented depth and breadth of * music programming -- with channels such as 90's Rock, Bluegrass, British Invasion, Chicago Blues, Top Pop, Great Guitar, Jungle and Latin -- Spinner.com reaches 2.5 million listeners worldwide, broadcasting 1.5 million songs per day and delivering 31 million audio sessions per month. Based in Silicon Valley, Spinner.com combines the power of the Internet with advanced digital audio technology to raise entertainment to a new octave. The Spinner.com music players -- the Web-based Spinner and the stand-alone Internet application Spinner Plus -- display song information as music is played, while providing dynamic links that enable online purchasing and real-time listener feedback. New listeners can visit Spinner.com and download a free player at www.spinner.com.
For Twangfest
Having trouble breaking the ice? Nothing stimulates good conversation and eventual friendship like the unorthodox opening of a beer bottle. A book titled "99 Ways to Open a Beer Bottle Without a Bottle Opener," and hawked by the site of the same name, is your perfect-bound ticket to increased popularity. And because the author lists ten tried-and-true methods on the site, you don't even have to buy the book to begin your more fulfilling social life--although we sincerely hope nobody ever hands US a beer opened with a public toilet. http://www.inch.com/~brett/
funny haha (long)
Love in the Eighties I was working part time in a five and dime. My boss was Mr. Magee. He was six foot four and full of muscles and walked like an Egyptian, but I was happy to be stuck with him. One manic Monday, while I was busy working for the weekend, I overheard him make a careless whisper. He told two of my co-workers, Jack and Diane, that I gave love a bad name. Well, I got so emotional, baby. I told him to say say say what he wants, but don't play games with my affection. He told me it was hard for him to say he's sorry and not to worry, to be happy. Then he blamed it on the rain. He was so out of touch. It just took my breath away. I couldn't fight this feeling any longer. I asked him "What's love got to do with it?" He told me to get outta his store and his dreams and into my car. So I figured I might as well jump. I cut footloose, went home and called my girl, Jenny. (You already know, the number) She was on the other line with Amanda. They were talking about Mickey and how he was so fine. That blew my mind! Was she really going out with him? I told her that I had just called to say I love her. She told me she had been saving all her love for me, but now she was looking for a new love asta la vista, baby. I thought, "I can't go for that - no can do! Bring me a higher love!" I called up some of my old West End girls, hoping that one of them would want to get physical all night long (all night). First I called Billie Jean she told me to beat it. I called Rosanna - her sister Christian blessed the rains down in Africa and then hung up on me. Come on, Eileen! ... no answer. Nobody told me there'd be days like these! I was feeling like the owner of a lonely heart. Then, out of the blue, my best friend's girlfriend (she used to be mine) Roxanne calls. Yes, the real Roxanne. She told me she still hadn't found what she's looking for and that she wanted to take on me. I said, "I thought you were Jessie's girl." She said "Don't you want me? You don't have to put on the red light - I'm on my own." What a feeling! I had the eye of the tiger. Who was I f-f-f-foolin? Roxanne drove me crazy like no one else. She's a beauty! She blinded me with science, and weird science at that. There was always something there to remind me of her and I just knew that I'd have the time of my life. I wasn't about to la-di-da-di. I jumped in my little red Corvette and rocked down to Electric Avenue. I got my mind set on her. When I got to her house (in the middle of her street) I ran. I rapped on her front door and to this rapper's delight, I heard a voice say, "Who can it be now?" "Here I am, the one that you love", I replied. I let my love open the door and was immediately lost in her eyes. I felt like a virgin touched for the very first time. She loosened her blouse and said, "Rock me Amadeus!" Well, I felt it was my prerogative to bust a move. I told her "I'll tumble for ya!" as I pinned her on the stairs, hungry like the wolf. Just then I felt an invisible touch on my shoulder. "Turn around bright eyes!" said a familiar voice. As I did, Jessie hit me with a sledgehammer of an uppercut that spun me right round like a record. He was hangin' tough and continued to roll with it, knocking the wind from beneath my wings--broken wings by this time. He rocked me tonight, for old time's sake, beating me from head to toe, until my true colors were black and blue and blood was spilling from my mouth like red, red wine. "You don't owe me money for nothing!" he snarled. At this point I was livin' on a prayer. I crawled back to my little red Corvette and drove home thinking about how my tainted love had cut like a knife - how it seems that every rose has its thorns.Truly, Love stinks.
Damnations TX Trivia, Promotional vs. Commercial release
After having bought the just released "Half Mad Moon", I came across a promo copy packaged with no inserts and close enough to free that the missionary in me had to pick it up as a loaner to sway the unconverted. Beyond the absence of the "TX" in the bands name, I noticed a few odd things. Tracks one and ten are switched. Hmm. A quick comparison shows that all timings are identical except tracks 1 and 10 which vary by seconds. "Things I Once Adored" sounds identical to my ears but "Unholy Train" has been subtly juiced on the commercial release. The acoustic guitar in the left channel of the promo has been replaced by an electric and the organ on the promo has been replaced by horns. (I'll give a slight nod to the original mix) My guess is that somewhere between Sire/Watermelon and Sire, Unholy Train became the single release. Anyone know if "refining" material between the distribution of promotional copies and the commercial release is a common practice? Anon...TG np. Lefty Frizzell - Look What Thoughts Will Do
slaid cleaves/don walser
A buddy of mine saw Slaid last night in San Marcos, Tx, backed by a band which included Gurf Morlix on guitar. News from Slaid includes a new URL address: http://www.slaid.com; and a new album produced by Gurf which he is hoping will see the streets by September. On another note, and I hate to pass on what might well be a rumor, Slaid played Walser's "Cowboy Ramsey," as usual, but preceded the song by saying that he had received word that Don was not feeling well lately and had to cut a show or two short. My friend didn't ask for more info, so it might well be that nothing is seriously wrong with Walser, but I thought I'd ask you guys if anyone has any more info. Chad Cosper ** Chad Cosper Dept. of English Univ. of North Carolina at Greensboro 336-275-8576 http://www.uncg.edu/~cscosper
Re: Damnations TX Trivia, Promotional vs. Commercial release
[EMAIL PROTECTED] wrote: My guess is that somewhere between Sire/Watermelon and Sire, Unholy Train became the single release. Anyone know if "refining" material between the distribution of promotional copies and the commercial release is a common practice? Not usually I don't think but in the case of the Damnations the promo you got was recorded about a year ago and then they went back and tweaked a few of the songs that became Half Mad Moon. Chad -- Chad Hamilton University of Texas Graduate School of Business [EMAIL PROTECTED]
Playlist: Fringe 2/20/99 featuring HILLBILLY IDOL
Howdy, Welcome to the newly expanded version of the Fringe. Yep, that's right, the Fringe is now consists of three hours of music to make the regular WDVX listener sit up and say, "Hey! That ain't bluegrass." Well, some of it is. Some of it, most definitely, ain't. This week I got the chance to feature tracks from one of the great new independently produced discs that found its way into my mailbox this year-- Hillbilly Idol. These fellas for certain are making music with a nice traditional honky-tonk sound to it. If you haven't given their new disc, Town and Country, a listen, you ought to. As usual, contact information, upcoming features, etc., are detailed at the end of the playlist. Here's how the first three tour of the Fringe turned out. Fortunately, the S.S. Minnow came through unscathed on the other end of the journey. Artists making their "Fringe debut" include: The Cache Valley Drifters, Asylum Street Spankers, Valentine Smith, Kick at Heaven, Joe Henry, Rory Block, and The Ravyns. Fringe -- Episode #23 -- 9 PM to Midnight WDVX- FM -- Clinton/Knoxville, TN -- February 20, 1999 White Room -- The Cache Valley Drifters -- White Room -- CMH Outlaw's Honeymoon -- Steve Earle the Del McCoury Band -- The Mountain -- E-Squared Country Pie -- Bob Dylan -- Nashville Skyline -- Columbia It All Depends on You -- Hillbilly Idol -- Town and Country -- HBI Colonel John's B.B.Q. -- Asylum Street Spankers -- Hot Lunch -- Cold Spring Lovin' You -- The Lovin' Spoonful -- Hums of the Lovin' Spoonful -- Castle Communications After the Mardi Gras -- Al Anderson -- Pay Before You Pump -- Imprint Someone Before Me -- Hillbilly Idol -- Town and Country -- HBI Tulsa County -- The Byrds -- Ballad of Easy Rider -- Columbia Tulsa Telephone Book -- Calexico -- Real: The Tom T. Hall Project -- Sire Better Off Believin' -- Hillbilly Idol -- Town and Country -- HBI Shades of Grey -- Robert Earl Keen -- Picnic -- Arista/Austin Disappointing Mary -- Valentine Smith -- Back on Earth -- Another Round Recording Barroom Girls -- Gillian Welch -- Revival -- Almo My Maker and Me -- Bob Egan -- Bob Egan Time to Get A Gun -- Fred Eaglesmith -- Lipstick, Lies, and Gasoline -- Razor Tie Harlan Man -- Steve Earle the Del McCoury Band -- The Mountain -- E-Squared (all the above artists will be appearing in Knoxville in the next month) Straight to My Heart -- Hillbilly Idol -- Town and Country -- HBI Run From Your Memory -- Chris Knight -- Chris Knight -- Decca Hound Dog -- Elvis Presley -- Elvis 56 -- RCA Half Empty -- Hillbilly Idol -- Town and Country -- HBI Truck Driving Woman -- The Cadillac Cowgirl with Her Back Door Men -- High on the Hog -- Sur California Blues -- John Fogerty -- The Blue Ridge Rangers -- Fantasy Fall on the Sword -- Kick at Heaven -- Live at Sun Mountain -- Found Dog When It Rains I Get Wet -- Hillbilly Idol -- Town and Country -- HBI This Old Porch -- Lyle Lovett -- Lyle Lovett -- Curb/MCA Somebody's Got to Stay -- Justin Petraitis -- Autumn Breeze -- Justin Petraitis That's Just About Right -- Jeff Black -- Birmingham Road -- Arista/Austin Big Wheel -- Jim Croce -- The 50th Anniversary Collection -- Saja Speed of the Sound of Loneliness -- John Prine -- German Afternoons -- Oh Boy By Now -- Hillbilly Idol -- Town and Country -- HBI Behind This Veil -- Kevin Meisel -- Coal and Diamonds -- Thursday Cover It Up -- Billy Bremner -- A Good Week's Work -- Gadfly Trampoline -- Joe Henry -- CMJ: New Music April 1996 -- CMJ If It Were Only Easy -- Hillbilly Idol -- Town and Country -- HBI The Week of Living Dangerously -- Steve Earle -- Ain't Ever Satisfied -- Hip-O Born Fighter -- Nick Lowe -- Basher: The Best of Nick Lowe -- Columbia The Ways of the World -- Hillbilly Idol -- Town and Country -- HBI Bull Rider's Last Ride -- Don Walser and the Pure Texas Band -- Bull Riders: Chasing the Dream Soundtrack -- Cold Spring Money -- Jerry Lee Lewis -- The Jerry Lee Lewis Anthology -- Rhino Statesboro Blues -- Rory Block -- Confessions of a Blues Singer -- Rounder All My Love Is Gone -- Lyle Lovett -- Joshua Judges Ruth -- Curb/MCA I Don't Need the World -- The Cheeksters -- Hey, What's Your Style -- Caterina Sounds Raised on the Radio -- The Ravyns -- Fast Times at Ridgemont High soundtrack -- Full Moon/Elektra Those Shoes -- Hillbilly Idol -- Town and Country -- HBI Across the Alley from the Alamo -- Pine Valley Cosmonauts with Robbie Fulks -- Salutes the Majesty of Bob Wills -- Bloodshot Tears'll Be Pouring -- The Countrypolitans -- Tired of Drowning -- Ultrapolitan And that's it. Another week on the Fringe over and done with. Tune in next week and hear our featured artist-- Portland, Oregon's Countrypolitans. Here's another indie disc that has been living full-time in my CD carousel. I am looking forward to featuring this next week. Hey! You've read this far, so why not take a moment to ask yourself this question? Should your music be included on the Fringe? Do you have that certain Fringe-like
Re: Lulubelle Dies
This makes me sad. . . Linda
Re: Hayseed
At 04:22 PM 2/20/99 -0600, you wrote: I've had a fair amount of inquiries regarding Hayseed's cd "Melic". Contact Hayseed directly if you would like to purchase one. (And may I urge you all to purchase one?) We also just made a deal with him to carry the disc. We'll have it later this week. 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: Steve Earle/Kelly Willis - Britain's Daily Telegraph
At 06:02 AM 2/20/99 -0800, you wrote: Musician magazine reviews the Kelly Willis in its March issue. The review is glowing. I think the record is very strong as well. ALSO, Westerberg interviewed in same issue. I heard Musician folded.. Anyone? 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: Dan Bern
I like Dan Bern. He's got big balls. Big old balls. His album "Fifty Eggs" on Work is great. Doug At 11:15 AM 2/22/99 +1000, you wrote: has anybody out there heard of a singer/ songwriter name of Dan Bern - a friend of mine has asked me about him and I seem to recall hearing his name on this list a few times. Any takers? junior walker
Border Radio/Starry Eyes for 21FEB99
Border Radio/Starry Eyes WXDU Duke University February 21, 1999 The pop half of the show for this week focused on rootsy pop (poppy roots?), so I'm including both hours. The Bum You Say I Am - Cisco - Wishing You Well From the Pink Motel Can't Stop a Train - The Derailers - Broadcasts Vol. 6 That's How I Got to Memphis - Kelly Willis - Real: The Tom T. Hall Project The Game of Love - The Okra All-Stars - The Okra All-Stars In Memory's Arms - Tim Carroll - Rock Roll Band Rockin' Country Cat - Ronnie Dawson - More Bad Habits Colonel Josh's B.B.Q. - Asylum Street Spankers - Hot Lunch Thirsty - The Old Joe Clarks - Metal Shed Blues Northwoods - Waco Brothers - Wacoworld Shakespeare's Picasso - Chris DiCroce - Brand New Fool Sweet Jane (live) - Lone Justice - This World Is Not My Home Landed in the Mud - Beaver Nelson - The Last Hurrah Fall from the Sky - Bob Egan - Bob Egan Pilgrim - Steve Earle and the Del McCoury Band - The Mountain I Am a Pilgrim - The Byrds - Sweetheart of the Rodeo ***Starry Eyes*** One Hundred Years from Now - Velvet Crush - Hold Me Up single Sooner or Later - The V-roys - Just Add Ice I Got You - John Walsh the Sinkholes - Antimatter Eisenhower She Must Think I Like Poetry - Robbie Fulks - Let's Kill Saturday Night Trampoline - Bill Lloyd - Set to Pop Track 5 Blues - Martin's Folly - Man, It's Cold Lisa Marie - Michael Shelley - Too Many Movies Back to You - Walter Clevenger and the Dairy Kings - Love Songs to Myself (Redraw) The Line - Dick Prall Band - Somewhere About Here Act Naturally - The Beatles - Help! Wouldn't Want to Be Me - John P. Strohm - Vestavia Think She's Coming Around - The Luxury Liners - Fireworks, Vol. 2 NothingsEverGoingToStandInMyWay (Again) - Wilco - Summer Teeth Winona - Matthew Sweet - Girlfriend Middle of Nowhere - Liquor Giants - You're Always Welcome You're My Favorite Waste of Time - Kevin Johnson and the Linemen - Memphis for Breakfast I'm Sorry (But So Is Brenda Lee) - Marshall Crenshaw - Downtown
