Re: Ralph Stanley last night
Hi Postcarders, I had the rare opportunity to see hear Dr. Ralph Stanley The Clinch Mountain Boys at St. Paul's Lutheran Church in Orange, California on Feb. 9th, courtesy of the South Western Bluegrass Association. I imagine the show was similar to the one at McCabe's that Mary Katherine saw. The first set was mild featured quite a few solo tunes by his son Ralph Jr. his sidemen. It was in the second set that his pure mountain music really shone through. Listening to the stirring spirituals in a church atmosphere gave us all an extra soulful feeling I can't quite describe in words. I pretty much felt that I was in the presence of greatness, the same feeling I got seeing Ernest Tubb... Bob Will's Texas Playboys, something special, the last of a breed. I don't have a complete setlist, but here are just a few tunes that I remember from the 2 hour concert. Soldier's Joy Listen to my Hammer Ring - Ralph Jr. Clinch Mountain Back-Step Orange blossom Special The White Dove Rank Stranger Glory Land Shout Little Lulie (his first "claw hammer" tune) The Bittersweet Hills Of Home - dedicated to brother Carter Respectfully yers, Tex Tow
PLAYLIST: Fear Whiskey 2/22/99
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 AudioActive, Winamp and pretty much every mp3-based program via http://www.wrct.org. Past playlists are available at http://www.andrew.cmu.edu/~cz28.fear.html. ARTISTSONG pachora unn duke ellingtonthanks for the beautiful land on the delta sonya hunter have you ever seen? joel phelps at el paso red star belgrade lord's prayer bonnie prince billy a minor place yo la tengo pablo and andrea husker du don't know yet built to spillsidewalk sonic youth chapel hill sleater-kinneyget up sonicsstrychnine waco brothers corrupted billy bremner who says, who cares deliberate strangers box of pine paul kellyadelaide warren zevon boom boom mancini james mcmurtrytired of walking robert earl keen gringo honeymoon dave alvinfourth of july carmaig de forest coldwater park david olney snowin' on raton run oncopper kettle savage republic the year of exile peter jefferies/jono loniepiano (two) victor krummenacher dreams die hard clodhopperwalking tune mac, doc delmore pretty girls than one camper van beethoven sometimes johnsons happening song tom waits black wings joe henry homecoming sam prekopthe shadow al green it ain't no fun to me richard thompson mingus eyes richard daviessign up maybe for being ennio morricone once upon a time in the west dieselhed futon song hadacol better than this rocky ericksoni've never known this 'til now vic chesnutt duty free richard buckner here doc boggs no disappointment in heaven
Re: 50/90
Just curious--who here (who is NOT a critic) has heard the most of these? Dina I've heard most of them (if more than 25 counts as most), and I have to say I'm troubled by the "well-roundedness" of the list. On one hand, it's gotta be a thankless and (somewhat) admirable task to try and sum up an entire decade in 50 gulps, but it seems as if he's trying to touch all the appropriate bases and not offend anybody. Which, of course, ends up offending everybody. And it's not that it isn't eclectic, but in quite a few cases, the guy picks the wrong album from whatever artist he's trying to highlight. (PJ Harvey "To Bring You My Love" and Beck "Odelay" come immediately to mind). Plus, let's face it: If you have 50 goddamn chances to pick Anodyne and you come up with the goose-egg--get to the back of the bus, ya chump!! Lance . . .
Re: 50/90
ROCK SOLID IN THE TWILIGHT DAYS OF THE '90S, HERE ARE 50 REASONS WHY IT HAS BEEN A GREAT DECADE FOR MUSIC List of 50 albums Just curious--who here (who is NOT a critic) has heard the most of these? I own and know three of them, and have heard 3 others. 44 of them I have never heard. A dozen or so of those 44, I have never heard OF. If you know a lot of these albums, what does that make you? Mainstream? Non-mainstream? Eclectic? A Rolling Stone reader? Educated and aware? A trend-follower? Well-rounded? Or just someone who doesn't live under a rock (like I do)? Dina
Re: wristbands
Hey! I'll be glad to buy wristbands for anyone out there who sends me a check for the amount prior to purchase. You can e-mail me personally at [EMAIL PROTECTED] and put wristbands in the subject line so I'll see it. Sorry for the late response to this message. I'm buried in e-mail. Laura Fowler At 08:34 PM 2/10/99 EST, you wrote: Hello Austinites (All you non-austin people can resume your business), My brother and I need four wristbands. In-laws, you know Seriously, if there is someone who I can send a check to in advance who can pick us up the goodies I would be most appreciative. WILL WORK 4 WRISTBAND NW
Hyper produced Bobby Bare
I picked up the Best of Bobby Bare, the poorly titled Razor and Tie/RCA package of Bare's early to mid 1960s years with RCA, and mainly producer Chet Adkins. On the whole, I was pretty disappointed. As a Bobby Bare fan in his later years (Marie Lebeaux, Dropkick Me Jesus, that gorgeous duet with Roseanne Cash, etc.), I never realized how sappy and pop-glopped his 60s output was. All those wonderful tunes -- Detroit City, Houston, Miller's Cave -- ruined with Adkins' mega production. And don't dismiss this as another kneejerk rant against strings, because, through the Jon Weisberger/David Cantwell Re-Education Program I've attended for the past couple of years, I've been able to finally appreciate pop production, a la Roger Miller, Skeeter Davis. But in the case of Bobby Bare, whose tunes are explicitly rural and working class-oriented, the glossy production just doesn't work (for me). And I don't even mind the strings so much, when used judiciously. But add those freaking jingle-like female choral flourishes to the mix -- and they're added on just about every tune on the record -- and it's bizarre. I realize the historical context of this sort of thing, and its connection with the transition of country music from rural to urban, but I just don't think it works. With most of those tunes, I've heard them done later, without the glossy arrangements, and they've sounded a lot better. The Streets of Baltimore, Miller's Cave, Houston, etc. Finally, the record's last two cuts, they finally leave out some of the gloss, and they sound great. Most of the clutter that comes between the listener and the artist has been removed, which, of course, is the way the good lord intended for this music to be listened to. (Last comment a shameless provocation.) On this issue, I guess, once again, I feel the way I felt back in the 70s as a jazz fan, when CTI came out with a bunch of heavily arranged jazz records by artists (Deodata, Hubbard, Airto, Turrentine), which may have hit the jazz-pop target, but seemed to obscure the individual talents of the players. Oops, getting off target and into rough waters. Dive, dive, dive. -- Terry Smith
Re: 50/90
In a message dated 2/23/99 1:54:38 AM Central Standard Time, [EMAIL PROTECTED] writes: Just curious--who here (who is NOT a critic) has heard the most of these? ... If you know a lot of these albums, what does that make you? Mainstream? for my money, kot's is a slightly left-of-center, but still mainstream, list for a rock-crit who writes for a big daily and reviews records for rolling stone (and does a thoughtful, informed job in both cases). bill f-w
Re: 50/90
I agree with Dina, although I've heard a lot more than she has. It seems like standard rock-crit snobbery (is that a word? g) that most of the general public just ignores. I would have put a Steve Earle or Dave Alvin record in there, instead of Jimmie Gilmore (which I don't think holds up too well over the years) and as far as Liz Phair, Bjork and PJ Harvey go, I tried, I had to cover my ears. BTW-Who are Goldie, Bloque, Meshuggah and Common? And Kot still seems to think the electronica movement was/is important, what else is new? g Jim, smilin and older than dirt
They Want to Commercialize Mail Lists
New Service Tries Organizing Chaotic E-Mail Lists February 23, 1999 Business News Archives A new service being launched on Tuesday will offer a comprehensive directory and free hosting service for hundreds of thousands of e-mail lists on the Internet, in an attempt to turn them into a medium for advertising and direct marketing. Topica Inc., the company starting the service, will offer free software and support for those who operate the Internet's ubiquitous e-mail lists, which are usually single-topic discussion threads on narrow topics like "BMW motorcycle maintenance" or "Ally McBeal lovers." Like the World Wide Web, e-mail lists are rambunctious, rambling electronic message strings and bits of data sent between millions of PC users around the world. Unlike the Web, the estimated 200,000 e-mail lists on thousands of topics have never been organized in one place or put into a form that could make them commercially viable. Topica is proposing much the same process that Yahoo! Inc. brought to Web sites when it started its service nearly five years ago to list and review Web sites. The existence of Yahoo and similar search engines played a critical role in the development of the Web, ushering in the hypergrowth that's been virtually nonstop for the past five years. Topica founder Ariel Poler argues that e-mail lists could have similar growth potential, with software tools available to make it easier for people to sign up for topics that interest them. "Owners can promote their lists through Topica's extensive list directory," he said. "Before this it's been pretty much word of mouth." Brian Behlendorf, chief technology officer for O'Reilly Publishing, and co-founder of the Apache Group and Organic Online, called Topica "the 'extra-strength aspirin' for the headaches associated with owning and managing an e-mail list." There are now 15 million to 20 million members of e-mail lists, but with 100 million e-mail users, that total could grow sharply. Those who "subscribe" to the lists create content by sending public messages that all members can see. List "owners" manage the lists and monitor the flow to make sure items remain on topic. The lists groups are notoriously private and often unfriendly to those who crash their e-mail discussions, especially if they make off-topic or irrelevant postings. That has presented a challenge to anybody trying to organize or commercialize them. "We'll have to tread very lightly," said Poller, a veteran Internet advertising executive. "We've seen other start-ups try this and fail because they were not sensitive to the way the system works." Poler said that he has acquired agreements to use lists of three groups that have compiled "lists of e-mail lists." In addition, he said that his advisory board includes some well known list advocates. Poler also expects to get backing from e-mail list owners because Topica will offer free technical help, free list hosting, message archiving and promotion services, and management tools like usage statistics. And the group will also offer a simple method for users to start their own lists. Topica has set up its Web site (http://www.topica.com) operation in the Internet design and editorial production district of San Francisco south of Market Street. With 32 employees and nearly $5 million in investment backing, the group is compiling and reviewing e-mail lists. Investors in the service include August Capital, Highland Capital Partners, Draper Richards, L.P. and Stanford University.
Re: Musician mag is dead.
Good riddance. I let my subscription lapse three years ago after getting sick of what Doerschuk did to the magazine. Carl Z. waiting for the new issue of Mojo to hit the stands in Pittsburgh
RE: Ralph Stanley last night
Listen to my Hammer Ring - Ralph Jr. Ah, that's Ralph Stanley II; nickname is Two. Anyhow, this is the title track from Two's new solo album, and it's a fabulous song, written by the criminally under-appreciated Aubrey Holt. With all due respect to the Stanley family, though, the version to watch out for is on the forthcoming Longview album, High Lonesome. The first recording of the song, by Charlie Moore, is now available on CD on Moore's The Fiddler (Old Homestead). The *best* recording - made by Holt's Boys From Indiana - is, alas, long out of print. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
FW: Dr. Wolfe's Book Is Due!
from BGRASS-L [EMAIL PROTECTED] 02/22 9:17 PM Monday's Syracuse (NY) Herald-Journal reports that country music historian Charles K. Wolfe's history of the early Grand Ole Opry is due out in May from Nashville's Vanderbilt University/Country Music Foundation Press. "A Good Natured-Riot: The Birth Of the Grand Ole Opry" covers the show from its beginnings on WSM in 1925, to 1939 when the Opry first had a nationwide audience on the NBC Network. Charles told me that this is a massive expansion of his "Grand Ole Opry: the Early Years," which was published in England about 20 years ago. I can't wait!! BILL KNOWLTON: "BLUEGRASS RAMBLE," WCNY-FM: Syracuse, Utica, Watertown NY (since 1973) As you may know, Charles is slowly recuperating from massive heart failure in a Nashville hospital. Let's pray real hard that he will be ready and able to host a fine book debut party that he well-deserves!
Re: Iris
On Tue, 23 Feb 1999, Diane Miller wrote: Saw Iris in Madison and she was awesome. Can anyone direct me to guitar tabs for any of her songs? Diane http://www.roughstock.com/cowpie/ I'm almost sure there's an Iris folder in there somewhere. -- Geff King * [EMAIL PROTECTED] * http://www2.ari.net/gking/ "Don't let me catch you laughin' when the jukebox cries" - Kinky Friedman, "Sold American"
RE: Hyper produced Bobby Bare
I like a lot of that sappy, pop-glopped production, myself, but I'm not going to argue the point; de gustibus, etc. I will, however, point out to Terry that he managed to get hold of the wrong Bare compilation for his taste; the Essential Bobby Bare, on RCA, unlike the RT comp., includes 5 cuts from Bare's second tenure at RCA, when the production was a little more stripped-down, as well as a number of duplicates from the RT (yeah, I've got 'em both). One of those 5 cuts is, of course, "Daddy What If," so you get a little Bare Jr., too g. And, of course, there's the new Koch compilation, Bare Tracks, which is material from his Columbia years, with production values that are probably a little closer to what you like, Terry. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
let's folk
Hey, If any P2ers are gonna go folkin' crazy this weekend at the folkin' Folk Alliance let me folkin' know. I'm headed out to folkin' Albuquerque (yes, that's the way it is folkin' spelled!) and would be interested in meeting up with some folkin' friends. See all you folkin' folks later. Cheers. Steve p.s. If this was an americana conference I would have used the word "buckin'" over and over until our sides ached from laughter. NP: Terry Allen "Salivation" == Steve Gardner * Sugar Hill Records Radio Promotion [EMAIL PROTECTED] * www.sugarhillrecords.com WXDU "Topsoil" * A Century of Country Music [EMAIL PROTECTED] * www.topsoil.net == "
Re: cheap flights
believe it (or William Shatner) or not, but www.priceline.com rules. I got a ticket from San Francisco to Dusseldorf (on Lufthansa - who are definitely a frills airline) for the price I set of $400. That's about $300 cheaper than normal. -Original Message- From: Terry A. Smith [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Tuesday, February 23, 1999 6:28 AM Subject: Re: cheap flights travelocity.com has worked for me, though sometimes it's sort of complicated to get registered on it. Or maybe I'm just an idiot. Now let me know off-line, how to get hooked up to northwest's site, if you've got time. [EMAIL PROTECTED] northwest.com? duh np Paul Kelly's Words and Music. Interesting stuff, reminds me of a cross between Richard Thompson and Lou Reed. Guy's got a bad attitude. I love it.
Cope Brothers (Was: Re: Knoxville Girl/Norris Dam)
Is there, by chance, a CD re-issue of the Cope Brothers out there floating around somewhere? Not that I know of. I do recall seeing a cut of theirs on an old Starday LP of early King material. The "Norris Dam" cut may be included on a vinyl LP put out by the Tennessee Folklore Society that focuses on ballads from East Tennessee. I'll check on that, because I probably have it at home. I have references to them using Knoxville's WROL as a home base for broadcasting in the early 1950s (along with the Osborne Brothers, Brewster Brothers, Flatt and Scruggs, and others), Care to share them? Thanks. Jim N.
SXSW rant
For the most part I have sat and silently watched the various positions taken about the CSRF called SXSW. Each year one of my artists attends to showcase and each year we (ragged pup records) presents a private (pirate) showcase at the Austin art gallery "Wild About Music". I believe that these expensive little showcases do provide an opportunity for the artists and the label to expand their horizons and world wide contacts. This year however is the first time we have sent a full band from Canada to do one showcase. The cost of airfares, hotels per diems and all adds up pretty quickly, especially in US dollars. This is also the first year we have had to rent a backline for the band and I just received a fax from SXSW with a quote for a very simple backline for what they are calling a 1 day rental which in fact is a 45 minute rental for the amazing sum of $665.07 or in Canadian dollars about $1100.00. Does anyone know if the heat has gotten to the brains of the SXSW planners or am I just living in a part of the world that considers this both a rip off and/or a bad joke? Doug BTW if any of you can help with a drum kit and a couple of guitar amps for Saturday at a reasonable price please contact me off list Thanks.
Re: Musician mag is dead.
Yeah, when Dorkchuck took over, it seemed almost to be a Rolling Stone little brother. Some classic interviews before 1984, I still have the McCartney and Strummer/Fripp issues (somewhere). The "Faces" section was a fantastic place to pick up on upcoming talent. But even that got to be just mini-reviews of established artists. Mitch Matthews Gravel Train/Sunken Road (Buffalo, Boston, and Pittsburgh this weekend)
Re: Cope Brothers (Was: Re: Knoxville Girl/Norris Dam)
I missed the original inquiry, but since I have the record in question, I can verify it's existence. It's on the King label, but I don't have the specifics. I have another King 78 by the Cope Brothers with "Hills of Roane County" and "My Main Trial Is yet To Come." I don't know anything about them beyond that they were a brother act that sang old-time trios and duets backed by guitar, mandolin, and electric guitar in a style somewhat similar to Charlie Monroe's Kentucky Pardners. I'll see what I can dig up. Jim -- I'd be interested in getting ahold of a tape copy of the 78 -- maybe we can work something out. (I am the original "inquiring mind" re: the Cope Bros.) Rob Cool. Thanks, Jim. Is there, by chance, a CD re-issue of the Cope Brothers out there floating around somewhere? I have references to them using Knoxville's WROL as a home base for broadcasting in the early 1950s (along with the Osborne Brothers, Brewster Brothers, Flatt and Scruggs, and others), but really haven't been able to dig up much about the Copes. ___ Robert A. Russell Director, Writing and Communication Center East Tennessee State University Box 70602 Johnson City, TN 37614 Phone: (423) 439-8438 Fax: (423) 439-8666 [EMAIL PROTECTED] http://www.etsu.edu/wcc *** "Objective evidence and certitude are doubtless very fine ideals to play with but where on this moonlit and dream-visited planet are they found?" -- William James, 1842-1910, "The Will to Believe"
Re: cheap flights
In a message dated 2/23/99 5:46:55 AM Pacific Standard Time, [EMAIL PROTECTED] writes: Do you know of a sight on the web that features cheap flights?? I get the Southwest and Northwest weekly web-specials. But I need to look into an advance-booking for my guitarist for SXSW. Any ideas of interesting web-resources for airlines?? Two sites that work pretty well for me are Cheaptickets. com and Priceline.com. I would try out the first one first though, much easier to use and navigate. Good luck Kim
Catching up
A quick comment and a quick question: In her invaluable Chicago calendar, Linda Ray notes: Special days clipped from Heather's Li'l Country calendar, available for $12 from the Record Roundup, 2034 W. Montrose. And I'm happy to report that since a month and half of 1999 has slipped away on us already, the calendar is now an even bigger bargain at the new, improved price of $10. Without it, how would you know that the Big E and Priscilla d-i-v-o-r-c-e-d on this date in 1972? My little girl picked up a cool pair of finger cymbals there, too. And while I couldn't justify paying the dough for any of those fine looking slabs of old country vinyl, it was fun to dream. Ameritwang Paul wrote: Wild Carnation is the latest project from ex-Feelies bassist, Brenda Sauter. Do you know if they're still going, Paul? I haven't seen or heard anything from them since "tricycle," which came out on Delmore in 94 or 95. A real nice record, with a little hint of that wiggly Feelies vibe mixed in with some moody (and some pretty), indie-poppish songs. Graded up even more for having a song about baseball on it. Tom np: "Sad and Dangerous" - Dirty Three (fits my mood at work today just perfectly)
Re: 50/90
In a message dated 2/23/99 9:24:16 AM, you wrote: Could someone please send that list my way..Phil's clips. Thanks. yeah, me too... thankspreferably at the [EMAIL PROTECTED] address... al
RE: cheap flights / np: Paul Kelly earperk
np Paul Kelly's Words and Music. Interesting stuff, reminds me of a cross between Richard Thompson and Lou Reed. Guy's got a bad attitude. I love it. http://www.amws.com.au/pk/pk.html If that's your first exposure to Paul Kelly, the Australian wonder, and you want to go back catalog, here's a great web site. I'd recommend _Gossip_ or _Under the Sun_ as a second purchase (back in the Paul Kelly the Messengers/Colored Girls days.) Others might have different suggestions. Chris np: Joe Henry - Fuse
Tom Russell's new one
Didn't someone refer to this as the best album ever, or some such
hyperbole? After one listen, I'd give it an award for one of the more
sleep-inducing albums I've heard in quite awhile, but that's about it. A
coupla songs stand out from the monotonous morass ("Chickasaw County Jail"
and Iris singing "Acres of Corn"), but most of it's too damn stately and
antiseptic for its own good. I bet even Kinnamon balks at this.--don
Re: Hyper produced Bobby Bare
Now, Jon, let's talk. You mean to say that those jingle-singers coming in dooby-doobying, or whatever, in the middle of the working-man's lament, "Detroit City," don't bother you? To my ears, the dissonance between the gritty lyrics and vocals, and the glossy uptown arrangements, is insurmountable. And, yeah, these songs recorded by Bobby Bare were hits, with both country and pop, and were obviously calculated to succeed on those levels. But that's the aesthetic problem -- a producer "managing" a performer's sound to succeed in the market, but in so doing, diluting the tunes into mush. I can't believe that Bare, looking back, hasn't wondered whether he shouldn't have done the songs differently. He probably doesn't wonder too much, because regretting grand success is sort of a useless occupation. But still... But getting back to the earlier point... Isn't there a sound aesthetic argument for arranging "gritty" songs in a "gritty" fashion, and giving urbane lyricizing a glossier finish? Jesus, the way they arranged Miller's Cave, they may as well had Perry Como singing it. -- Terry Smith
Re: Neener neener
On Tue, 23 Feb 1999, Jon Weisberger wrote: Just picked up a 2-LP set entitled All The Best Of Johnnie And Jack for $5; original versions, all. ?! Is this an RCA Camden release? When was it released? And are you *positive* they're the original versions -- not only did they recut some of their RCA stuff for Decca, but they also re-recorded 'em for RCA.--don
Re: Kelly Willis on CD TV
Jeff Sohn wrote: KW will be on Crook Chase this Thursday, February 25. Original broadcast that day w/ repeat next morning. According to the Chicago Tribune's online tv listings, she'll be on Thursday at 2 p.m. and Friday at 9 a.m. That's Central Standard Time. Tried to confirm by checking TNN's online listings but they're kinda clunky. -- Tom Mohr at the office: [EMAIL PROTECTED] at the home: [EMAIL PROTECTED]
Re: Paul Kelly? RE: Kelly Willis on CD TV
Excerpts from internet.listserv.postcard2: 23-Feb-99 Paul Kelly? RE: Kelly Will.. by Hill, Christopher J@PSS. her cover of Paul Kelly's "Cradle of Love" is outstanding. The Australian Paul Kelly? I can't find "Cradle of Love" anywhere on his discography. Is it the Kelly of Paul K the Weathermen? It's him; dunno when he wrote the song, or if he'll release it someday. Willis also covered his Hidden Things about eight years ago. Carl Z. fave PK records: Comedy Gossip
Re: 50/90
Excerpts from internet.listserv.postcard2: 23-Feb-99 Re: 50/90 by David [EMAIL PROTECTED] Well, I agree you gotta pick a Tupelo--and Anodyne's awfully damn good; I won't argue against it--but I'd go with Still Feel Gone myself. Wow. David, you're the first person I know of who agrees with me on that score. I still think Looking For a Way Out is Jay Farrar's finest song, and the album's held up well. Carl Z.
RE: Hyper produced Bobby Bare
Now, Jon, let's talk. You mean to say that those jingle-singers coming in dooby-doobying, or whatever, in the middle of the working-man's lament, "Detroit City," don't bother you? Nope. But that's the aesthetic problem -- a producer "managing" a performer's sound to succeed in the market, but in so doing, diluting the tunes into mush. I can't believe that Bare, looking back, hasn't wondered whether he shouldn't have done the songs differently. He probably doesn't wonder too much, because regretting grand success is sort of a useless occupation. True enough, but he might not wonder anyhow. I always like that Charlie Louvin quote about the Christmas album that the Brothers did: "I don't like to brag, but it was as good as anything that Tennessee Ernie Ford ever cut" - and he was referring to Ford's gospel records, not his country boogie stuff. Our perceptions of an artist's strengths and tastes don't always match up with his or hers. But getting back to the earlier point... Isn't there a sound aesthetic argument for arranging "gritty" songs in a "gritty" fashion, and giving urbane lyricizing a glossier finish? Maybe, but I'll reserve judgment until I think it through g. Jesus, the way they arranged Miller's Cave, they may as well had Perry Como singing it. Uh, actually, the arrangement flows pretty directly from Hank Snow's (Bare's is from 1964, Snow's from 1960) except that the chorus is even more up-front on Snow's. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Jesse Taylor's site?
When Ely was in town recently, the guy at the merch table mentioned that Jesse Taylor had a site and was selling a few things off of it. A few searches on AltaVista haven't turned it up -- can anyone steer me there? TIA... Bob
Re: Tom Russell's new one
I just listened to this too. And was sorely disappointed after all the hype
here. As a folk operetta goes it's ok but nothing stands outs. Sorta like
Paul Simon's Capeman thing. A thanks but no thanks here and I'm a big fan of
Tom's.
Iceman
Don Yates wrote:
Didn't someone refer to this as the best album ever, or some such
hyperbole? After one listen, I'd give it an award for one of the more
sleep-inducing albums I've heard in quite awhile, but that's about it. A
coupla songs stand out from the monotonous morass ("Chickasaw County Jail"
and Iris singing "Acres of Corn"), but most of it's too damn stately and
antiseptic for its own good. I bet even Kinnamon balks at this.--don
Re: Hyper produced Bobby Bare
Yeah, I bet Bare just sits out there by his pool, wondering where to fly to for dinner that night, and regrets those background singers were on those hit records. It the music Business. He can play those songs as gritty as he wants to 1000 times, and does, but the only way to get those songs to cross over to pop radio was to cut them pop. I bet it didn't hurt any of those writers' feelings to get BMI checks for 50,000 instead of 5,000, too. I don't understand this whole thing, I guess. If a person is a performer in the Music Business, then the idea is to make records that as many people as possible will like. As long as that doesn't involve a moral issue or an aesthetically repugnant one, then this seems like a non-problem to me. The fact that in retrospect those choruses seem corny thirty years later doesn't mean they did then. Gritty country records didn't sell. Pop records did. He wasn't making records for purists, they were for people. Purists were playing high school gyms for $150 a night and Glen Campbell had a network tv show. "Terry A. Smith" wrote: Now, Jon, let's talk. You mean to say that those jingle-singers coming in dooby-doobying, or whatever, in the middle of the working-man's lament, "Detroit City," don't bother you? To my ears, the dissonance between the gritty lyrics and vocals, and the glossy uptown arrangements, is insurmountable. And, yeah, these songs recorded by Bobby Bare were hits, with both country and pop, and were obviously calculated to succeed on those levels. But that's the aesthetic problem -- a producer "managing" a performer's sound to succeed in the market, but in so doing, diluting the tunes into mush. I can't believe that Bare, looking back, hasn't wondered whether he shouldn't have done the songs differently. He probably doesn't wonder too much, because regretting grand success is sort of a useless occupation. But still... But getting back to the earlier point... Isn't there a sound aesthetic argument for arranging "gritty" songs in a "gritty" fashion, and giving urbane lyricizing a glossier finish? Jesus, the way they arranged Miller's Cave, they may as well had Perry Como singing it. -- Terry Smith -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: Hyper produced HANK SNOW!
At 12:29 PM 2/23/99 -0500, Terry asked: Isn't there a sound aesthetic argument for arranging "gritty" songs in a "gritty" fashion, and giving urbane lyricizing a glossier finish? Sure there is. But there's also an aesthetic argument for providing a contrast between gritty lyrics and "sweet" sounds (as on the new Wilco, for example). Art's about choices--if there's a "correct" arrangement for a particular kind of song, then the choice is removed and the art of the thing's removed too. Hmm. Do I believe that? I dunno... Jon wrote: Uh, actually, the arrangement flows pretty directly from Hank Snow's (Bare's is from 1964, Snow's from 1960) except that the chorus is even more up-front on Snow's. And how! Snow's version is a good case, in fact, of a gritty lyric holding up better than a less gritty arrangement, like Bare's. Those singers adding at the front "Dark old cave, Miller's cave," just dripping in echo, as well as that "Miller, Miller, Miller's Cave" between the verses, really helps build the tension in Snow's classic version. Bare recites the last verse, but the way Snow exagerates his croon on "both you and DAVEY"--it's really sarcastic and creepy. I love it. My dad turned me on to Snow's Miller's Cave when I was a kid. I still have my old man's 1966 copy of The Best of Hank Snow, where on the back I wrote next to Miller's Cave, in my grade school handwriting: "Dyn-O-mite!" . Guess that dates ME pretty well, huh? g I adore Snow's music. Does anyone know how his health is? Does anyone have a mini review to offer up of his long-ass autobiography? --dc
Re: 50/90
Bill quips: Junior, upset that REVERB DELUXE didn't make the top 50, wrote: Damn straight! Sheesh g And where's Dwight? Was he in there anywhere? And honestly, I'm sorta surprised people rate Exile in the top ten of the decade. The year it came out, possibly, but the entire decade?? Increasingly out of touch in a post-Bakersfield universe, --junior
Clip: Penelope Houston
Interesting photo of Ms. Houston here:
http://www.sfgate.com/chronicle/pictures/1999/02/23/penelope23.jpg
Penelope Houston Lets Out Her Punk
Ex-Avengers leader releases new and old tunes
Neva Chonin, Chronicle Staff Writer
Tuesday, February 23, 1999
©1999 San Francisco Chronicle
URL:
http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/1999/02/23/DD83308.DTLtype=music
Like a skilled sonic chef, Penelope Houston has perfected the art of fusion. Sporting
blue hair and sensible shoes, the striking 41- year-old singer-songwriter looks like a
cross between her latter-day incarnation as an acoustic chanteuse and her historic
identity as leader of the legendary late '70s punk band, the Avengers.
Houston's personal aesthetic reflects where she's at professionally. Last week
Lookout! Records released "The Avengers Died for Your Sins,'' a collection of live,
studio and rehearsal recordings from the lauded San Francisco band whose ferocity as
an opening act blew the Sex Pistols off the stage at Winterland in 1978.
The album's release will be celebrated tonight at the Great American Music Hall and
Friday at Berkeley's 924 Gilman Street with concerts by Houston and a band billed as
the ScAvengers. If that's not enough to get the old punk blood pumping, on March 24,
Houston will break with her neo- folk persona and release "Tongue,'' the first album
in her 11-year solo career that rocks more than it strums. "It's pretty exciting that
these albums are coming out at the same time -- one with my earliest music and one
with my latest,'' says Houston over a plate of grilled veggies at a San Francisco
cafe. "I knew I could do it after a recording session with Billie Joe Armstrong (of
Green Day) and (local producer) Kevin Army.
"They kept saying, 'We want you to scream like you did when you were in the Avengers!'
So I finally let loose, trying to relive those moments of punk fury, and it felt
really good. I thought, 'I can do this.' ''
Armstrong, who co-wrote the song "New Day'' on "Tongue,'' introduced Houston to her
future ScAvengers rhythm section, bassist Joel Reader from the Mr. T Experience and
drummer Danny Panic, formerly of Screeching Weasel. (Original Avengers guitarist Greg
Ingraham completes the lineup.)
"I think Joel Reader was 6 months old when I played my first show,'' says Houston with
a wry smile. "But when we started rehearsing, it blew my mind. We sounded so much like
the Avengers.''
Houston's return to her roots started two years ago when, during a European tour to
promote her previous album, "Cut You,'' she found herself longing to rock out during
her acoustic set.
After returning home, Houston parted company with her backup band and began
collaborating with local singer-songwriters Pat Johnson and Chuck Prophet and ex-Go
Go's Jane Wiedlin and Charlotte Caffey. The result was "Tongue,'' an infectious blend
of sly, vitriolic vocals (the first single, "Scum''), rambunctious pop hooks ("Grand
Prix'') and distorted indie-rock guitars (the title track).
At the same time she was recording her new album, Houston was scouring the Internet,
looking for tape traders with vintage recordings to include in Lookout's Avengers
collection.
It was a long historical trek. Houston was only 19 when she moved from Seattle in 1977
to attend the San Francisco Art Institute. Already a veteran of the Northwest punk
scene, it wasn't long before she co-founded the Avengers with three other renegade
artists. Though the band lasted only two years, it won its place in the punk hall of
fame thanks to its artful garbage-bag attire and one album of scathing, passionately
political songs.
Though Houston's days as a revolutionary punk rocker have passed
--she's happily married to art director Patrick Roques and settled in a funky old
house in Oakland -- at heart she figures she'll always be an iconoclast.
"When they were interviewing me for the 'Tongue' bio, they asked what lyric sums up
what I want to tell the world,'' she says. "I thought about it and realized it was a
lyric I wrote when I was 19 -- 'I believe in me.'
"I'm still the same person I was then. I still feel strongly about people finding
their way through life and being true to who they are.''
CONCERT
THE ScAVENGERS play at 9 p.m. tonight at the Great American Music Hall, 859 O'Farrell
St., San Francisco, with the Hi-Fives and Pansy Division. Tickets are $10. Call (415)
885-0750. The band also plays Friday at 924 Gilman Street, Berkeley. Tickets $5-$7.
Call (510) 525-9926.
Neener neener
Just picked up a 2-LP set entitled All The Best Of Johnnie And Jack for $5; original versions, all. Tracks: Poison Love Cryin' Heart Blues Humming Bird When My Blue Moon Turns To Gold Again Stop The World (And Let Me Off) Slow Poison Let Your Conscience Be Your Guide Ashes Of Love You Tried To Ruin My Name Don't Let The Stars Get In Your Eyes What About You I'm Gonna Love You One More Time Oh Baby Mine South In New Orleans I Can't Tell My Heart That We Live In Two Different Worlds The Banana Boat Song I Want To Be Loved Three Ways Of Knowing Sincerely A Smile On My Lips Lonely Island Pearl Cheated Out Of Love Called From Potter's Field Yow! Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Tom Russell's new one
Didn't someone refer to this as the best album ever, or some such
hyperbole? After one listen, I'd give it an award for one of the more
sleep-inducing albums I've heard in quite awhile, but that's about it. A
coupla songs stand out from the monotonous morass ("Chickasaw County Jail"
and Iris singing "Acres of Corn"), but most of it's too damn stately and
antiseptic for its own good. I bet even Kinnamon balks at this.--don
Gosh - a TR backlash on his concept record.
Well, I found it inventive and exhilerating and a piece of patriotic
songwriting that moves my spine that I truly can compare with Woodie Guthrie.
Maybe folks out there get tired of verse after verse of So Long It's Been
Good to Know ya, but I don't. Maybe the wonderful display of Irish ,
Norwegian, and Cowboyish folk tunes aint twangy enough for y'all, but I'm
enthralled.
But I guess everyone's into disposable music that can prick up your ears
at a moment's notice and then be thrown away until the next record with a
good riff comes out.
To each his or her own.
Keep Dancing,
-ldk
[EMAIL PROTECTED]
***
*It makes no difference without passion...*
***
Re: snobbery and the rockcrit canon (was 50/90)
In a message dated 2/23/99 9:05:40 AM Central Standard Time, [EMAIL PROTECTED] writes: No kidding. I read the first 15 albums listed and hit delete g Rock-crit snobbery plus, dare I suggest. phil -- you certainly may dare, but the more i think about these posts accusing kot of snobbery, the less comfortable i become. kot's job is to cover a broad range of popular music for the chicago tribune. notwithstanding its dependence on the post-punk rockcrit canon, his list reflects what he listens to and writes about. it's born of his efforts to understand what's happening in rock, pop, and hip hop and to convey that understanding to a general/mainstream audience. that strikes me as populist-leaning rather than provincial. he obviously listens to some types of music more than others, but at the very least his list is an example of musical ecumenism, an expression of his understanding and appreciation of a fairly wide range of popular and semi-popular music. had the list contained nothing but hip hop, or bluegrass, or death metal, then i dare say he'd be a snob. bill f-w
John Wesley Harding
Say, any folk fans out there hear John Wesley Harding's new record of (retired English folk singer/guitarist) Nic Jones songs? I've never been much of a Harding fan, but he does a really nice job with Jones's repetoire. Just him singing, with Robert Lloyd helping out on acoustic guitar. While I await Kelly Willis's new one, this will keep my ears happy (for a few hours at least). Carl Z.
Re: 50/90
At 08:09 AM 2/23/99 -0600, Jim wrote: I agree with Dina, although I've heard a lot more than she has. It seems like standard rock-crit snobbery (is that a word? g) that most of the general public just ignores. I would have put a Steve Earle or Dave Alvin record in there, instead of Jimmie Gilmore (which I don't think holds up too well over the years) If what most of the general public ignores is how we determine rock crit snobbery, then it seems to me that the Jimmie Dale pick would be more populist, less elitist, than the Alvin you propose, since I'm betting that Gilmore has outsold him by a long shot. The same may be true of Earle too, though that's also just a guess--more likely, at least in in terms of appreciation by the general public, Earle and Gilmore are equally snobby picks. I think you're right, though, Jim--Earle (I Feel Alright) and maybe Alvin (Blue Blvd.) get in way before Gilmore. Guess I'm a snobby critic! g Lance wrote: And it's not that it isn't eclectic, but in quite a few cases, the guy picks the wrong album from whatever artist he's trying to highlight. (PJ Harvey "To Bring You My Love" and Beck "Odelay" come immediately to mind). Depends on what is trying to be proven. If something new is the thing, then PJ's Rid Of Me, I guess, and Beck's Mellow Gold might be better picks. But as for arguments that this has been a great decade for music, which is what the article's title described, then I'd say Kot got it exactly, and pretty obviously, right. Plus, let's face it: If you have 50 goddamn chances to pick Anodyne and you come up with the goose-egg--get to the back of the bus, ya chump!! Well, I agree you gotta pick a Tupelo--and Anodyne's awfully damn good; I won't argue against it--but I'd go with Still Feel Gone myself. --david cantwell
Paul Kelly? RE: Kelly Willis on CD TV
her cover of Paul Kelly's "Cradle of Love" is outstanding. The Australian Paul Kelly? I can't find "Cradle of Love" anywhere on his discography. Is it the Kelly of Paul K the Weathermen? Chris
PLAYLIST: Progressive Torch and Twang, 16 February 1999
- Playlist for Progressive Torch and Twang Tuesdays, 8 p.m. to midnight WDBM, 88.9 FM, G-4 Holden Hall, East Lansing, MI 48824 Your hosts: Doug Neal and Jamie DePolo Questions, comments? [EMAIL PROTECTED] or [EMAIL PROTECTED] "Roots rockin', hip-shakin', soul-swayin' music!" Playlist for February 16, 1999 One of the great things about being broadcast on Tuesday nights is that we get to do a Mardi Gras show every year on Mardi Gras. In addition to warming the studio with the sounds of cajun and zydeco, we were visited in-studio from the East Lansing band Pub Domaighn AND we played some brand, spankin' new cuts from the Sovines, who are set to release their first full-length album. We also gave away several pairs of passes for the Sovines' TT night at Mac's. Our hats go off to the Sovines, who endured 5 hours in a van with no heater to come to East Lansing and soundly blow us away (and consume 2 cases of Pabst Blue Ribbon). We need more folks like them in our area code. Format is: Artist - Song Album/Label Link Wray - Rawhide (TT Theme Song) Walkin' With Link/Epic-Legacy Boozoo Chavis - Don't Worry About Boozoo Self-Titled/American Explorer The Bluerunners - Damaged Goods Self-Titled/Island Beausoleil - Menage a Trois Reels La Danse De La Vie/Forward C.J. Chenier - Au Contraire Mon Frere The Big Squeeze/Alligator Buckwheat Zydeco - Allons, A Boucherie Trouble/Mesa Nathan the Zydeco Cha Cha's - Zydeco Road Follow Me Chicken/Rounder Leo Soileau - Je T'ai Rencontre Dan Le Brouillard Early Cajun Music/Yazoo Delma Lancney - Je M'En Vas Dans Le Chemin Early American Cajun Music/Yazoo Leo Soileau - C'est Pas La Peine Tu Pleures Early Cajun Music/Yazoo Blind Uncle Gaspard - Assi Dan La Fenetre De Ma Chambre Early American Cajun Music/Yazoo Eddie Le Jeune, D.L. Menard, and Ken Smith - Dans Les Miseres Le Trio Cadien/Rounder Dave Alvin - A Woman's Got a Right Museum of Heart/Hightone Dave Alvin The Guilty Men - Out in California Interstate City/Hightone Dave Alvin - Fourth of July King of California/Hightone Dave Alvin - From a Kitchen Table Blackjack David/Hightone Dave Alvin - Blue Blvd. Blue Blvd./Hightone Dave Alvin - Don't Talk About Her Museum of Heart/Hightone The Blasters - Marie, Marie American Music/Hightone Dave Alvin The Guilty Men - Romeo's Escape Interstate City/Hightone The Sovines - Breaker, Breaker One Heart Live Demos/self-released The Sovines - Truck Drivin' Son of a Gun Live Demos/self-released The Sovines - Whiskey Bottle Now Live Demos/self-released The Sovines - 24-7-365 Live Demos/self-released The Sovines - About a Hundred Years Ago Live Demos/self-released Red Sovine - Woman Behind the Man Behind the Wheel Truckin' On/Starday Hylo Brown - Truck Drivin' Man 16 Greatest Truck Drivers Hits/Deluxe Lee Murdock - Rio Grande Voices Across the Water/Depot Lee Murdock - The Stomach Robber Voices Across the Water/Depot Doyle Lawson Quicksilver - Mis'ry River Quicksilver Rides Again/Sugar Hill Doyle Lawson Quicksilver - Carolina in the Pines Once and For Always/Sugar Hill The Freight Hoppers - Fall on My Knees Waiting on the Gravy Train/Rounder Salamander Crossing - Tear My Stillhouse Down Live at the Iron Horse, Vol. 1/Signature Sounds Pub Dohmaighn - Lad O'Byrnes/Swinging on a Gate Demos Pub Dohmaighn - Chester City Demos Pub Dohmaighn - Paddy Taylor's/Tear the Calico Demos Pub Dohmaighn - As I Roved Out Demos The Zukes of Zydeco - Mornin' Train Self-Titled/Self-Released The Colorado Cajun Dance Band - Bosco Stomp Self-Titled/Self-Released Zydeco Force - Everyday Talk The Zydeco Push/Maison Soul Rockin' Dopsie The Zydeco Twisters - Hot Tamale Baby (Ain't That Right) Louisiana Music/Atlantic Steve Riley the Mamou Playboys - La Touissaint (request) Louisiana Live from Mountain Stage/Blue Plate Beau Jocque the Zydeco Hi-Rollers - My Name is Beau Jocque My Name is Beau Jocque/Paula Buckwheat Zydeco - Drivin' Old Grey Takin it Home/Island D.L. Menard - Wildwood Flower Lousiana Spice/Rounder David Doucet - T'en as Eu Lousiana Spice/Rounder The Del McCoury Band - A Far Cry The Family/Ceili The Del McCoury Band - The Look of a Perfect Diamond The Family/Ceili The Del McCoury Band - Get Down on Your Knees and Pray The Family/Ceili The Del McCoury Band - Red Eyes on A Mad Dog The Family/Ceili The Del McCoury Band - She's Left Me Again The Family/Ceili Ricky Skaggs Kentucky Thunder - Might Dark to Travel Ancient Tones/Skaggs Family Steve Earle and The Del McCoury Band - Outlaw's Honeymoon The Mountain/E-Squared Mac, Doc Del - Beauty of My Dreams Mac, Doc Del/Sugar Hill Doug Neal/Jamie DePolo [EMAIL PROTECTED][EMAIL PROTECTED] Progressive Torch and Twang Tuesdays, 8 pm-midnight WDBM-89 FM, G4 Holden Hall East Lansing, MI 48824 Request Line: 517-355-4237 The TT homepage:
RE: snobbery and the rockcrit canon (was 50/90)
Bill F-W says: No kidding. I read the first 15 albums listed and hit delete g Rock-crit snobbery plus, dare I suggest. phil -- you certainly may dare, but the more i think about these posts accusing kot of snobbery, the less comfortable i become. kot's job is to cover a broad range of popular music for the chicago tribune. notwithstanding its dependence on the post-punk rockcrit canon, his list reflects what he listens to and writes about. it's born of his efforts to understand what's happening in rock, pop, and hip hop and to convey that understanding to a general/mainstream audience. that strikes me as populist-leaning rather than provincial. Well the problem for me isn't the contents of the list per se; I think Bill's right on that score. The problem for me is that whoever was responsible for titling the thing - "IN THE TWILIGHT DAYS OF THE '90S, HERE ARE 50 REASONS WHY IT HAS BEEN A GREAT DECADE FOR MUSIC" - a leap has been made from "rock, pop and hip hop" to "music," and the former doesn't cover a number of streams of "music," including at least one, i.e., country, that certainly appears to have some appeal to a general/mainstream audience. It's the title's implicit equation of r,phh with all of music, or even all of popular music (i.e., excluding classical), that frosts me. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
re: cheap tickets
Jeff Tarhut wrote: priceline is horrible. those people are evil and they rob. III KNEW IT!! I've had some luck with cheaptickets.com. Powered by Sabre, easy to use. Drawback is a maximum of 4 passengers for their website. More than that and you have to phone your reservation in. Wow. What a drag... Owen Bly Ranchero Records Oakland, CA
Re: SV: Tom Russell's new one
On Tue, 23 Feb 1999, Eivind Berge wrote: Most classic albums tend to creep under your skin after repeated listenings, and yes, "The man from God knows where" is a classic. Try again folks. After finding the previous listen to be an arduous affair, I think I'll pass for now.g As one who's always found Russell to be an occasionally brilliant songwriter and mostly a snooze as a performer, I doubt even a hundred listens (god forbid) to that interminable album would change my mind. Believe me, it was difficult enough to stay focused on the album without choking on its grandiose pretensions. As Lowell sez, to each his own I guess, and when I want arty folk, I'll stick to the infinitely more interesting Hank Dogs.--don
The Monday 'Ghosts' Winner
My apologies if this already went through but it got returned to me so I'm guessing it didn't *** Just to let you know that Monday's winner of a copy of 'Ghost's of Hallelujah' by The Gourds is: April Guentner from LaCrosse, WI We'll be giving away a copy a day until Friday, so if you want to register just go to: www.allegro-music.com/gourds 'Ghosts of Hallelujah' is released on March 9
RE: Hyper produced HANK SNOW!
David Cantwell says: Isn't there a sound aesthetic argument for arranging "gritty" songs in a "gritty" fashion, and giving urbane lyricizing a glossier finish? Sure there is. But there's also an aesthetic argument for providing a contrast between gritty lyrics and "sweet" sounds (as on the new Wilco, for example). Another good example from country music that I was listening to last night is Don Gibson. Man, that guy had about the darkest, morose-est lyric vein imaginable, which contrasted nicely with his trend-setting Nashville Sound stuff. I adore Snow's music. Does anyone know how his health is? Does anyone have a mini review to offer up of his long-ass autobiography? Health isn't good, I hear. I read the autobiography, and enjoyed it - but then, I'm a big Hank Snow fan too; I suspect that folks who aren't might find it pretty dry, as it's pretty much a "then I did this, then I did this, then I did this" kind of read. If, though, you're interested in the thises he did... Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Danny Gatton/Lenny Breau/Buddy Emmons?
There's supposedly a video and/or audio tape going around that has guitarists Danny Gatton and Lenny Breau and steel guitarist Buddy Emmons jamming together. If anyone knows of this tape or how to obtain it, please let me know.
Re: snobbery and the rockcrit canon (was 50/90)
In a message dated 2/23/99 1:29:54 PM Central Standard Time, [EMAIL PROTECTED] writes: It's the title's implicit equation of r,phh with all of music, or even all of popular music (i.e., excluding classical), that frosts me. fair enough, jon. as you know, writers often don't see headlines until after their stories run. kot doesn't cover classical, jazz, country, bluegrass, folk, or numerous other forms of music and doesn't pretend to. being familiar with his unassuming tone, i suspect he wasn't thrilled with the misleading headline someone tacked onto his story. that said, chances are good that, in the newstand edition, the piece appeared under a "rock" heading that tipped readers to kot's beat and tempered the headline's immodest tone. bill f-w
Re: 50/90
David writes: If what most of the general public ignores is how we determine rock crit snobbery, then it seems to me that the Jimmie Dale pick would be more populist, less elitist, than the Alvin you propose, since I'm betting that Gilmore has outsold him by a long shot. The same may be true of Earle too, though that's also just a guess--more likely, at least in in terms of appreciation by the general public, Earle and Gilmore are equally snobby picks. My point here, and maybe I wasn't explicit enough, is that like most rock critics, Kot probably has listened to Gilmore (and probably only that one record cause it was hip at the time) but not Earle (or he's doesn't like him) and almost definitely not Alvin because he's on an uncool (to rock critics) label . The rock-crit snobbery I was referring to sometimes has more to so with what label a record is on and what other critics think is good, more than the music that's involved. BH! JIm, smilin'
Re: 50/90
Excerpts from internet.listserv.postcard2: 23-Feb-99 Re: 50/90 by [EMAIL PROTECTED] and almost definitely not Alvin because he's on an uncool (to rock critics) label . Hmm. Hightone, uncool? I'm not certain what critics would think that, unless they are really narrow and listen to say, just Dischord or K releases. Kot doesn't fit that description. Carl Z.
Musician
Jeff asked: I heard Musician folded.. Anyone? As heard from a former writer for the rag, the boom came down a few weeks ago. Boudin Dan
Re: Hyper produced Bobby Bare
And another thing My last message ended sort of abruptly, so I forget wherethe hell I was going. I guess I'd just like to know whether you defenders of 60s pop-country, the Nashville Sound, or whatever it was called, have ever heard a song from that era -- or any era -- that was too heavily arranged with background singers, strings, etc? I'd really like to know. I've heard a lot of that stuff that sounds dandy, but also some that doesn't. To my short list of Bobby Bare, I'd add what one of Hank Thompson's later labels did to his best work. -- terry smith, embattled again and enjoying it. Nobody argues much around here any more, and if I've got to martyr myself to the greater good, then fine. With Matt Cook acting like a big fluffy teddy bear, someone's gotta step into the void! g
RE: Hyper produced Bobby Bare
Me again: OK, let's try this again. Pretend you're composing a sound track for a movie about a lonely rural guy from Kentucky or West Virginia, who's living in Detroit making a buck in the auto factories, and who spends a lot of time pining for his old home, and wondering just what the heck he's doing in this big depressing city. Now would you use an arrangement that sounded like it employed some off-duty singers from the Comet commercial being taped in the next studio, or would you use something a bit less jingle-like and glossy? I fet the feeling that Chet shoe-horned everybody into his own poppy world, whether they belonged their or not. [Matt Benz] But Terry, the songs aren't for a movie soundtrack, designed to convey or pull at the emotions of a theatre audience, they were made so that the folks in the auto factories would *want* to hear the songs on the radio. And that sound is what sold records at the time. Bare was working within the system, not rebelling against it. And while I'm not saying that life in a factory is/was just a life of grimness, I can't see how a stark and depressing arrangement would appeal to a factory guy, even if he could identify with the song's theme. No matter the artistic merits of such an arrangement. That's evidently not what Bare was shooting for. While I can sympathize with your arguments over arrangements, I think that the flaw in your case is that you *assume* the artist would do the arrangement you think suits the song best. You suspect that the artist is forced to bend to Atkins musical will, and if Bare had his way, he would of gone for a sparse arrangement. M
SV: SV: Tom Russell's new one
-Opprinnelig melding- Fra: Don Yates [EMAIL PROTECTED] Til: passenger side [EMAIL PROTECTED] Dato: 23. februar 1999 20:35 Emne: Re: SV: Tom Russell's new one On Tue, 23 Feb 1999, Eivind Berge wrote: Most classic albums tend to creep under your skin after repeated listenings, and yes, "The man from God knows where" is a classic. Try again folks. After finding the previous listen to be an arduous affair, I think I'll pass for now.g As one who's always found Russell to be an occasionally brilliant songwriter and mostly a snooze as a performer, I doubt even a hundred listens (god forbid) to that interminable album would change my mind. Believe me, it was difficult enough to stay focused on the album without choking on its grandiose pretensions. Which only proves what we all know, and should be thankful about: Music is a VERY subjective thing. Best Eivind Berge Norway
Re: Hyper produced Bobby Bare
At 02:54 PM 2/23/99 -0500, Terry wrote: Uh, oh, the big guns are out now. David, Joe and Jon all weighed in, more or less saying that whatever arrangement is chosen is A-OK as long as it sells records. Geez, did I say that? I don't think so. I said a contrast between lyrics and sound is sometimes a valid artistic choice. ps ...I'm talking about artistic choices, not financial calculations. Yeah, me too. g --david cantwell
Re: Return of the Grevious Angel
Excerpts from internet.listserv.postcard2: 23-Feb-99 Return of the Grevious Angel by [EMAIL PROTECTED] "Conmemorativo: A Tribute to Gram Parsons" (Rhino R2 71269) It sucked. I liked Bob Mould Vic Chesnutt's take on Hickory Wind. Jeff (Lescher, of Green) Janet's (B. Bean, of 11th Dream Day/Freakwater) tribute to GP is a lot better, though. It's called Jesus Built a Ship to Sing a Song To, and Kramer put it out on his Kokopop imprint about five years ago. Carl Z.
Re: Neener neener
Hey there, "Jon Weisberger" Just picked up a 2-LP set entitled All The Best Of Johnnie And Jack for $5; original versions, all. Ahem. Who the heck are Johnnie and Jack? Later... CK who has at least heard Stairway to Heaven g ___ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO [654-5866]
Re: 50/90
Hey there, And honestly, I'm sorta surprised people rate Exile in the top ten of the decade. The year it came out, possibly, but the entire decade?? Name a more impressive better written female rock album of the 90s that actually got a teensy bit of airplay. Erm, OK, Sinead OConnor - I Do Not Want What I Have Not Got but she made the list too. So name another. Later... CK Liz Phair Phan ___ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO [654-5866]
Re: JOBOP Vice President/ Senior Vice President Web Based Prods
Hey there, On Tue, 23 Feb 1999 10:44:48 -0800 [EMAIL PROTECTED] writes: Since your email address was listed on a related web site page or database, I thought you might help. I am seeking an individual within the following conditions: snip So should we send this guy 600 resumes? Or just all show up for the interview at the same time? 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]
Plodding through Postcard2 digest...
Some things interested me in this latest digest... ROCK SOLID IN THE TWILIGHT DAYS OF THE '90S, HERE ARE 50 REASONS WHY IT HAS BEEN A GREAT DECADE FOR MUSIC I own 12 of those albums, have heard 7 more, have heard of 28 beyond that, and have never heard of only 3 of those records. I don't see the list as particularly snobby as some do. Many of those records were in the Top 40 at one point or another. I'm sure if *I* made a list the snobbiness factor would be way way above this guy. I don't even think his choices were that bad; taking a huge genre (such as EVERYTHING from the 90s!) it isn't surprising that his personal tastes would match up with mine from one to fifty. And since I'm a listlover I'm glad he made it. I'll read almost anything in list form (including digest headings.) And since I've just outted myself as a listlover here is my alltime desert island disc list. 1. Billy Bragg - Talking with the Taxman About Poetry 2. Townes Van Zandt - Live at the Old Quarter in Houston, TX 3. Hank Williams - The Complete Hank Williams 4. Damned - Damned Damned Damned 5. Stanley Brothers - Complete Columbia Recordings 6. Uncle Tupelo - Still Feel Gone 7. Elvis Costello - My Aim Is True 8. Pogues - Rum, Sodomy and the Lash 9. Tom Waits - Swordfishtrombones 10. Bob Wills - The Tiffany Transcriptions (I'll sneak this one on the island too...) 11. Highwoods String Band - Feed Your Babies Onions Just missing the cut was Husker Du "New Day Rising", the Replacements "Tim", the Descendents "Milo Goes to College", Miracle Legion "Drenched" and a few others. Phil clipped: 25. Wilco, "Summerteeth" (Reprise) Young roots-rock band makes its own version of the Beach Boys' "Pet Sounds" (to be released March 9). Jamie said: Heresy! Heresy! No one can touch the spooky intensity and giddy weirdness of "Pet Sounds", dammit! Don't get me started on the Beach Boys! From: Don Yates [EMAIL PROTECTED] Subject: Tom Russell's new one Didn't someone refer to this as the best album ever, or some such hyperbole? After one listen, I'd give it an award for one of the more sleep-inducing albums I've heard in quite awhile, but that's about it I like how Don doesn't hold back. :^) Here's what I think about this album (and many of Tom's others): I love the idea of making an album about your roots, I love the musicians on the album, I love the songs, and I love the guests. And as much as I love Tom, I have to say that I love him more like a father. A father who is really nice and talented, but sometimes does things that make you say "Aww dad, stop it. You're embarassing me!" It's the singing voice. I've never liked that kind of sound. And when you couple that with him singing about some woman taking off her red dress (like on his Rose album) it gives me THE SHIVERS. I've seen Tom quite a few times in concert and I always enjoy myself. I think he's incredibly talented...I'd just rather hear and watch Dave Alvin singing his songsor Iris Dement. :^) Say, any folk fans out there hear John Wesley Harding's new record of (retired English folk singer/guitarist) Nic Jones songs? I've never been much of a Harding fan, but he does a really nice job with Jones's repetoire. Just him singing, with Robert Lloyd helping out on acoustic guitar. While I await Kelly Willis's new one, this will keep my ears happy (for a few hours at least). Once again John Wesley harding gives folk a good name. I just got this one this morning and I really like it. I knew I would, though, because I really like Nic Jones and I didn't see how Wes could screw up any of his songs. This is his best album since that one with Kill the Messenger on it. Whoo, that was a great one. Jon said: "IN THE TWILIGHT DAYS OF THE '90S, HERE ARE 50 REASONS WHY IT HAS BEEN A GREAT DECADE FOR MUSIC" - a leap has been made from "rock, pop and hip hop" to "music," and the former doesn't cover a number of streams of "music," including at least one, i.e., country, that certainly appears to have some appeal to a general/mainstream audience. It's the title's implicit equation of r,phh with all of music, or even all of popular music (i.e., excluding classical), that frosts me. Lighten up, Francis. g Of course an article is going to be based on the personal experience of the writer. And if I remember correctly, Greg Kot is the music writer for the Chicago tribune that writes about the type of music in his list. The article is written by a human, therefore personal taste will be implicit. *I* could say that the 90s have been a great decade for music because of the records by Uncle Tupelo, Snuff, Gillian Welch, Varnaline, Jerry Holland, etc etc and just because I didn't list avant garde classical, hip hop, mathrock or emocore doesn't mean my statement isn't true. If Greg Kot says that the 90s were a great decade of music because of those 50 albums he listed then more power to him. If Jon Weisberger says the 90s
Re: 50/90
On Tue, 23 Feb 1999, William F. Silvers wrote: Of a lot more interest to me than some other guy's list is what *our* list would be. I'm enough of a list/top 10 geek to have already been thinking about what my top 10/20/50 of the decade are. If there's any enthusiasm I'd be happy (he says now) to compile something like that for anybody who wants to contribute such a thing. I guess I ought to check with Don first but I assume the best of the year list is enough aggravation for him. Jeez, I haven't even *begun* to think about a decade best-of. I think I'd just like to stick to compiling the annual P2 best-ofs, so if you wanna tackle the decade, Bill, go for it.--don
RE: Hyper produced Bobby Bare
And while I'm not saying that life in a factory is/was just a life of grimness, I can't see how a stark and depressing arrangement would appeal to a factory guy, even if he could identify with the song's theme. No matter the artistic merits of such an arrangement. That's evidently not what Bare was shooting for. Worth mentioning in all this is that "sparce" and "basic" and "plain" are in many ways cuturally (and commercially) contructed choices just like "pop," "lush," and "polished." Seems pretty sketchy to suggest that a stripped-down, bare-bones aesthetic is necessarily a more natural (speaking of cultural constructs) way to express a particular rural (or working class) subject matter than snazzy string arrangements and commercially-associated background singers. BTW, I've been listening this afternoon to the Classic Country channel at spinner.com. In the last hour, they've played Tammy Wynette, the Louvins, Hank Thompson, Grandpa Jones, Merle Haggard, Merle Travis, and a few other gems. They also list the song title, album title and performer for each song they play, which many of these net providers don't do. np: Mel Tillis, Tall Drink of Water
Twangfest airfares
Time to start making those plane reservations for Twangfest - June 11-13, 1999! Southwest Airlines Click 'n Save Internet Specials at http://www.southwest.com/hotfares ** These fares are valid for travel March 16, 1999 through August 4, 1999 and must be purchased by midnight Pacific Standard Time February 25, 1999. Florida markets are available for travel April 13, 1999 through August 4, 1999 and must be purchased by midnight Pacific Standard Time February 25, 1999. Fares shown are each way based on roundtrip purchase Chicago Midway: $32 each way to/from St. Louis Houston Hobby: $63 each way to/from St. Louis Los Angeles: $98 each way to/from St. Louis
Re: 50/90
Excerpts from internet.listserv.postcard2: 23-Feb-99 Re: 50/90 by Christopher M Knaus@juno And honestly, I'm sorta surprised people rate Exile in the top ten of the decade. The year it came out, possibly, but the entire decade?? Name a more impressive better written female rock album of the 90s that actually got a teensy bit of airplay. Sam Phillips's records got airplay this decade, didn't they? I gotta take her over Liz Phair, though they're both good'uns. Sue Garner, too, though she didn't get much commercial airplay. Carl Z.
Re: Hyper produced Bobby Bare
On Tue, 23 Feb 1999, Terry A. Smith wrote: I fet the feeling that Chet shoe-horned everybody into his own poppy world, whether they belonged their or not. FWIW, Terry, having grown up on that era of country music, I agree. I'm reminded of a wonderful pic on the back of one of Waylon's LPs from that period, showing him and Atkins producing one of Jennings' songs. I can't imagine that it was a candid photo, yet the contrast between Atkins' expression -- intent concentration -- and Jennings' -- morose dejection -- is stark. Years before he recorded the song, he's already aware that Hank didn't do it this way. While I don't doubt the sincerity of the folks who've advocated the arrangement the song got, I wonder if they're defending it at least in small part because it's what they've heard all their lives and they're used to it. Maybe someday they'll build a machine that strips out strings and choruses the way karaoke machines strip out lead vocals and then we'll be able to figure it out. Frankly, even aside from the arrangements per se, I thought his tempo was too fast, too bright for that song. Bob
RE: Paul Kelly? RE: Kelly Willis on CD TV
AUSTRIAN??!!!
Surely you mean AUSTRALIAN!!!
Pulllaase!
Junior Walker
--
From: Jeff Sohn[SMTP:[EMAIL PROTECTED]]
Reply To: [EMAIL PROTECTED]
Sent: Wednesday, 24 February 1999 5:06
To: passenger side
Subject: Re: Paul Kelly? RE: Kelly Willis on CD TV
I don't think Paul Kelly ever recorded this song ("Cradle of Love")
himself. It was previously covered by Anne Kirkpatrick- I suspect another
Austrian artist.
"Hidden Things" is on KW's BANG BANG cd and is the title track of Paul
Kelly's 1992 cd.
Jeff Sohn
RE: Neener neener
Who the heck are Johnnie and Jack? A great late 40s to early 60s act. Kitty Wells is Johnnie Wright's wife. Jack was killed in a car wreck in 1963, on his way to Patsy Cline's funeral, if I remember correctly. They did a lot of great numbers, in a duet style that was very different from the Louvin Brothers'; think more along the lines of an earlier Wilburn Brothers. They had a number of popular rhumba-based hits, including (as one hopes all Buddy Miller fans know) "Poison Love." Johnnie, BTW, had a post-JJ solo career that included an early (maybe the 1st?) Tom T. Hall #1 in "Hello Vietnam." Barry Mazor, if I remember correctly, is a Johnnie Jack fan... Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
That overproduced Dwight Yoakam (was Re: Hyper produced Bobby Bare)
Since Terry's playing "lightning rod" today:
Terry A. Smith wrote:
My last message ended sort of abruptly, so I forget wherethe hell I was
going. I guess I'd just like to know whether you defenders of 60s
pop-country, the Nashville Sound, or whatever it was called, have ever
heard a song from that era -- or any era -- that was too heavily arranged
with background singers, strings, etc? I'd really like to know. I've heard
a lot of that stuff that sounds dandy, but also some that doesn't. To my
short list of Bobby Bare, I'd add what one of Hank Thompson's later labels
did to his best work.
It's just sort of tangentially related to this thread Terry, but last week you
were seemingly displeased by the "overproduction" on Dwight's A LONG WAY HOME
record. I was listening to it the other day, and it struck me how well done
("overproduced") the tune "These Arms" is. The song starts out a pretty
straight up shuffle, but transforms into a string-laded, soaring knockout.I'm
with you and many anound here, string-phobic to a degree and much preferring a
"stripped-down" approach. But when it's done right, (a value-loaded word to be
sure) like on "These Arms", well, string me up.
What'd you think of the tune?
b.s.
-- terry smith, embattled again and enjoying it. Nobody argues much around
here any more, and if I've got to martyr myself to the greater good, then
fine. With Matt Cook acting like a big fluffy teddy bear, someone's gotta
step into the void! g
You go Terry. I was afraid somebody was gonna start mourning the health of the
list yesterday. g
Re: Hyper produced Bobby Bare
Todd Larson writes: Worth mentioning in all this is that "sparce" and "basic" and "plain" are in many ways cuturally (and commercially) contructed choices just like "pop," "lush," and "polished." Exactly. Seems pretty sketchy to suggest that a stripped-down, bare-bones aesthetic is necessarily a more natural (speaking of cultural constructs) way to express a particular rural (or working class) subject matter than snazzy string arrangements and commercially-associated background singers. Except for the fact that those snazzy string arrangements and (totally unnecessary) background singers were NOT added for artistic reasons, nor were they added to grab the attention of the working class and rural audiences who already listened to country music. In every article/interview I've read about Atkins/Bradley, etc., they've made it very clear that those elements were added for one reason - to make country music more palatable to middle class urban and suburban audiences and by extension to broaden record sales. This tactic obviously met with some financial success (Chet Atkins became a vice president at RCA), provided a lot of work for groups like the Jordanaires and the Anita Kerr Singers, and helped to advance the careers of certain artists (Eddy Arnold, Jim Reeves, etc.), but I'd bet a few other artists (and listeners) were resistant to the idea. Please don't tell me that the "Nashville sound" was some kind of artistic advancement in country music. Jim Nelson
Re: That overproduced Dwight Yoakam (was Re: Hyper produced Bobb
This is an interesting thread and I will chime in on the Dwight development to reiterate what I said last week in response to Lightnin' Rod Terry's initial post about the production on that album... Somewhat along the lines of what Bill said of Dwight, or what David said in more general terms, it's difficult for me to understand things in terms of "over" or "under"-production; rather, it's whatever works in the circumstances, for that particular version of a song. Plus, A Long Way Home is not produced in single manner all the way through. Pete A. has produced each song for an effect they're looking for with *that* number. Some, like "These Arms," have "big" production, others (like the bluegrass-flavored "Lantern" title?) are relatively minimal. In any case, to my ears it's a successful case of producing for the particular song and the effects one wants on it. Go Lightnin' Rod go g, --junior
Re: 50/90
And honestly, I'm sorta surprised people rate Exile in the top ten of the decade. The year it came out, possibly, but the entire decade?? Name a more impressive better written female rock album of the 90s that actually got a teensy bit of airplay. Sam Phillips's records got airplay this decade, didn't they? I gotta take her over Liz Phair, though they're both good'uns. Sue Garner, too, though she didn't get much commercial airplay. The Geraldine Fibbers, surely to make some of you cringe, but maybe THE most exciting female led band I've heard and seen this decade. Oh yeah, and Emmylou's Wrecking Ball, amazing beyond words. (Time for that semi-annual Lanois love/hate thread? Gawd, I hope not.) But I still gotta give some props to Phair, if for no other reason than being able to crash the rock n roll testosterone party as she did. Still think Exile works better on paper than in reality tho.
RE: Hyper produced Bobby Bare
Jim Nelson says: Todd Larson writes: Worth mentioning in all this is that "sparce" and "basic" and "plain" are in many ways cuturally (and commercially) contructed choices just like "pop," "lush," and "polished." Exactly. Exactly. Except for the fact that those snazzy string arrangements and (totally unnecessary) background singers were NOT added for artistic reasons, nor were they added to grab the attention of the working class and rural audiences who already listened to country music. In every article/interview I've read about Atkins/Bradley, etc., they've made it very clear that those elements were added for one reason - to make country music more palatable to middle class urban and suburban audiences and by extension to broaden record sales. This tactic obviously met with some financial success (Chet Atkins became a vice president at RCA), provided a lot of work for groups like the Jordanaires and the Anita Kerr Singers, and helped to advance the careers of certain artists (Eddy Arnold, Jim Reeves, etc.), but I'd bet a few other artists (and listeners) were resistant to the idea. Please don't tell me that the "Nashville sound" was some kind of artistic advancement in country music. It was and it wasn't. It was certainly a development, probably inevitable, and popular with a good many members - though as Jim points out, not all - of the country music community, musicians and audience both. But it was only one of a number of sounds at the time, just as there are a variety of country and country-related sounds today. And in the early 1950s, too. In any event, as I read interviews with Atkins, et.al. (there's an excellent roundtable of studio musicians in a recent JCM that's relevant here), the reason given above needs to be qualified on several grounds. I don't think Atkins or many of the other folks involved would agree that they had sacrificed musical quality to broaden record sales, which is where the value jdugment comes in - and, I think, that's why so many of these guys express a genuine fondness for what they've done that others have thought was too sappy (e.g., Ray Price). And I also think that it wasn't only, or simply a matter of appealing to new (middle class, urban, suburban) audiences; it was also a matter of changing in response to changing tastes and needs among members of the core audience - who were, after all, among those becoming more urban and suburban if not more middle class, whatever that means. Musically speaking, it's akin to the phenomenon of the honky-tonk driven electrification of the 40s and 50s, the point being that it was also driven by commercial considerations. Pointing out those considerations doesn't by itself negate observations about the aesthetic ones. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Clip: Layoffs Hit Country Music Industry
-- Forwarded message begins here -- NASHVILLE, Tenn. (AP) -- Merle Haggard may have summed up the current state of country music with a line from a 1982 hit: ``Are the good times really over for good?'' Layoffs have hit the country music industry. After reaching record heights in 1995, country album sales have sagged. Sales were up a feeble 2.7 percent in 1998, and the gain was due largely to one artist: Garth Brooks, who accounted for 10 percent of the nearly 73 million albums sold, according to SoundScan, which tracks sales. At the same time, the industry has been unable to launch new acts able to generate the kind of pop-star revenue that Brooks and Shania Twain produce. As a result, Arista Nashville, a division of RCA, fired six executives last week. Song publisher Sony/ATV Tree dropped about half of its Nashville roster of 100 songwriters in October, citing declining royalties. Mercury and MCA Records, owned by Seagram Co., have laid off seven country-division employees between them. And the publishing divisions of PolyGram and MCA will soon merge, costing jobs, primarily in country music. Some worry that a repeat of the mid-1980s may be in store. That's when the bottom fell out of the country music boom started by the 1980 movie ``Urban Cowboy.'' ``The consumer is changing,'' said Joe Galante, who runs the Nashville office for RCA Records. ``And I'm not sure everybody's got their finger on the pulse. Clearly there is a problem in terms of what we are doing as an industry.'' Nashville may be a victim of its own phenomenal success. Revenue from the sale of country music albums quadrupled between 1989 and 1995 to about $2 billion, when Brooks became one of the most recognizable celebrities in America. As the money rolled in, companies like Warner Bros. and MCA built expensive office buildings, gave employees raises and hired more people. Now those companies are looking to cut costs. Small record companies Rising Tide, Magnatone, Almo Sounds, Imprint and Decca have all closed their doors in the past couple of years. ``It was a total surprise to me, to everybody,'' said Kim Fowler, a publicist who had barely started a job at Rising Tide a year ago when the company folded. ``People are getting squeezed out and they have nowhere to go in the music business.'' Promising singers like Shane Stockton, Chris Knight and Matraca Berg have lost their record deals. Dolly Parton did, too, when Decca closed last month, although she won't have trouble getting another deal. ``Whenever you mix art and commerce, you put yourself in danger of the current craze or trends or style,'' said Jimmie Fadden of The Dirt Band, country music veterans who were about to release an album on Rising Tide when the label closed. They have since signed with DreamWorks SKG. Galante estimated that 10 percent of record company staffers may be cut in the long run, and as many as 20 percent of songwriters will lose the stipends from publishing companies that allow them to write full time. ``I think that we're not done with consolidation,'' he said. ``We have been carrying, probably, just a little too much in the way of manpower.'' Nashville has survived such trends before. The industry rebounded from the decline in the mid-1980s to reach unprecedented heights. And even now, far more country albums are being sold now than a decade ago, and country music remains the most popular radio format by far. Del Bryant of New York-based BMI, which distributes songwriting royalties, said all the changes could help in the long run. Larger companies will be leaner and the consolidations may allow smaller record companies to re-emerge, he said. ``Nashville is the classic town that takes two steps forward, then one step back,'' said Bryant, who started his career in Music City. -=-=-
Re: cheap flights
hey jim, www.cheaptickets.com is the best I have found for both lodging and flights. I booked late to Austin from Chicago and still found a flight under $225 which is more than I wanted to pay (I missed my big Southwest plan by one day, oh well.) Alex "who is having somewhat bad vacation planning kharma lately, but at least www.cheaptickets.com has been good" Millar ---James Gerard Roll [EMAIL PROTECTED] wrote: Hey Everyone, Do you know of a sight on the web that features cheap flights?? I get the Southwest and Northwest weekly web-specials. But I need to look into an advance-booking for my guitarist for SXSW. Any ideas of interesting web-resources for airlines?? -jim _ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com
Todd Snider Robbie Fulks
Hey all, there is a minor buzz on the Todd Snider list about a show on the 24th of March in Milwaukee with Todd and Robbie? Is it just them together or a bunch of singer songwriters? Alex "who thinks that show might be worth a trip to MKE" Millar _ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com
Re: 50/90
[EMAIL PROTECTED] wrote: But I still gotta give some props to Phair, if for no other reason than being able to crash the rock n roll testosterone party as she did. Still think Exile works better on paper than in reality tho. While not fronted by women the rhythm section of Imperial Teen is all female and adds great harmonies. Just wanted to quickly plug their new record which came out today - very, very impressive upon first listen. Think this is one for you Neil. Chad
KABALLAH???
Hey all, I know this has nothing to do with the twang, but do any of you P2 renaissance types know anything about the Jewish mysticism known as Kaballah and the supposed long list of famous folks (musicians being of most importance to me) involved with it? Thanks in advance for any OFFLIST responses. And if you feel a rumbling, fear not. That's just my grandparents rolling over in their graves. They've been doing it ever since I took on the above-mentioned assignment, assuming it was some sort of Indian type of mysticism. Bad Jew. Neal Weiss
Re: 50/90
Contributing just cuz - I'm not 100 p.cent sure that one "has to" pick a Tupelo on such a list - sure, there's a wide-ranging infl. on the subgenres we discuss here, but much of the rest of that list was justified by the waves sent out that reached a broader mass than that. And some of what gets called a Tupelo influence is equally an X-Gram Parsons-Replacements-etc list of common predecessors. Tho some of the list equally unjustified or unjustifiably missed. But then again the title (50 reasons it's been a great decade) suggests a personal-taste element - and as Ms. Cheryl says, the whole idea is somewhere in the crap zone in the end. Still I enjoyed the read (tho mind you I fall somewhere in the critic category, if not as far in as the weaselly Weiss among others - I no longer get many advancers - few of all the discs everybody's talking about this week for instance). But on UT - I would go along with David Carl Z. on Still Feel Gone, tho Anodyne's an undoubtedly more influential album. The dynamic range and lyrical unconventions, the sudden switches in texture make SFG Tupelo's art-rock album, to my ears, and I think in emotional range the most interesting thing Farrar was to do until Straightaways. (How's that for a contrarian position?) Carl W.
Re: Tom Russell's new one
In a message dated 2/23/99 12:56:55 PM Central Standard Time, [EMAIL PROTECTED] writes: Maybe the wonderful display of Irish , Norwegian, and Cowboyish folk tunes aint twangy enough for y'all, but I'm enthralled. But I guess everyone's into disposable music that can prick up your ears at a moment's notice and then be thrown away until the next record with a good riff comes out. I think it's a great album. I would suggest listening a couple of times and reading the extensive notes Russell includes. Projects like this are labors of love, and I bet everyone on the list would agree that a talent like Russell deserves more than a cursory spinthrough. I disagree with the above comment that "everyone's" into disposable music, especially on P2. That's a bit rude and an overgeneralization to say the least. On an unrelated note, I just saw Kelly Willis do an instore at Waterloo, and whoever was playing lead with her was weak. Also, her guitar was out of tune the whole time. Almost distracted me from looking at her. Slim np The Iguanas - "Sugar Town"
Re: 50/90
Excerpts from internet.listserv.postcard2: 23-Feb-99 Re: 50/90 by David [EMAIL PROTECTED] Well, I agree you gotta pick a Tupelo--and Anodyne's awfully damn good; I won't argue against it--but I'd go with Still Feel Gone myself. Wow. David, you're the first person I know of who agrees with me on that score. I still think Looking For a Way Out is Jay Farrar's finest song, and the album's held up well. I favor Anodyne by just a notch over Still Feel Gone, but either one of them would have made vastly more sense than Wilco's forthcoming Summerteeth. I won't judge it too severely till I hear it in a format other than Real Audio, but what I've heard so far sounds truly wretched (okay, I guess that's kind of severe). What bothered me about the 50/90 list, in addition to the tendency to pick the wrong records from included artists that Lance pointed out, was its utter predictability. Public Enemy, Portishead, Beck, Pavement, Yo La Tengo...does the guy like any bands that aren't rock critics' darlings? Sheesh. --Amy "Ain't no use in hanging around/Emptiness swallows its own path/I watch my weakness go down easy/And I pray it won't last..." (The Damnations TX)
Re: cheap flights
Tar Hut Jeff writes: priceline is horrible. those people are evil and they rob. I don't know about that, but I've had no luck with them in three attempts. Either they've been unable to get me a ticket or their fares have been higher than the airlines' published ones. Travelocity.com is pretty reliable, and much better than Microsoft's Expedia. I've also had great luck with Worldspan, which is one of the services that travel agents use. Unfortunately you can't get to them directly; you have to go through a travel agent. There are lots of online agents that work through them, though; it just takes some hunting around. I booked my SXSW fare through Cheap Tickets (www.cheaptickets.com), who got me a far lower fare than any others I'd seen. But they also sent me two different sets of tickets--one I'd ordered and one I hadn't--and charged me for both. I'm right in the middle of trying to get this straightened out, but their customer service people have been very hard to reach so far. If they refund the cost of the extra tickets, I'll be able to give them a qualified recommendation--qualified because they screwed up and because their customer relations are, shall we say, lacking. --Amy
Re: Hyper produced Bobby Bare
David's point about context sounds fuckin' cool: I heard a panel discussion on record production on the radio this weekend that included Niles Rogers, the fuckin'-cool-sounding producer-guitar player from Chic and, of course, of David Bowie's least-twee, funniest album, Let's Dance. (The great final flameout of his artistic relevance.) One of the points made was that a producer is like a film director - not someone making a soundtrack but someone *making the film* by assembling the creative elements into a coherent package. And it seems to me that a lot of arrangement choices are the aural equivalent of montage. Great montage includes, for one thing, the awareness that cliches (eg., screaming to indicate fear, minor chords to indicate sadness, darkness to indicate menace, spare instrumentation to indicate grit) are a trap. You're unlikely to create something striking and original because you're telling people what they already know - whereas horror in full daylight might be more horrifying, whereas happy songs in minor keys (which is a tradition in many parts of the world) might be more evocative, whereas lush instrumentation may convey a sense of suffocating self-awareness... (Of course, the cliches used carefully might also be original and striking but that seems an even more daunting challenge doesn't it?) The other important element in montage of course, is montage itself. That is, as Eisenstein realized (based I recall on psychological studies), that people will read values into neutral images depending what precedes and follows. So you can cut from a crying baby to a woman seated at a table with a blank expression, and the audience will guess she's a mother at wit's end; or you can cut from Marcello Mastrianni opening a bottle of wine to a woman seated at a table and people will assume she's rapt with anticipation for her lover. This is just an analogy to support what David's saying about inherent meaning and artistic choice - that putting strings on something isn't always sweetening, that a slow slide down a steel guitar is a prism we see the song through, not a dictator of a particular emotive content. (I can accept that through tradition and perhaps even inherent musical wiring we're *likely* to hear these things one way or another, but like David I'm highly suspicious of literal equivalences.) Though that's not to say that some countrypolitan music didn't get the shit produced out of it, just like some spare music sounds wobbly and flat. In art how you use the tool matters at least as much as the tool itself, McLuhanism be ... well, not damned, but at least somewhat modified. Carl W.
Re: Hyper produced Bobby Bare
At 5:10 PM -0600 on 2/23/99, David Cantwell served me up the perfect opening: I don't think anyone told you this. I can't imagine anyone on this list, in fact, ever telling anyone this, not even me g. But: Please don't tell me that the Nashville Sound was some kind of artistic decline in country music, either. --david cantwell I think you're both right. The Nashville Sound has little to do with country music. It was a way for country musicians to stay employed. But they weren't making country music. It was just *marketed* as country music. Bob, feeling like it's the good old days around here
Re: Return of the Grevious Angel
In a message dated 2/23/99 4:56:45 PM Eastern Standard Time, [EMAIL PROTECTED] writes: "Conmemorativo: A Tribute to Gram Parsons" (Rhino R2 71269) It sucked. Different strokes, I guess...I loved it, particularly Pet Clarke's Crazy Horse-ish take on one of the Hot Burritos (I forget which one)... Different strokes indeed. I thought it was great. John Keane, Peter Buck, Kevn Kinney, and Michelle Malone doing "Cody, Cody" really grabs me and Peter Holsapple and Susan Cowsill with the Walkin' Tacos doing "A Song for You" and Joey Burns and Vic Williams "Return of the Grievous Angel" -- this CD rarely gets far from my player. Deb
Tuesday's 'Ghosts' Winner
Tuesday's winner of a copy of 'Ghost's of Hallelujah' by The Gourds is: Willie Craig (Norwich, UK) We'll be giving away a copy a day until Friday, so if you want to register just go to: www.allegro-music.com/gourds 'Ghosts of Hallelujah' is released on March 9 but is for pre-release sale on the site.
Re: Hyper produced Bobby Bare
At 07:52 PM 2/23/99 -0600, Bob, who is too smart to be anything to but joking here, wrote: I think you're both right. The Nashville Sound has little to do with country music. It was a way for country musicians to stay employed. But they weren't making country music. It was just *marketed* as country music. The kinda short answer: Most of the musicians, producers, songwriters, and country fans who made and loved those records would, of course, disagree. The very short answer: Puh-lease. --david cantwell PS: And, at any rate, I thought everybody here always said it was *marketed* as POP music. You know, like that outlaw shit... g
Re: 50/90--My Uncle's Better Than His
I'm not 100 p.cent sure that one "has to" pick a Tupelo on such a list Carl W. Well, since arguing seems to be in fashion once again, I'll get the proverbial gloves on. I agree with Carl that UT does not have to be on the list. Of course, aside from Nirvana or Public Enemy, I'm not sure anyone else HAS to be on the list either. But, my point with Anodyne (or any of their albums really) is this: If you're gonna take the time to make a list of the Top 50 bands/albums of the '90's--and the word "rock" is in the title of the piece, accidentally or not--how could you justify NOT putting UT on the list? How many other bands reconciled traditional American music, from folk to rock 'n' roll to punk, while also moving forward with such single-minded vision? How many bands have influenced the publishing industry to the point that at least two 'zines directly pay homage to their existence (ND, of course, and I've seen one here in the Deep South called Grindstone)? And how many of those bands have, not just random fan sites, but also "newsgroups" that consistently revolve around the doings of their musical efforts--and those of their offshoots--and then connect them to the decades-old culture of music which surrounds those same efforts? In the end, of course, it doesn't matter that some random critic shunned UT. However, as someone who believes in rewarding musicians for paying attention to their history and having good taste to boot, screw him. Just because something's happening here and he don't know what it is doesn't mean I have to pat him on the ass for giving it the old college try. Lance . . .
Ain't it funny how the Moths move.
This is one reunion you won't soon remember. MOTHS with Highwaters Three Penny Opry featuring Bing alum Rob Roth on mandolin Friday February 26, 10:00 pm CHARLESTON BAR GRILL 174 Bedford Avenue Williamsburg, Brooklyn, NY btw. North 7th North 8th take the L train to Bedford and you're right there. And coming Easter Sunday April Fourth -- Moths @ Mercury Lounge Details to be posted to http://www.moths.com ... after I get some sleep.
Re: 50/90
Smilin' Jim said:
I agree with Dina, although I've heard a lot more than she has. It seems
like standard rock-crit snobbery (is that a word? g) that most of the
general public just ignores.
Hey there, I'm not sure what I said that you're agreeing with, Jim. I
posed a question, not offering an opinion, and wasn't trying to imply
snobbery on the part of the critics. I was just wondering if these are
albums/artists that most people ("people" meaning real people who buy
records, not critics who have anything and everything cross their desk for
free) have heard of if they pay attention to mainstream sources such as MTV
(which would mean that I'm REALLY out of touch if I don't know who they
are) or whether some are considered to be obscure, or whether any of these
are considered to be popular albums/artists.
Oh wait, now I know--I think you were agreeing with me about the fact that
I live under a rock!
Dina, older than some dirt but younger than other dirt
