Monte W. (was Re: 50/90)
Bill said n.p. Monte Warden advance I got lucky and snagged yeaterday... How does it sound? Dina
Unsubscribe
It is great to see that there are a large amount of people out there talking about this "kind" of music, whatever you choose to call it. This is a great list, but I dont have enough time to keep up, please "Unsubscribe" me from the list Thanks - Pete Taylor [EMAIL PROTECTED]
RE: Steve earle interview
Sorry - that was a personal message DOHHH!
Snipping 101 (Re: 50/90)
Actually publish it to the list please. Everyone is so cool about deleting the excesses/repeats off their posts. cool, but wish I had seen it the first time. Unfortunately, of late, I wouldn't agree. Let's get it together folks, especially some of the new guys and gals. Glad to see the new blood, but cut the excess text, por favor thanks, crankydanbentele
Re: 50/90
Regarding PJ Harvey: I wouldn't necessarily disagree as to including "To Bring You My Love" on the list. I believe it shows a fine line between anger and sensuality much that love and hate are often equated. "Down By The Water" is one of those primevil songs which, with the haunting drumline, the tortured lyrics and the sensual and straightforward manner Harvey sings it leaves a pretty big, lingering impression. Many critics focused in on that and the general darkness in tone the album brought forth. "Rid Of Me", albeit quite good, doesn't convey that "other wordly" from the depths of the soul approach. Anyway, sophomore releases usually get overly "scrutinized" as if saying: is this artist for real, do they have staying power, are they really what they represent and could they be influential in the years to come? Tera -Original Message- From: lance davis [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Tuesday, February 23, 1999 1:41 AM Subject: 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
At 01:44 PM 2/23/1999 Don wrote: 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 Aw c'mon Don, haven't even sorta kinda thought about it? g Well, I have a little anyhow. Y'all who have some interest start those record-geek wheels a-spinning, and I'll get back to you later in the year with some (minimal) ground rules. I'm thinking about taking lists of more more than just 10, like maybe 12, 15 or (shudder) 20. Should be fun. b.s. "The truth ain't always what we need, sometimes we need to hear a beautiful lie." -Bill Lloyd
Re: Plodding through Postcard2 digest...
[EMAIL PROTECTED] writes: can I inquire about something that puzzles me from time to time? How come we (the collective P2 mindset, that is, and maybe most serious music fans in general) are quick to slay these writers for their professional opinions every time we see them but then, at year end, for example, we jump at the chance to play critic and divulge our own top tens Cause we're just smarter than they are. Naw, I think Neal's gotta point, most of these guys like Kot write with a broad "critic-at-large" viewfinder on, and it is somewhat unfair to expect them to perform with incisive insight on every genre. I mean, they have to keep up with a lot more stuff than a lot of us on P2 do, most of us having an alt.country, roots rock, and maybe "contemporary folk"-heavy perspective g. I mean, I know I try to read and listen and follow the industry on a much broader scale than that, but reality is I pretty much can't or don't, especially as a non-weasel. Still, I think Jon's got a point on the near-total lack of country stuff, hell-even Rolling Stone regularly reviews a lot of mainstream country records. And I'll personally let Kot have it for not having any Earle, Yoakum, Emmylou, or Uncle Tupelo, especially with some of the silly stuff he did have on there. I'm really not upset that he doesn't have any bluegrass or "deep folk", I mean he obviously has to keep up with an awful lot of stuff. What I can't figger out is why Kot did this this early in the year, he's sure to miss some darn good records, even if I can't right now think of what they might be. Sadly (and tho this will have to be the subject of another post, from a purely "Kot-ian" perspective), I can't agree it's been a great decade for music. Good, interesting, but from a purely "songwriting" perspective, not great. I'd rank it certainly behind all the others going back to the fifties (60's first, then 50's, 70's, 80's and 90's). And tho this is surely a subjective opinion, I'd give "alt. country", folk, and roots-rock artists (many of those I listed above as well Alvin, Welch, Lucinda, Buckner, DeMent etc etc.) a lot of the credit for doing the heavy lifting as far as good songwriting goes for this decade (even tho I will concede "alt.country" is overrated as a genre, but not an idea.)) There. Did I cover enough shit in that post??? (;-)) Professionally and defensively yours, Aww, go back and eat your Kaballah. I'll have mine with lox and cream cheese. Egg bagel. g dan
Re: 50/90
Meshuggah is just a bunch of fuzz-box metal vocals/guitar in the tradition
of Gwar (satanic-type rock) with a little bit of melodic thrown in to intice
the masses. Influential nineties music? I hardly think so - rehash upon
rehash of a repressed hormonal male puberty gone completely awry.
Influential? Kott must have been having one of those Lucy In The Sky
dreams. The Orb is electronica borrowing from the "dead". I mean, leave
Minnie Ripperton alone. Their other music is just weird "new age meets rock
meets electronica". May have been "cool" for the young reviewers who've
never crossed this concept before, but for me it was totally been there and
done that. Pretty "corny" stuff if you ask me. Should you have been turned
onto them? No...please don't...don't even give it a second thought.
Tera
-Original Message-
From: Dina Gunderson [EMAIL PROTECTED]
To: passenger side [EMAIL PROTECTED]
Date: Tuesday, February 23, 1999 10:37 PM
Subject: 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
Kelly Willis Review from Salon
http://www.salonmagazine.com/ent/music/feature/ Kelly Willis "What I Deserve" Rykodisc Flesh and blood KELLY WILLIS' NEW ALBUM, "WHAT I DESERVE," IS AN ANTIDOTE TO THE SLICKNESS THAT'S RUINED COUNTRY MUSIC. BY CHARLES TAYLOR | A few years ago, without really intending to, I stopped listening to most new country music. When the most enthusiasm I could muster for certain new records was, "Well, it's not as slick as it might be," I realized that I had simply stopped expecting the genre to produce anything much of interest. The slicking up of country music was nothing new; it had been going on at least since the countrypolitan sound of the '60s. But in the last few years that slickness has felt like a stake through the heart. I suppose I could learn to tell Shania's voice from Tricia's from Deana's from Mindy's if I put my mind to it. But nothing I've heard has made the trouble it would take seem worth it. More popular than ever, country music is also -- as a form -- more debased than ever. Turn to your local country station or switch on TNN and what you hear is less the country sound than representations of that sound, voices and guitars that twang as if they'd been programmed, everything stripped of the dirt of experience. The truth is that the themes country music has traditionally dealt with -- sin, loss and its acceptance, redemption or the refusal of it -- have no place in a genre that has been reduced to the manufactured emotion of party songs, empowerment songs (for the women singers), MOR ballads. The sort of schlocky material done by the singers that people in their 40s and late 30s grew up seeing on talk shows -- the likes of Jerry Vale, Sandler and Young, Vic Damone -- is now being churned out in a country idiom. The "rock" side of country is no less safe. For aging rock audiences, the flashy stage shows of performers like Garth Brooks or Shania Twain are a sort of security blanket, allowing people who long ago stopped paying attention to rock 'n' roll to feel as if they're still in the fold. The bright spots have been sparse. I continue listening to Martina McBride because, despite all the second-rate material and musicianship she settles for, I still hear a real person when she sings. (And I'm not ready to give up on anyone who delivered as powerful a performance as "Independence Day," perhaps the greatest single of the decade, certainly the most subversive.) But McBride's success is not likely to encourage her to take on the material or sidemen that would challenge her. And I don't know when we're likely to hear another album from Bobbie Cryner, whose 1995 "Girl of Your Dreams," the toughest set of marriage songs since Richard and Linda Thompson's "Shoot Out the Lights," showed how real feeling might be possible in the slick country mainstream. Country radio has become so rigidly formatted that a few years ago the Mavericks' last album, "Trampoline," which you might have expected to spawn hit after hit, was ignored as too rock 'n' roll (and ignored as too country by rock stations). After his last album, "Unchained," which got no airplay, won a Grammy, Johnny Cash took out ads in the industry trade publications in which he expressed thanks "to the Nashville music establishment and country radio for your support" -- alongside a 1969 picture of him giving the finger to the camera. There's no better example of what's wrong with country radio than the fact that you won't hear artists like Shaver (whose "Tramp on Your Street" may be the finest country album of the decade) or Alison Krauss, perhaps the purest voice in country right now. The bits of slickness that crept into "So Long, So Wrong," the last album from Krauss and her band, Union Station, suggested she was in for a long, uncertain fight to continue playing her music the way she wanted. All this is by way of breathing a sigh of relief that Kelly Willis' new album, "What I Deserve," a title that seems both boastful and ironic, is a sure sign that she has rejected the mainstreaming moves of her last album, 1993's "Kelly Willis." Willis has sacrificed some of the rockabilly flavor of her first two albums, 1990's "Well Traveled Love" and 1991's "Bang Bang." "What I Deserve" is a darker piece of work, and a more coherent one. The emotions and playing on the album are all of a piece, a darker piece. Which is why you're not likely to hear anything from "What I Deserve" on any airwaves near you. "No, you don't get off easy," Willis sings toward the end of the record, and the line sticks because it comes at a time when country music is all about getting off easy, about disposable emotion. "What I Deserve" is about being in the grip of emotions so big they seem not as if they started inside the singer, but as if they were waiting around for her to get caught in their grip. And they don't sound as if they'll be dissipating any time soon. Not every song here is a sad song, but Willis has made the slow, easy roll of "I Got a
Lambchop on NPR's Morning Edition this morning
Hi everyone, It's been a while since I've posted here! Hope everyone is doing well. Just wanted to pass on that there is an interview with the Nashville band Lambchop this morning on NPR's Morning Edition. It was about a 5-7 minute segment- I was impressed with how much time they gave them. back to lurking... -paul [EMAIL PROTECTED]
Re: Hyper produced Bobby Bare
A few points: Believe it or not, but I never laid down a blanket rejection of "heavy arrangements" -- strings, singers, etc. At least not this year g. What I was saying was in the context of the Bare stuff from the 60s that Chet Atkins produced. I just didn't think it worked very well, because the dissonance between the working-class/gritty sort of tunes, and the suburban Pleasantville type production was just too off-putting. And I can't believe that this was an artistic choice - a deliberate effort to add tension to a tune. It was to broaden the audience. That's not bad, but to this "narrow" listener, it stood out like a sore thumb. To me, production is like makeup on women; when it draws attention to itself, then it's not working. (When I discussed Dwight's record, "A Long Way Home," last week, I wasn't criticizing the production -- I don't have any problem with it -- I was just talking about it, raising some questions about why folks made a big deal about Holler's arrangements, but didn't emit a peep about Dwight's.) As for Bobby Bare's intentions, you all are right. It's impossible to project some notion of mine onto a guy whom I've never talked to (though I'd like to have a chat with him). On the other hand, I am curious about how Bare became an inspiration for the outlaw movement of the 70s. After he got through with Chet in the '60s, just what the hell was he rebelling against that caught the attention of Waylon and Billy Joe? Or was all that outlaw rebellion just a profit-motivated pose? I really don't know the answer to those questions, cuz in the 70s I accepted (and loved) all that outlaw stuff without questioning it. That's all for now, though I'll confess that David's analysis of this topic pretty well blew me away. He added some layers of complexity to this idea of heavy arrangement = bad, and stripped-down = good. And a good point, too, about there's more than one way to skin a cat. In the end, how we view "artistic choices" has a lot to do with what sort of environmental filters have been installed in your own head over the years. Growing up in the 60s and 70s, I learned to reject the "suburban sound" -- strings and backup singers -- because that's what my dad always had playing on the car radio. Como, Sinatra, Martin, Davis Jr., etc. Stripped-down rock n roll was the thing, and the same sort of partiality eventually led to my same feelings about blues, jazz and then country. I know I'm biased, then, but on the other hand, I still believe that once you accept your biases, and try to compensate for them, you can credibly look at the production choices, artistic choices, whatever, on something like "Detroit City," and decide, with some objectivity, that the fucking thing sucks wind. Yeah, a joke. Actually, despite my problems with the Bare/Atkins stuff, I still like to listen to it, because the songs are so damn great and so is Bare's voice. And, after giving "The Streets of Baltimore" another listen, I'll concede that this one is pretty damn good. All for today (thankfully) -- Terry Smith
Re: Return of the Grevious Angel
I've just been reading Sid Griffin's Gram bio (which is really more of a collection of interviews, etc.) and I've really enjoyed it. It's raw (and a little hard to get into, I'd imagine, if you didn't already have some background on GP ... but who'd buy it if they didn't?), but I particularly like the numerous voices in it: Hillman, Emmylou, Gram's bandmates from the early days, and, of course, the two great interviews with GP himself at different stages of his (all too brief) career. Obviously, he did a lot of livin' in those short years. Anyway, the copy I'm reading is a loner ... I was wondering if anybody knew where it might still be available to buy (it's got to be long out of print, ain't it?)? BTW I've got the Fong-Torres (sp?) bio, too, so I'm not just looking for a GP bio -- I'm looking for another copy of Griffin's book. Thanks. P.S. When Gillian Welch and David Rawlings came to ETSU to do a songwriting workshop my center co-sponsored with the Bluegrass-Country Music program, they apologized for being a little late -- they'd been up half the night recording Hickory Wind for the GP tribute (with Emmylou producing -- that slave-driver ;- ___ Rob Russell Johnson City, TN [EMAIL PROTECTED] http://listen.to/thebystanders -- From: [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Subject: Re: Return of the Grevious Angel Date: Tuesday, February 23, 1999 8:31 PM 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
Re: Tom Russell's new one
That's the problem with concept albums. While they may work as a whole (and I'm not sure this one does), it is extremely rare if individual songs hold up on their own. To have to read liner notes and written material before I can understand how good a record is or what a great concept I'm dealing with is firthers my point. This is aural art, not literary genius. The music is, or should be, the important thing. If it's not, then just write a book and I'll trat it for what it is. I feel the same way about visual art as well. If it doesn't grab me before I read about the concept and what went into producing it, it's probably not "great" art. Tom Russell has done some great pieces before and I respect him for even attempting this song cycle but (IMHO), it just doesn't work all that well. Hell, name me 5 concept albums that have worked out well regardless of genre. Iceman Hanspeter Eggenberger wrote: Reply to: Re: Tom Russell's new one Slim wrote: 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 agree with the above. But I have the same problem with Tom Russell's new one as I have with most "concept albums": Some songs only work in context to the others but not as individual song. So you have to listen to the whole album from the first to the last track to get the picture. HP NP: Hank Shizzoe - "Walk"
Outlaws (was: Hyper produced Bobby Bare)
Terry mentions the outlaw movement... Don't recall a thread on them, offhand. I loved these guys in a cultural sense but wasn't real into the rhymthic feel (the "boom-chuck," rhythm as opp to a swinging rhythm...). I never have understood that rhythm thing... They were certainly an interesting moment in terms of struggles within the country music industry. Didn't that first album outsell all previous country albums at the time? --junior
Re: Concept albums (was: Tom Russell's new one)
Reply to: Re: Concept albums (was: Tom Russell's new one) Young aka \\\"The Iceman\\\"\" wrote: Hell, name me 5 concept albums that have worked out well regardless of genre. The concept albums by The Kinks worked out very well: "The Village Green Preservation Society", "Arthur or the Decline and Fall of the British Empire" and "Schoolboys in Disgrace". The Who's "Tommy" is nice too. And the Nitty Gritty Dirt Band's "Will the Circle Be Unbroken" - if we see this as concept albums. HP NP: The Kinks, "Muswell Hillbillies"
RE: Kelly Willis Review from Salon
Flesh and blood KELLY WILLIS' NEW ALBUM, "WHAT I DESERVE," IS AN ANTIDOTE TO THE SLICKNESS THAT'S RUINED COUNTRY MUSIC. BY CHARLES TAYLOR | A few years ago, without really intending to, I stopped listening to most new country music. When the most enthusiasm I could muster for certain new records was, "Well, it's not as slick as it might be," I realized that I had simply stopped expecting the genre to produce anything much of interest. Am I the only person who thinks that that was the point at which Mr. Taylor should have considered not writing about new country music? And then to single out Martina McBride as a noble exception, while backhanding Alison... What a maroon. Sorry, Neal. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Return of the Grevious Angel
In a message dated 2/24/99 7:52:00 AM Central Standard Time, [EMAIL PROTECTED] writes: Anyway, the copy I'm reading is a loner ... I was wondering if anybody knew where it might still be available to buy (it's got to be long out of print, ain't it?)? There is a small bookstore in Atlanta called Acapella Books that carries it. They are located on Euclid Avenue in the Little Five Points area. Not sure if they have a website, but you could call information and get the # . The owner's name is Frank, and he is a great guy. Slim
Fwd: End of an Era...
Hi folks, Thought you'd like to know about the last show from the "rockin' banks of the River Charles" with Greg Reibman (Rockin' With Greg on WMBR, 88.10FM, MIT, Saturdays from 10-noon). For music fans living in Boston/Cambridge, he's become an institution of sorts on Saturday mornings. He's going to be missed like crazy and if anyone will be in the area this Saturday, please stop by - BTW - I'm the official "bouncer" for the rockin' sendoff! Kate. Dear rockin' person: I can't believe it but it's come down to this: Twenty years and several thousand plays of various Jonathan Richman songs later, I am about to do my last radio show on WMBR. As I've mentioned on the air, leaving the station was one of the most difficult decisions I ever made and that was before I received the flood of phone calls and e-mails for rockin' folks like yourself. Your support and kind words have meant so much to me. I can't thank you enough. Leaving WBMR is bittersweet, to say the least. I'm looking forward to having my weekends free (I've heard from lots of listeners who say they clean their house, listening to "Rockin' with Greg'' who knows, maybe I'll clean mine for a change). But I'm going to miss playing my favorite songs for you each week and the thrill of discovering new gems by new artists that, sadly, may not be heard anywhere else. And I'm going to miss the calls from you all too. Anyway, if you're free this Saturday (2/27) I'd like to invite you to join me at the station between 11:30 am and 12:30 pm for one final "pat on the back" and a toast at noon. And if you can't make it, I'd like to thank you one last time now, for the support and the friendship. Always keep rockin' Greg Reibman P.S. WBMR is located on Memorial Drive in Cambridge, halfway between the Mass. Ave and Longfellow bridges. It's a big building with pillars and tennis courts right next too it. (Nothing else looks like this, and it's usually not too hard to find parking on Saturday morning.) We're in the basement of that building, enter using one of the side doors. The Kendall Square T is the closest stop. Ames Street is the cross street next to the tennis courts. If you need more info check out http://whereis.mit.edu/bin/map?locate=walker or write back. P.S.S. And for those interested, here's my list from my last countdown show The rockinest songs of 1998 WMBR's Rocking With Greg show 1. Lucinda Williams "Car Wheels on a Gravel Road'' (Car Wheels on a Gravel Road) Mercury 2. Robbie Fulks "Let's Kill Saturday Night'' (Let's Kill Saturday Night) Geffin 3. Billy Bragg and Wilco "California Stars'' (Mermaid Avenue) Elektra 4. Duane Jarvis "Far From Perfect'' (Far From Perfect) Watermelon 5. Dan Bern "Chick Singers'' (Fifty Eggs) Work 6. Mavericks "Dance the Night Away'' (Trampoline) MCA 7. Terri Bright "Mostly Wonderful'' (I'll Tell Lies) Bully 8. Arthur Dodge Horsefeathers "Birmingham'' (Cadillacs, Ponytails dirty Dreams) Barber's Itch Records 9. Mary Lou Lord "Lights are Changing'' (Got No Shadow) 10. Eddy Lawrence "Just Down the Road from Shania Twain'' (Guitars, Guns and Groceries) Snowplow Records 11. Derailers "Tears in Your Eyes'' (Reverb Delux) Watermelon/Sire 12. Nanci Griffith with Lucinda Williams "Wings of a Dove'' (Other Voices Too) Elektra 13. Paved Country "Don't Even Think About It'' (Paved Country) none 14. Kevin Gordon "Company Car'' Shanachie 15. Mary Gauthier "Ways of the World" (Dixie Kitchen) RG Music 16. Ruthie the Wranglers "He's a Honky Tonk Man'' (Life's Savings) Lasso 17. Angry Johnny and Killbillies "American Girl'' (What's So Funny) Tar Hut 18. Sue Foley "Give My Love to You'' (Ten Days in November) Shanachie 19. Amy Rigby "All I Want'' (Middlescence) Koch 20. Dwight Yoakam "Same Fool'' (Along Way to Go) Reprise 21. Jimmie Vaughan "The Ironic Twist'' (Out There) Epic 22. High Lonesome "Come Back'' (For Sale or Rent) Trailer Records 23. Barrence the Movers "If the Shoe Fits (no title) none 24. Anna Egge "River Under the Road'' (River Under the Road) Lazy Sob 25. Willie Nelson "The Maker'' (Theatro) Island Thanks again. I hope to see you Saturday.
Re: That overproduced Dwight Yoakam (was Re: Hyper produced BobbyBare)
Bill S. said:
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?
I know you were asking Terry, Bill, but this is absolutely my favorite song
of 1998, and it seems that some others on the list have at least hinted at
a similar sentiment. And your description nails a lot of what's so great
about the song.
Incidentally, I was reading an interview w/ Dwight in the
late-but-not-lamented Musician Magazine, and he claimed that Pete tried to
get him to change the bridge in the middle of the song (the big
string-heavy D-A-E/ E - G- A part) to something more "standard," but Dwight
resisted
Re: Tom Russell's new one
On Wed, 24 Feb 1999 [EMAIL PROTECTED] wrote: Why do I feel that this negative response to Russell's album was essentially preordained by the first post on it a month ago declaring it one of the greatest records of all time? Maybe it's the reverse of the Lucinda Syndrome. And isn't it strange that Slim always seems to be on the side of the virtuous critical angels, while it's those poor schmucks with the opposing viewpoints who are inordinately affected by pre-release hype. Give folks some credit, Slim, for thinking for themselves. Sometimes a difference of critical opinion is just that.--don
Concept albums
Concept albums have certainly evolved over time. So I would include Merle Travis' 1947 "Folk Songs of the Hills" (as well as the later "Songs of the Coal Mines,"). There's also Johnny Cash's americana albums such as "Ride This Train," "Bitter Tears," and "Mean as Hell." And I might also add "Night Life" to that list as well. Compared to an album like "Red Headed Stranger" or "Tommy," these may seem only vaguely like concepts but I'd argue that what makes them concept albums is the point of the album is the whole presentation and not merely a parade of the songs that make it up. Doug Young wrote: The Music must be capable of standing on it's own without all that other stuff. Unless , of course, we dealing with another art form instead of music. The idea that every song committed to a CD has to stand up as a single is silly. There is not one way to listen to music. Do we extend that criteria to other at forms? If I walked through the impressionist wing of the Musee d'Orsay in Paris and said, "That sucked, those pictures were blurry," people would think I was an idiot. "Red Headed Stranger" and "Phases and Stages," for example, are great albums if you listen to them straight through. But if you play them with your CD play set on random, a whole lot of the good stuff suddenly sounds like filler. Which I dont think is any comment on the worth of the albums so much as that they were not meant to be listened to randomly. Will Miner Denver, CO
Re: Hyper produced Bobby Bare
To me, production is like makeup on women; when it draws attention to itself, then it's not working. Terry Wow!! What a great sentence, do you mind if I steal it? And while I'm not the only one who agrees with its attention-getting flavor concerning 60's.pop.country.com (I'm pretty sure if Buck "approved" with the coin-jingling Nashville Sound he wouldn't have felt compelled to create his own Buckersfield Sound), you have to allow for those moments where individual talent rise above. Some folks' tastes run to Bare or Snow. Mine sure run to Ray Charles and Charlie Rich, two cases where (lip-)glossy production values didn't always hurt their ability to make a soulful artistic country statement. Lance . . .
Re: New Boston P2ers (Was: Re: Fwd: End of an Era...)
...blushing as I write this, I've been remiss in welcoming two of Boston's finest to the list, though fortunately they've had no reluctance about introducing themselves anyway. Kate Martins is everywhere, with the eclectic taste I could only wish for. = Obviously, Bob and I are longtime members of the Mutual Admiration Society, keep up the good work and thanks for the kind words! Barry Brooks has also popped up -- the man's collection not only of music but also of clippings and related material make for an amazing library. I remember Billy Joe Shaver's amazement at seeing all the stuff Barry had brought that Shaver had never seen. = Not to mention EVERY Lucinda clipping, too. And yeah, that's pretty big news about Rockin' with Greg. The only bright side is that it makes it easier to listen to "Hillbilly at Harvard." And while that's no small matter, Greg's departure is still going to leave a vacuum in the scene. If he remembers me from that show, Kate, tell him I'm toasting him too. = Agree, however MBR has bumped John Funke's "Backwoods" into the 10-noon slot so it'll still be a "tough" 2hrs for music junkies. We miss you out in clubland, Johnny D's hasn't been the same since you split for Chi-town :-( See you in a few weeks. Kate
Re: Kelly Willis Review from Salon
BY CHARLES TAYLOR | A few years ago, without really intending to, I stopped listening to most new country music. When the most enthusiasm I could muster for certain new records was, "Well, it's not as slick as it might be," I realized that I had simply stopped expecting the genre to produce anything much of interest. Am I the only person who thinks that that was the point at which Mr. Taylor should have considered not writing about new country music? And then to single out Martina McBride as a noble exception, while backhanding Alison... What a maroon. Sorry, Neal. No prob here, Jon. I agree with you. Taylor instantly ruins his cred by saying he hasn't paid attention to the genre for X number of years. But worse, to me, is that he makes himself the star of the review. I can't stand that. Leave the "I" out of it. Neal Weiss
Re: Hyper produced Bobby Bare
Terry Smith wrote: A few points: Believe it or not, but I never laid down a blanket rejection of "heavy arrangements" -- strings, singers, etc. At least not this year g. and (When I discussed Dwight's record, "A Long Way Home," last week, I wasn't criticizing the production -- I don't have any problem with it -- I was just talking about it, raising some questions about why folks made a big deal about Holler's arrangements, but didn't emit a peep about Dwight's.) Sorry if I remembered what you wrote about that incorrectly Terry. I would almost certainly similarly mis-step in trying to remember the content of a year-old thread, g but I'd say that in retrospect that maybe the reason the arrangements on the MIH record got noticed is that they were new, for me rather jarringly so, for a band I'd seen and loved in a bar setting (thus sans strings) several times. And a year later, while of course I understand and respect Mike's vision in setting that up as he did, I still feel the strings are a distraction rather than an enhancement of those first two songs. (They work great on "Christmas Past") As for Dwight's record, well, I think the strings definitely enhance "These Arms", and CRS syndrome prevents me from remembering others. b.s. n.p. Ex-Husbands
Re: Kelly Willis Review from Salon
Jon Weisberger wrote: Am I the only person who thinks that that was the point at which Mr. Taylor should have considered not writing about new country music? And then to single out Martina McBride as a noble exception, while backhanding Alison... What a maroon I can never understand the popularity of Martina McBride. To me she is blandness personified. Maybe that's the answer. I happen to think that Kelly Willis' Nashville stuff is pretty exceptional. Bang Bang, I'll Try Again, Shadows Of Love, Sincerely, World Without You. You have to say that Nashville had a hand in creating some pretty amazing music here. If you look at select parts of Nashville output you can get a pretty good selection of music. How about 455 Rocket or A Lover Is Forever? I'll never write off Nashville as being a place that can put out something to knock your socks off every now and then. I mean it's not like I like *all* alt.country. Nashville gets a lot of criticisms around here, so I thought I'd add my 'friendly' opinion. The Alison Krauss comment was pathetic. Louise np Fading Fast (again) --- If you like rocking country music, check out the Okeh Wranglers web site at: http://dspace.dial.pipex.com/bluesmoke
Re: Outlaws (was: Hyper produced Bobby Bare)
On Wed, 24 Feb 1999, Joe Gracey wrote: the RCA release with Waylon and Willie and Tompall and I forget who else You forgot the gal: Jessie Colter. Now you're gonna have to watch out for Cheryl Cline. Will Miner Denver, CO
Re: Concept albums (generally a goofy thing, but...)
In a message dated 2/24/99 11:01:47 AM Central Standard Time, [EMAIL PROTECTED] writes: However, Sgt. Pepper's is not a concept album, even though it is billed as such, Wrong!!! The concept for Sgt. Pepper was based on creating an oldtime sort of big band that accompanied a traveling circus , I think. It most definitely was a concept album. Read your music history books. Slim np - Tom Russell (Yes, it's good)
Re: Clip: Turner South (aka: even Bubba Like Star Wars)
In a message dated 2/24/99 11:27:04 AM Central Standard Time, [EMAIL PROTECTED] writes: The company, which started as an Atlanta television station 29 years ago, now plans to start a cable entertainment network tailored toward the Southeast. The network will be dubbed Turner South. Woohoo!!! More rasslin', stock car racing, and maybe even "HeeHaw" reruns. I am psyched! Slim
Re: Tom Russell's new one (opera)
On Wed, 24 Feb 1999, Lowell Kaufman wrote: So TR's new one is made to rely on more than just the song itself - it is called a folk-opera after all so view it in the context of an opera. Uh oh. Not another folking opera. Will Miner Denver, CO
Re: Hyper produced Bobby Bare
On Wed, 24 Feb 1999, Terry A. Smith wrote: Nobody's answered my earlier query, vis a vis, if Bobby Bare was thought to be an inspiration for the early Outlaws -- Shaver and Waylon -- then what exactly, if anything, was he thought to be an outlaw from? At what point did he decide to hang his hat with the outlaw movement, or leastways do some things that later outlaws felt mirrored their own feelings of rebellion? Or was it just an outlaw pose, as opposed to a real rebellion. Bobby's always been a fan of songwriters, period. First, folks like Harlan Howard and Mel Tillis, and later, folks like Kris Kristofferson, Billy Joe Shaver, etc. I bet he'd say he was into the Outlaw movement 'cuz they just happened to be writin' some of the best country songs of that era -- in fact, he *did* say somethin' like that to me last week.--don
Re: Jack Clement
Bob Soron wrote: On Wed, 24 Feb 1999, ailin' Joe Gracey wrote: "Terry A. Smith" wrote: I think I'm gonna cut my ears off. But first I'll listen to the best version of Miller's Cave, by Don Williams. -- Terry Smith The P2 Van Gogh! But check out Charley Pride's version, too. Produced by the songwriter, Jack Clement. The reason Don's is so cool is he was also a disciple of Jack's. I have to admit, a lot of stuff that Jack Clement produced during the '70s, I never got. "Dreaming My Dreams" -- and I admit here to being a minority of one -- had some great songs but just didn't work as an album for me. Jack's own album I couldn't finish. There's surely some work I liked a whole lot (maybe with Tompall Glaser? Can't remember those production credits and can't look right now, but I know they worked together a lot) but he's always been one of those producers I've known I was supposed to like but just couldn't. (And I should say this has no effect on how much I appreciate his songwriting.) Johnny Cash Jerry Lee Lewis Charley Pride (he shared production duties, and his stuff is the best by far) The Stoneman Family John Hartford Townes Inspiration for the Don Williams/ Crystal Gayle early 70s sound Louie Armstrong (he made a country album!) Inspiration for Tompall's sound, even down to the vocal style More I forget now... -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: Neener neener
Barry Mazor wrote: Yeah, yow. I picked up the "Greatest Hits by Johnnie Jack" cassette tape sold on the Kitty Wells website, and it's not as good a selection as that record! The Bear Family Johnnie Jack box is definitely more of 'em than I'd want, poisonally... You Johnnie and Jack (and Kitty Wells) fans ought to check out the Bear Family CD 15808 - Johnnie and Jack with Kitty Wells at KWKH. Recorded in 1948 or 49, I think, the album is made of cuts culled from radio transcriptions made for their day-time show during their tenure as members of the Louisiana Hayride. No hit songs here, rather they do covers of other folks' material - Stanley Brothers, Hank Williams, Molly O'Day and the Cumberland Mt. Folks, Jimmie Osborne, etc. - and some great fiddle tunes from Paul Warren. This CD probably is more representative of the group's sound than any other currently available album - though I'd love to find a copy of that box-set. Jim Nelson
Re: Concept albums (generally a goofy thing, but...)
The concept for Sgt. Pepper was based on creating an oldtime sort of big band that accompanied a traveling circus , I think. It most definitely was a concept album. Read your music history books. Slim So, where does "Within You Without You" fit into this context? I didn't realize mush-mouthed ragas were old-timey big-band g. Unless Glenn Miller incorporated sitar into his Air Force marches and I wasn't notified, I'm pretty sure that Sgt.Pooper's is a collection of disparate tracks that sometimes inter-connects, but often doesn't. Paul may have wanted it to be a concept album, but it just doesn't add up to one (though the title track I'll admit is conceptual). In fact, I don't think this LP's anymore of a concept album than Side 2 of Abbey Road (although some rock historians insist that that's "conceptual" as well). Maybe it comes down, as so much ultimately does, to which version of history you want to believe. As far as the "accompaniment of a travelling circus," I believe that was the M.O. of the disastrous Magical Mystery Tour, which is a whole different sheet of acid. That SPLHCB incorporated many different musical elements--with varying degrees of success--doesn't necessarily make it a concept album, despite what the mythology may imply. And I'll stand on Billy Shears' coffee table in my Beatle Boots and tell him that. The walrus was Brian Epstein. Lance . . .
Merle question
Hello. I bought a Merle Haggard box set a few months ago and have greatly enjoyed it. I recently saw in the Globe that he is coming to the Boston area in a couple of months and am wondering if he is worth going to see. What do you guys think? Anyone seen him recently? Would I be wasting my time/money? Thanks for any and all feedback, rebecca
RE: Merle question
I bought a Merle Haggard box set a few months ago and have greatly enjoyed it. I recently saw in the Globe that he is coming to the Boston area in a couple of months and am wondering if he is worth going to see. Yes. He's worth going to see if he isn't doing anything but scratching his ass, but in fact the last two times I've seen him he's put on a fine show. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Gag reflex
Because there can never be too much Courtney... Fogerty, Love Receive Gibson Guitar Awards LOS ANGELES (Reuters) - John Fogerty and Courtney Love clinched top honors Tuesday at the fifth annual Orville H. Gibson Awards, bestowed on the music industry's leading guitarists. Fogerty, the former Creedence Clearwater Revival frontman whose 1997 solo release ``Blue Moon Swamp'' earned a Grammy for best rock album, won the Gibson prize for best male guitarist. Love, the rocker/actress whose band, Hole, garnered a Grammy nomination for the title track off its album, ``Celebrity Skin,'' was named best female guitarist. Winners for the awards, sponsored by the Gibson Musical Instruments company, are chosen by music critics from a list of finalists nominated in more than a dozen categories by the editors of leading guitar magazines. The annual prizes are handed out the day before the Grammys. The previously announced Gibson Lifetime Achievement Award was presented to rockabilly-swing guitarist Brian Setzer, the former Stray Cat who now leads the big band/pop ensemble the Brian Setzer Orchestra. That group's current release, ``The Dirty Boogie,'' received three Grammy nominations, including the nod for best pop album. The other winners of Tuesday's awards were: -- Steve Earle, best male acoustic guitarist. -- Lisa Loeb, best female acoustic guitarist. -- Kenny Wayne Shepherd, best male blues guitarist. -- Melissa Etheridge, best female blues guitarist. -- John Scofield, best male jazz guitarist. -- Leni Stern, best female jazz guitarist. -- Steve Wariner and Randy Scruggs, a tie for best male country guitarist. -- Deana Carter, best female country guitarist. -- Jim Creegan (Barenaked Ladies), best male bassist. -- Melissa Auf der Maur (Hole), best female bassist. -- Mike Ward (Wallflowers), best promising new guitarist.
RE: MoMZine February
Reply to: RE: MoMZine February Hey, I just checked the MOMzine site and I noticed a "Marc Weiss" doing an album recommendation. Any relation? And if so, why isn't there a kick-ass, power-trio called the Three Weissketers floating around? CD np: Cotton Mather-contiki Ndubb wrote: Hey all, seeing that I've been editing Miles of Music's online zine (dubbed most cleverly the MoMZine) for nearly 3/4ths of a year now, I figured it was due time to get on the spam bandwagon and hype the new edit. Check it out, by clicking on "MoMZine" at milesofmusic.com. Your comments are most welcome, as are your news tidbits (see Odds Sods). -- Neal Weiss
Re: Gag reflex
Melissa Etheridge, Best Female Blues guitarist. There's a rich giggle. Who the hell decides these awards? Kip
RE: Merle question
Kat - I can't remember exactly (it was in last Sunday's Globe, I believe) but for some reason I think it's either in Worcester, MA or Lowell, MA sometime in April. I will look closely at this Sunday's paper and let you know the details. Thanks for the ringing endorsement. I will most definitely be there! hopefully seeing you there, rebecca Rebecca - Where in the Boston area will Merle be playing and when? I live in CT so that would not be far for me to travel. Merle is awesome in concert!!! And if you get a chance to meet him you will find out he is a really nice person as well!!! He's concerts are worth more than any money you will spend and you could not find a better way to spend your time - A lifelong memory. Go see for yourself and you won't be sorry. Kat
RE: Merle question
Blah blah Merle Haggard blah blah Boston blah blah wondering if he is worth going to see blah blah worth going to see if he isn't doing anything but scratching his ass blah blah fine show. I'd second what Jon says about him - he's an American treasure. Watching Merle Haggard in concert should be a required step for high school graduation, in my opinion. -B "or at least extra credit" B-
Re: Gag reflex
On Wed, 24 Feb 1999, William F. Silvers wrote: Because there can never be too much Courtney... Love, the rocker/actress whose band, was named best female guitarist. She does do a fine job of strumming those power chords, just like curt and corgan told her to do. I guess gibson wants to sell more guitars to kids. I'm sure their sales have been slipping ever since we don't see slash every 5 minutes on MTV. -george
Re: Gag reflex
Kip writes: Melissa Etheridge, Best Female Blues guitarist.There's a rich giggle. Not as funny as: -- Deana Carter, best female country guitarist. Does she play with her feet? g Jim, smilin'
Re: MoMZine February
Hey, I just checked the MOMzine site and I noticed a "Marc Weiss" doing an album recommendation. Any relation? And if so, why isn't there a kick-ass, power-trio called the Three Weissketers floating around? Yes, Marc would happen to be the oldest Weiss brother and original rock critic in the family. Altho he is no longer in that there profession. As for the power trio, I don't know if that could happen. I am the only one who's ever had real musical aspirations, and I'm always been a bit more of a strummer than a riffer. But it sure would maybe for more exciting family dinners, to have the gear all set up and all. Adios. NW
Re: Merle question
Kat et al. Info from Ticketmaster WEB site: LOWELL MEMORIAL AUD BIG WORLD PRODUCTIONS PRESENTS MERLE HAGGARD WTHE DON CAMPBELL BAND SUN APR 18, 1999 7:00PM Internet Onsale: Jan 8 1998 at 11:00AM Venue: LOWELL MEMORIAL AUDITORIUM Primary Act: MERLE HAGGARD Location: LOWELL, MA Date and Time: Apr 18 1999 7:00PM Price: $24.50 - $30.50 Charge-By-Phone #: 617-931-2000 K.
Re: Merle question
Rebecca writes: I bought a Merle Haggard box set a few months ago and have greatly enjoyed it. I recently saw in the Globe that he is coming to the Boston area in a couple of months and am wondering if he is worth going to see. What do you guys think? Anyone seen him recently? Would I be wasting my time/money? Thanks for any and all feedback, rebecca Well, I saw him up in Concord, New Hampshire in June and thought it was a terrific show. The show was primarily a hits package, though he pulled out a couple of Bob Wills songs, too. Merle is in fine voice and has a top-notch band. Well worth the time and money. --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
Re: Merle question
On Wed, 24 Feb 1999 Rebecca wrote: I bought a Merle Haggard box set a few months ago and have greatly enjoyed it. I recently saw in the Globe that he is coming to the Boston area in a couple of months and am wondering if he is worth going to see. What do you guys think? Anyone seen him recently? Would I be wasting my time/money? A year and a half ago, Rebecca, Bostonian Stuart Munro and I went to NYC (he drove the whole distance both ways) to see Merle at Tramp's. That's, what, 9 hours of driving (and his car was literally falling apart on the return trip) for 75 minutes of Merle. Neither of us felt cheated. (Of course, it was easier for me.) I can't imagine you'd enjoy it any less, but even if you did, it beats not going and wondering. Or, worse, not going and then hearing later how good it was. Bob
RE: Merle question
Yeh, Merle's an icon and you have to see all your heroes atleast once BUT when I saw him at the Birchmere in Alexandria, VA last year (a birthday present from my girlfriend), he and his band didn't exactly knock themselves out. They played for all of about an hour and the tickets were $35 bucks! What a gyp. Still, he sounded great for that hour... --Slonedog
RE: Hyper produced Bobby Bare
At 02:41 PM 2/24/99 -0500, Jon wrote: Yes, thinking about how to sell records shapes the making of them, but it generally does so in a more imprecise way; when you get in the studio, you want to make the best record you can given existing constraints, whether that's the lack of a piece of equipment you'd like to use, or the recognition that if you don't come up with something that's going to sell, you're not going to get another chance. Back in the day this last item was especially powerful, I'd guess. You know, this whole contemporary ability for an artist to deliberately make an uncommericial record (I don't WANT lots of people to hear my records, and I sure as hell don't want a lot of people to LIKE them!) is, in the main, a pretty recent option. Punk? Post punk? Whatever. Bobby Bare, for all practical purposes, even assuming that he didn't like Atkins' production (and I have no reason to believe anything other than that he liked the records he made very much), couldn't have chosen a less radio friendly approach if he'd wanted. Not if he wanted to keep making records or, like, pay his rent. Of course, even with that decision out of the way, there were still an infinite number of artistic choices left to be decided --david cantwell
Re: Kevin Sharp
Can anyone give me the skinny on Hot New Country artist Kevin Sharp? Off-line is fine. Thanks in advance. Cancer survivor, had a few hits, sophmore album bombed, now without a label (Asylum let him go). Very pop oriented sound, talk is that he will make a full on pop album. Mike Hays http://www.TwangCast.com TM RealCountry 24 X 7 Please Visit Then let us know what you think! Mike Hays www.MikeHays.RealCountry.net For the best country artist web hosting, www.RealCountry.net -
Re: Hyper produced Bobby Bare
Excerpts from internet.listserv.postcard2: 24-Feb-99 RE: Hyper produced Bobby Bare by David [EMAIL PROTECTED] this whole contemporary ability for an artist to deliberately make an uncommericial record (I don't WANT lots of people to hear my records, and I sure as hell don't want a lot of people to LIKE them!) is, in the main, a pretty recent option. Punk? Post punk? Whatever. You might trace it to avant garde and prog acts in the late 60s (though the Velvet Ungerground certainly tried to sell lots of records by being poppier than LaMonte Young, and Jefferson Airplane made singles even as they derided the Beatles for being bubblegum), or maybe even free jazz (a lot of indie rock fans dig Sun Ra, late Coltrane, etc., and I suspect some of that appreciation has to do with those artists' uncommercial sensibilities) but I'd argue that obscurity as an argument for artistic credibility in music doesn't pop up in any significant way until you see stadium tours, homogenized radio formats, and multuiplatinum recording artists in the 70s and 80s. Even in the 70s, many punks wanted to be commercially successful but (in the US at least) failed. The Ramones, for example, wanted to be the biggest band in the world (and eventually did a lot of strange things to try to sell records, such as getting Graham Gouldman of 10cc to produce an album), but it didn't happen. I do know that folks like Jello Biafra, Greg Ginn and the like elected to do things another way in the wake of these failures and rather strident antipathy towards commerical success (and established ways of achieving that success) developed from there. I'm not aware of debates about the ethics of "selling out" by signing to a major label being much of an issue before the early 80s, though that might be due to my age than any real historical trends. Carl Z.
Return of the Grevious Angel
I haven't played this in a long time, but I remember that the Mekons cut was outstanding. Well son, that's a matter of opinion...g Buddy Bleeech! Rockets * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Buddy Woodward - [EMAIL PROTECTED] THE GHOST ROCKETS - "Maximum Rhythm Bluegrass" http://www.hudsonet.com/~undertow/ghostrockets * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Return of the Grevious Angel
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)... Steve Kirsch Of course, Steve, opinions are totally subjective. On the whole I found the compilation illustrated just how little most of the bands included really understand traditional country music, which where Gram took his inspiration where most of his recorded output was based from. Buddy Opinions Are Like Assholes Rockets * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Buddy Woodward - [EMAIL PROTECTED] THE GHOST ROCKETS - "Maximum Rhythm Bluegrass" http://www.hudsonet.com/~undertow/ghostrockets * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Pathways Playlist / WEVL Memphis
Pathways Playlist WEVL FM 90 Memphis Tuesdays 6-8 PM February 23 I normally do not do this show, was subbing for another host, also named Nancy. It was confusing for the listeners. They got over it. She plays more folk, pop stuff, so I twanaged it up a bit just for fun. Ex Husbands - Johnny Walker Redneck Buddy Miller - Nothing to Stop Pawtuckets - Mississippi Parking Lot BR5-49 - Me N Opie Martin's Folly - Two Times A Day Groove Grass - Howdy Hogwaller Ramblers - She Held The Bottle Butch Hancock/Jimmie Dale - Howlin at the Moon Kelly Willis - Heaven Bound Dave Alvin - Blackjack David Al Green - Let's Stay Together Al Green - La La For You Al Green - So You're LEaving Al Green - What's THis Feeling Al Green - Old Time Lovin Mike Seeger - Jim Crack Corn Susan's Room - Thank You Mom Jack Ingram - Just A Ride Countrypolitans - Behind The Night Dave Edmonds - It's My Own Business Jeb Roy Nichols - Dark Hollow Leon Russell - Don't Bring The Blues To Bed THe Ghost Rockets - This Girl Of Mine Chris Webster - Shake On It Countrypolitans - Come Rollin In Hadicol - Big Tornado Gravel Train - Fine Upstanding Man Chris Wall - 33 Reasons to Say Goodbye Billy Swan - I Can Help Person to IAN: Still looking for the Jesse Taylor record. Will let you know!
Re[2]: Hyper produced Bobby Bare
Terry wrote: To me, production is like makeup on women; when it draws attention to itself, then it's not working. Nice phrasing, but I don't buy it: I know what makeup is, but what exactly is "production" in this sentence? Isn't it pretty much everything on the recording? Should nothing on the recording draw attention to itself? How is the prominence of one element (say, strings) inherently more of a problem than the prominence of another (say, the vocalist). I'd say on some of my favourite records the production precisely does call attention to itself - let's take Phil Spector (or Brian Wilson/ Van Dyke Parks's Beach Boys production) for an easy example and Tom Waits for a somewhat harder one. Spector's big smooth wall of sound - and Waits's herky-jerky textured carpet of sound - are both the outcome of production technique, of "playing the studio." It's the sound of the record, and if it didn't draw attention to itself then you wouldn't be listening. This isn't to say all production is good production, Terry. But it makes far more sense to me to say that you think a record was produced in bad taste rather than trying to say it was produced too much or too little, which is more a process question that would require some knowledge of the recording's history to decipher. Carl W.
re: snuff/jerry holland
Neal said: What an interesting list of examples. Might I ask, Steve, since you have included Snuff and Jerry Holland among UT, Varnaline, And GW, that you tell me who the hell they are? I wanna know more. Snuff is one of my favorite hardcore bands. They basically write pop songs, but play them really fast and really loud. My favorite album of their is their debut "Snuffsaid" which if I remember correctly was on Rough Trade. That one is from 1989 or 90. I saw them in London around that time and they did 4 songs, three of which were covers (I Think We're Alone Now, Purple Haze and...and...another one). The "show" was about 10 minutes long, but it was great. They have TONS of energy. Last year they came out with a record called "Tweet Tweet My Lovely" on Fat WreckChords which is great...except for one song that has horns in it that I'm not too hot on. Jerry Holland is my favorite fiddle player from Cape Breton Island in Eastern Canada. He has a CD out on Green Linnet called "The Fiddlesticks Collection" which is amazing. Cape Breton fiddling sounds like Scottish fiddling mixed with the rawer jagged sounds of oldtime. Cape Breton was settled by Scots a long time ago and since it is a small island off the beaten path many of the traditions there have remained. Stepdancing, fiddling and piano are the biggies. I'm don't claim to be an expert on the region or anything, but I am going there on vacation in May and am really looking forward to it. Rock Critics: The main time I hate them is when they are just lazy and/or stupid. This doesn't have much to do with musical taste, but rather when they just say dumb stuff...such as in the recent CMJ three sentence review of the new Del McCoury album where it says Del is joined by his sons Robbie and DON. I mean, how hard is it to read the fucking liner notes? (If Ronnie has been replaced by Don Yates on Mandolin I take it all back.) That is an example of being lazy *and* dumb. See ya. Steve
Re: Merle question
In a message dated 2/24/99 2:14:30 PM, [EMAIL PROTECTED] writes: In Regards to Merle if he is worth going to see. What do you guys think? Anyone seen him recently? Would I be wasting my time/money? Rebecca, you have go to be kidding. Go, buy a ticket now. Tell all your friends.
Re: Kevin Sharp
Has anyone mentioned that when he had cancer the Make A Wish Foundation introduced him to his hero, I think it was David Foster. Anyway, David helped him later with getting a deal.
Red Foley
Speaking of those damn no good country pop singers, I was wondering if anyone knows of a good Foley collection on disc. Thanks. --david cantwell
Cape Breton Island music (was re: snuff/jerry holland )
Steve said: Cape Breton was settled by Scots a long time ago and since it is a small island off the beaten path many of the traditions there have remained. Stepdancing, fiddling and piano are the biggies. I'm don't claim to be an expert on the region or anything, but I am going there on vacation in May and am really looking forward to it. When you're going there, be sure and check out Charlie's Country Music Store in Cheticamp. It's right on the main road (The Cabot Trail). It looks like just a shack from the outside but they have a great selection of Celtic music and French Acadian music from the region. They also will be able to tell you who is playing around the island that has some twang. My wife and I got to see a local Acadian band play french acadian twang. We were the only English speaking people in the audience. It was cool. There's a little community radio station out of Cheticamp that plays some neat local twang. We found the Scottish side of the Island to be a little wealthier and a little more upper crust than the Acadian side- though they're both worth seeing to see the totally different cultures. Email me offlist if you'd like some more info about good places to go etc. -paul [EMAIL PROTECTED]
Re: Red Foley
On Wed, 24 Feb 1999, David Cantwell wrote: Speaking of those damn no good country pop singers, I was wondering if anyone knows of a good Foley collection on disc. Thanks. --david cantwell MCA's Country Music Hall Of Fame Foley disc is pretty outstanding.--don
Village Voice Pazz Jop
Here's the results of the Village Voice's annual Pazz Jop critics' poll. Note who's right on top where she belongs.g You'll find the singles and reissues lists (along with various essays and ballots) at: http://www.villagevoice.com/specials/pazznjop/ Top Albums: 1 Lucinda Williams Car Wheels on a Gravel Road Mercury 2129(167) 2 Lauryn Hill The Miseducation of Lauryn Hill Ruffhouse/Columbia 1985(176) 3 Bob Dylan Live 1966 Columbia / Legacy 1333(111) 4 Billy Bragg Wilco Mermaid Avenue Elektra 1243(113) 5 Elliott Smith XO DreamWorks 940(91) 6 OutKast Aquemini LaFace 880(70) 7 PJ Harvey Is This Desire? Island 788(76) 8 Air Moon Safari Caroline 655(65) 9 Beastie Boys Hello Nasty Grand Royal 645(64) 10 Rufus Wainwright Rufus Wainwright DreamWorks 626(61) 11 Beck Mutations DGC 619(65) 12 R.E.M. Up Warner Bros. 580(58) 13 Belle and Sebastian The Boy With the Arab Strap Matador 547(56) 14 Hole Celebrity Skin DGC 531(52) 15 Neutral Milk Hotel In the Aeroplane Over the Sea Merge 520(44) 16 Massive Attack Mezzanine Virgin 508(52) 17 Liz Phair Whitechocolatespaceegg Matador / Capitol 491(49) 18 Elvis Costello With Burt Bacharach Painted From Memory Mercury 442(43) 19 Garbage Version 2.0 Almo Sounds 439(44) 20 Mercury Rev Deserter's Songs V2 418(42) 21 Madonna Ray of Light Maverick / Warner Bros. 408(43) 22 Pulp This Is Hardcore Island 391(44) 23 Cat Power Moon Pix Matador 336(31) 24 Black Star Mos Def and Talib Kweli Are Black Star Rawkus 329(31) 25 Quasi Featuring "Birds" Up 319(33) 26 Jay-Z Vol. 2 Hard Knock Life Roc-a-Fella / Def Jam 306(26) 27 Vic Chesnutt The Salesman and Bernadette Capricorn 299(27) 28 Bruce Springsteen Tracks Columbia 263(24) 29 Gang Starr Moment of Truth Noo Trybe 255(26) 30 Eels Electro-Shock Blues DreamWorks 246(23) 31 Ozomatli Ozomatli Almo Sounds 245(26) 32 Robert Wyatt Shleep Hannibal import 232(23) 33 Gillian Welch Hell Among the Yearlings Almo Sounds 229(22) 34 Monster Magnet Powertrip AM 224(20) 35 Sheryl Crow The Globe Sessions AM 202(20) 36 Rancid Life Won't Wait Epitaph 201(22) 37 Cornelius Fantasma Matador 199(20) 38 Pernice Brothers Overcome by Happiness Sub Pop 196(17) 39 Olu Dara In the World: From Natchez to New York Atlantic 191(18) 40 Marilyn Manson Mechanical Animals Nothing 190(19)
RE: Return of the Grevious Angel
Amen to that - I hated their "contribution" nearlyas much as the Bob Mould one - and I love Bob and The Mekons - go figure. I guess they were just steppin' on my toes. Junior Walker -- From: Budrocket[SMTP:[EMAIL PROTECTED]] Reply To: [EMAIL PROTECTED] Sent: Thursday, 25 February 1999 8:54 To: passenger side Subject: Return of the Grevious Angel I haven't played this in a long time, but I remember that the Mekons cut was outstanding. Well son, that's a matter of opinion...g Buddy Bleeech! Rockets * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Buddy Woodward - [EMAIL PROTECTED] THE GHOST ROCKETS - "Maximum Rhythm Bluegrass" http://www.hudsonet.com/~undertow/ghostrockets * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Re: Village Voice Pazz Jop
Don Yates wrote: Here's the results of the Village Voice's annual Pazz Jop critics' poll. Note who's right on top where she belongs.g Thanks Don- been wondering when that was coming out.Deciphering Christgau's comments reviewing the results is always head-scratching good fun. g b.s.
Re: Return of the Grevious Angel
Of course, Steve, opinions are totally subjective. On the whole I found the compilation illustrated just how little most of the bands included really understand traditional country music, which where Gram took his inspiration where most of his recorded output was based from. Yeah, I think I liked it for the same reason you didn't...'cause it kinda rawked. :) Steve Kirsch [EMAIL PROTECTED] "I've been thinking with my guts since I was 14 years old, and, frankly speaking, between you and me, I have come to the conclusion that my guts have shit for brains." -- Nick Hornby, "High Fidelity" np: Hadacol (ooh, I like this a **lot**:)) ___ 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: Return of the Grevious Angel
There is a small bookstore in Atlanta called Acapella Books that carries it. They are located on Euclid Avenue in the Little Five Points area. Not sure if they have a website, but you could call information and get the # . The owner's name is Frank, and he is a great guy. My sister just called and there aren't any there, only books. I guess you can special order it, but can't you do that from anywhere?
Re: Jack Clement
On Wed, 24 Feb 1999, Joe Gracey listed some of Jack Clement's work: Johnny Cash Jerry Lee Lewis Charley Pride (he shared production duties, and his stuff is the best by far) The Stoneman Family John Hartford Townes Inspiration for the Don Williams/ Crystal Gayle early 70s sound Louie Armstrong (he made a country album!) Inspiration for Tompall's sound, even down to the vocal style More I forget now... Thanks for the word, Joe; I guess this is an example of Smith's Law, that you only notice production when it's bad. Now put down that keyboard and get some rest. Bob
Re: Gag reflex
One time I was running sound for The Lettermen (you know, "There's a Summer Place..."), and since they were more entertainment than music (a few gags thrown in about their age, blah, blah, blah), another stagehand and myself had to run around to our friends that afternoon to find an acoustic guitar for one of their "skits", but it had to be a name brand (Martin, Guild, Gibson), not some hokey thing. He didn't plug it in and faked the strumming, but he wouldn't use my Yamaha or another guy's Lotus. Mitch Matthews Gravel Train/Sunken Road (GT hitting the road tomorrow around noon, see y'all soon)
Re: Hyper produced Bobby Bare
Terry). In any event, if Bare was looked at as a model by Jennings or others, that's news to me. I'd say that he got put in the outlaw category, to the extent that he did, more because of, er, lifestyle choices, an interest in doing material by some left-of-center writers like Guy Clark and the cultivation of a good-time Charlie, drinkin'n'druggin' persona than because he was unhappy with Chet Atkins' production. This explanation from Jon sounds plausible, as does a similar one from Joe. Jimmy Gutterman's liner notes in the "Best of Bobby Bare" had the stuff about Bare being an influence, etc.,for the Outlaws movement. If I had more time, I'd go look and get the exact wording. Maybe later. With regard to the interplay of commercial and artistic consideration, I think Joe Gracey and David Cantwell have covered that ground pretty well already. "Let's make a hit" isn't the same as saying "let's make some sucky music." Yes, thinking about how to sell records shapes the making of them, but it generally does so in a more imprecise way; when you get in the studio, you want to make the best record you can given existing constraints, whether that's the lack of a piece of equipment you'd like to use, or the recognition that if you don't come up with something that's going to sell, you're not going to get another chance. Such factors shape, but don't control, what gets made. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] This also makes sense, though I'd add that there's a continuum on this line -- how much do I compromise in order to get listened to -- that's a matter of degree. Some people compromise everything; some less; some don't have to. But you've gotta admit that there's a point that you get to where any more compromise is just going to ruin what you're trying to do. I edit a small-town paper, and try to hold the line against conceding too much territory to the bottom line. At the same time, you can't avoid doing it. The trick is maintaining your own vision, while still paying the rent. Like with anything. On the other hand, this fucking country is full of newspapers that surrendered to the bottom line a long time ago. And I truly believe the same applies across the spectrum of mass media. Where does Bobby Bare come into play? Nowhere. I just didn't like Chet's production on a few of his songs, and stand by my reasons, notwithstanding the looney notion that a rural, working-class tune might work just dandy with the Cleveland Orchestra providing the sonic backdrop, and the Vienna Boys Choir doing the doo-waps. I don't find that a distressing judgment, just common sense. -- Terry Smith
Re: Hyper produced Bobby Bare
Hey Terry, no matter how far down I scrolled on your last post, I couldn't find your usual PS. Did you forget? No one packs more into a PS than you do, and they're usually the most interesting points made by anyone all day. --david cantwell PS: Mike Ireland finished tied for #241 on the Pazz Jop list. Woo hoo! PPS: Shit, if only I'd voted this year, Learning How To Live could've cracked the top two hundred and twenty, and I mean EASY. Oh well...
Re: Gag reflex
Hey, the guy's an artist. he's got principles. -Original Message- From: [EMAIL PROTECTED] [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Wednesday, February 24, 1999 3:12 PM Subject: Re: Gag reflex One time I was running sound for The Lettermen (you know, "There's a Summer Place..."), and since they were more entertainment than music (a few gags thrown in about their age, blah, blah, blah), another stagehand and myself had to run around to our friends that afternoon to find an acoustic guitar for one of their "skits", but it had to be a name brand (Martin, Guild, Gibson), not some hokey thing. He didn't plug it in and faked the strumming, but he wouldn't use my Yamaha or another guy's Lotus. Mitch Matthews Gravel Train/Sunken Road (GT hitting the road tomorrow around noon, see y'all soon)
RE: MoMZine February
At 12:23 PM 2/24/99 -0700, you wrote: Reply to: RE: MoMZine February Hey, I just checked the MOMzine site and I noticed a "Marc Weiss" doing an album recommendation. Any relation? And if so, why isn't there a kick-ass, power-trio called the Three Weissketers floating around? Because only one of us has the ability to sing remotely on key (not me). Of course, it could be a male Shaggs kind of thing Jeff NP (in the other room) Slayer's latest Miles of Music mail order http://www.milesofmusic.com FREE printed Catalog: (818) 883-9975 fax: (818) 992-8302, [EMAIL PROTECTED] Alt-Country, rockabilly, bluegrass, folk, power pop and tons more.
Wednesday's 'Ghosts' Winner
Wednesday's winner of a copy of 'Ghost's of Hallelujah' by The Gourds is: Larry Slavens (Des Moines, IA) 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.
East Tennessee Concert Calendar
Howdy, Here's a quick look ahead at some of the concerts, shows, and random live performances available to visitors in the area. Information is arranged, for your convenience, by city. No, this ain't comprehensive. Standard disclaimers apply, etc. Bristol, TN/VA The Narrow Way -- February 25 -- 7th Street Cafe The Bystanders -- February 26 -- 7th Street Cafe Kenny Chesney, The Wilkinsons -- February 27 -- Viking Hall Blue Highway, Ralph Stanley -- March 13 -- Paramount Theater John Prine, R.B. Morris -- March 25 -- Paramount Theater Etowah, TN J.D. Crowe The New South -- March 12 -- Cousin Jake Bluegrass Festival Jefferson City, TN Continental Divide, Crucial Smith, Lost Creek Band -- March 6 -- Jefferson Middle School Johnson City, TN James King Band -- February 25 -- Down Home Anndrena Belcher -- February 26 -- Down Home Lightnin' Charlie the Upsetters -- February 27 -- Down Home The Bystanders -- March 4 -- Down Home Malcolm Holcombe -- March 5 -- Down Home The Billygoats -- March 6 -- Down Home Robin Linda Williams -- March 13 -- Down Home Chesapeake -- March 19 -- Down Home ETSU Senior Band -- March 25 -- Down Home Knoxville, TN David Vai Friends -- February 25 -- Tomato Head Benefit for Sexual Assault Crisis Center (various artists including Karen Reynolds, Vanessa Draper, Caroline Aiken, Common Bond, Jodi Manross, Kat Johnson, Louise Mosrie) -- February 26 -- Bird's Eye View Dale Ann Bradley and Coon Creek -- February 26 -- Laurel Theater Hector Qirko -- February 26 -- Knoxville Museum of Art Dean Dollar -- February 26 -- Moose's Music Hall Gillian Welch David Rawlings -- February 26 -- Bijou Theater Afghan Whigs -- February 27 -- Bijou Theater Will Keys and the Mumbillies -- February 27 -- Laurel Theater Martha's Thirst, Greg Horne -- February 27 -- Bird's Eye View Benny Skyn's Performers Showcase -- February 28 -- Manhattan's Natalie Merchant -- March 3 -- Tennessee Theater Draper, Reynolds, and Rodgers -- March 4 -- Borders Books and Music David Kersh -- March 4 -- Cotton Eyed Joe The Cheeksters -- March 5 -- Bird's Eye View Robert Earl Keen -- March 5 -- Bijou Theater Bob Egan -- March 6 -- Tomato Head David LaMotte, Casey Jones -- March 6 -- Bird's Eye View Nashville Pussy -- March 7 -- Moose's Music Hall The Stringbeans -- March 11 -- Bird's Eye View Geno Delafose -- March 12 -- Laurel Theater Steve Earle and the Del McCoury Band -- March 12 -- Tennessee Theater The Bystanders -- March 13 -- Tomato Head Celtic Music Festival -- March 13 -- Bird's Eye View Chuck Brodsky -- March 18 -- Bird's Eye View Halcyon -- March 19 -- Bird's Eye View Common Bond -- March 20 -- Bird's Eye View Vanilla Ice -- March 20 -- Moose's Music Hall BR5-49, Scott Miller -- March 27 -- Bijou Theater Fred Eaglesmith, Carol Aiken, Chris Rosser -- March 27 -- Bird's Eye View Gran Torino -- March 27 -- Moose's Music Hall Merle Haggard -- April 14 -- Tennessee Theatre Powell, TN Larry Maples 24 Karat Country -- every Saturday -- David's Music Barn Sevierville, TN Mull Singing Convention -- February 27 -- Governor's Palace Hiltons, VA Roan Mountain Hilltoppers -- February 27 -- Carter Family Fold Goins Brothers -- March 6 -- Carter Family Fold Stoney Creek -- March 13 -- Carter Family Fold Spencer Branch -- March 20 -- Carter Family Fold Konnarock Critters -- March 27 -- Carter Family Fold Take care, Shane Rhyne Knoxville, TN [EMAIL PROTECTED] NP: Tonio K. -- Monster Movie
Re: Hadacol/Damnations
Marie said: Does anyone else hear strains of the Minutemen in Hadacol? There was something vaguely familiar about the vocals. I thought that it might be X, but then it hit me - D Boone. Am I crazy? Does anyone else hear it? I only hear D. Boon in the way they sing the first line of Somebody Lied. The vocals strain just like D. used to...love that stuff. Love this album too...reminds me of some sort of BoRox/Jayhawks mix--ballsy mostly mid-tempo rockers. In fact, so far I like it better than the Damnations album, which I really do enjoy--particularly the harmonies. But I'm bugged by the lack of instrumental flair on the Damnations record...seems like the songs are completely vocally oriented. Once the vocals end, so does the song, often within seconds...which is OK, just doesn't feel like a **band**. I bet they're a lot better live. Steve Kirsch [EMAIL PROTECTED] np: Sebadoh--"The Sebadoh" (this isn't grabbing me yet either on listen #2, which I find hard to believeI'm particularly unimpressed by Jason's songs...hope that changes with more listens) "I've been thinking with my guts since I was 14 years old, and, frankly speaking, between you and me, I have come to the conclusion that my guts have shit for brains." -- Nick Hornby, "High Fidelity" ___ 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: Jack Clement
Bob Soron wrote: On Wed, 24 Feb 1999, Joe Gracey listed some of Jack Clement's work: Johnny Cash Jerry Lee Lewis Charley Pride (he shared production duties, and his stuff is the best by far) The Stoneman Family John Hartford Townes Inspiration for the Don Williams/ Crystal Gayle early 70s sound Louie Armstrong (he made a country album!) Inspiration for Tompall's sound, even down to the vocal style More I forget now... Thanks for the word, Joe; I guess this is an example of Smith's Law, that you only notice production when it's bad. Now put down that keyboard and get some rest. Bob I'm delirious, I can't stay in bed, I'm feverishly feverish. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Dollywood Concerts Anyone?
Howdy, Here's the deal... As I've often unashamedly proclaimed, I am the proud owner of a Dollywood Gold Pass. In addition to earning the undying respect of my fellow P2-ers, the Gold Pass also grants me the ability to buy Dollywood Concert Tickets in advance at a nice discount. If anyone would like to attend any of these shows, let me know. Shows are scheduled on Sundays at 2 PM and 7 PM. Tickets for 2 PM shows must also include the purchase of an admission to the park. Ticket prices for advance orders from Gold Pass members are $13.15. Tickets to the Dolly Parton benefit concert are $35. All advance tickets must be purchased by March 5. Tickets go on sale to the general public March 22. At any rate, here's a listing of this year's concert schedule. Contact me, off-list, if any of these shows are of interest to you. I may be reached directly at [EMAIL PROTECTED] April 17 -- Dolly Parton Benefit Concert (this year's theme is Southern Gospel Music, with special guests Suzanne Cox the Cox Family, The Kingdom Heirs, Honey Creek, and a special tribute to inductees to the Southern Gospel Music Hall of Fame). These shows star Dolly Parton and feature Dolly usually singing duets with the guest stars and some solo time for the guests as well. Advance tickets to the benefit shows are $35. April 18 -- Dolly Parton Benefit Concert (same as above) May 2 -- Trace Adkins May 9 -- Daryle Singletary May 16 -- Aaron Tippin May 23 -- Sawyer Brown May 30 -- Sammy Kershaw June 6 -- Lee Ann Womack June 13 -- Jo Dee Messina June 20 -- The Kinleys June 27 -- Ricky Skaggs July 4 -- Marty Stuart July 11 -- The Wilkinsons July 18 -- Mark Wills July 25 -- David Kersch August 1 -- Joe Diffie August 8 -- Tracy Byrd August 15 -- Junior Brown and Del McCoury August 22 -- Steve Wariner August 29 -- Neal McCoy September 5 -- Ricochet September 12 -- The Statler Brothers September 19 -- Pam Tillis September 26 -- Glen Campbell Remember, I have to order tickets by March 5 to get them at the advance price of $13.15 each ($35 for benefit shows). So let me know ASAP if anyone wants me to pick up advance tix for any of the above shows. After that date, I can purchase tickets for 30% off the public ticket price. Take care, Shane Rhyne Knoxville, TN [EMAIL PROTECTED]
Re: Village Voice Pazz Jop
Hey Carl, if you sank that far you probably noticed that six critics voted for 5 Chinese Brothers' 1996 release "Let's Kill Saturday Night." um. I don't think so. Linda
Re: Village Voice Pazz Jop
At 08:11 PM 99-02-24 EST, [EMAIL PROTECTED] wrote: Hey Carl, if you sank that far you probably noticed that six critics voted for 5 Chinese Brothers' 1996 release "Let's Kill Saturday Night." um. I don't think so. Linda I saw this error while checking out my own ballot this afternoon, and it's been fixed in the last few hours, at least on one ballot relating to top singles. best, jfb John F Butland O- [EMAIL PROTECTED]
Re: Village Voice Pazz Jop
I don't think I've ever heard a more self-congratulatory, smug, preaching-to-the-choir routine played out so effectively, at least in the press. Williams smothers her every note with affect, with shapeliness, with semaphored irony. Greil Marcus Berkeley, California What the hell does that mean, motherfucker? Joe Gracey Joe, I believe that means he IS a motherfucker. Don't even get me started on Marcus. Palmer dies, Wolfe's laid up, but good ol' Mystery Pain is still around to make insightful comments like these. Can't we recruit Guralnick to cage-match this guy and get him out of our remaining hair?? Lance . . . "You should hang around some stupid people some time, you might learn something." --Woody Allen
SXSW Friday impossible
There's always gotta be one killer schedule night down there--and this time it's gotta be Friday for P2 types. All at once (more or less) now: Austin Music Hall: Jim Lauderdale, Continental Drifters, Patty Griffin, Robert Earl Keen, Lucinda Williams Broken Spoke: Hillbilly Idol, Countrypolitans, Don Walser, Wayne Hancock, Dale Watson Continental Club: Heather MIles, Rosie Flores, The Blazers Liberty Lunch: Donna the Buffalo, Clarence Gatemouth Brown, Terry Allen, Guy Clark, Bad Livers Saengerrunde Hall: Old Joe Clarks, Flatirons, Silos, Hadacol Scholz Beer Garden: Devil in a Woodpile, Paul Burch, Tommy Womack, Lonesome Bob ...and there are others out there like--Mercury Rev, Freakwater, Calexico, Sparklehorse, and so it goes. And that's one night. I still don't have anything to say against SXSW except my knees start to give out sometime on Saturday! Elderly Barry. Getting ready.
NYC Shows this week
So who's going to make it for these two NYC shows this week: Thursday night: Elena Skye Demolitions and those Ghost Rockets at Rodeo Bar. (I really hope to get there, but don't know if deadlines will let me not be at work too early Friday to do it...Hope so.. Others oughta catch this in any event.) Saturday night: Dave Alvin and Robbie Fulks, Bowery Bar. (Tickets are surely gone or about gone..but I know I'm on for this already , and Jim Catalano, and Jeff Jackalew. Anybody else? Let me know off list if you want, cause we'll hook up beforehand.) Barry M.
Re: Another good quote from the Village Voice web site
Excerpts from internet.listserv.postcard2: 24-Feb-99 Another good quote from the.. by Brad Bechtel@macromedia. For every Lucinda there are 50 Freakwaters I wish. I liked Springtime a lot more than Car Wheels (or for that matter, disc #4 by Billy Bragg Wilco). It's interesting that Lauryn Hill apparently got more first-place votes than any other record, but Williams's disc managed enough votes overall to beat it out. Also interesting that they included Dylan's record as a new release. The Voice failed to mention that Robert Wyatt's Shleep, though released by Hannibal UK in 1997, was issued domestically on Thirsty Ear in January of 1998. Carl Z.
Re: SXSW Friday impossible
Nice list, Barry. If I make it, you'll find me at the Spoke!! --junior
Re: Concept albums (generally a goofy thing, but...)
On Wed, 24 Feb 1999 [EMAIL PROTECTED] wrote: However, Sgt. Pepper's is not a concept album, even though it is billed as such, Wrong!!! The concept for Sgt. Pepper was based on creating an oldtime sort of big band that accompanied a traveling circus , I think. It most definitely was a concept album. Read your music history books. You read 'em Slim. You are wrong about this. That may have been the idea behind the title song but it didnt have anything to do with the songs that were created in the album, which were, by the band's own description, created as odds and ends. Read your Beatles biographies. Will Miner Denver, CO
RE: Hyper produced Bobby Bare
Terry says: This also makes sense, though I'd add that there's a continuum on this line -- how much do I compromise in order to get listened to -- that's a matter of degree. Some people compromise everything; some less; some don't have to. But you've gotta admit that there's a point that you get to where any more compromise is just going to ruin what you're trying to do. I edit a small-town paper, and try to hold the line against conceding too much territory to the bottom line. But making a record isn't the same as editing a newspaper, and it's a lot harder to find the kind of clear choices and increments that you have in editing. "Run this suck-up story or not" isn't the same kind of decision as "let's put a few glockenspiel notes in here." I mean, yeah, there's a continuum of some sort, I guess - I'm not bucking for a namesake rule here g - but it has its own kind of logic and experience. Where does Bobby Bare come into play? Nowhere. I just didn't like Chet's production on a few of his songs, and stand by my reasons, notwithstanding the looney notion that a rural, working-class tune might work just dandy with the Cleveland Orchestra providing the sonic backdrop, and the Vienna Boys Choir doing the doo-waps. I don't find that a distressing judgment, just common sense. Terry, you've got to make up your mind: does the background on these Atkins-produced numbers sound like the Cleveland Symphony and the Vienna Boys Choir or your mom and her bridge club g?Not that those records sound much like any of them, at least to my ear; they *scream* Nashville (or, more precisely, RCA). Besides, what's behind that "work" there? Work for who? You? Me? Bare? Everyone? Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: Gag reflex
George still plays in his live shows... He wasn't using it on the episodes of his TV show I saw last season. Maybe it's an intermittent kind of thing... Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
