Grammyszzzzzzzzz....
Jeez, can't the Grammys get a little danger and excitement going once in a while (other than uninvited rappers at the lecturn and "Soy Bomb," of course)? As my girlfriend would say succinctly: "Bored." You know the awards show is dull when: -- An opera singer and a Latin hunk bring down the house more than the rockers; -- Sheryl Crow and Shania Twain outrock Aerosmith; -- An extended segment on movie soundtracks ... is this the Grammys or the Oscars? The night wasn't without its odd segments: -- Did my ears deceive me, or did Joe Perry tear off a riff from "Walk This Way" at the end of the Diane Warren song? If so, too bad they didn't follow through and bring the house down. -- Did someone forget to mike the violins behind Aerosmith? -- Was the outfit Shania Twain wore onstage too tight, or was she afraid the platform she stood on would blow up if she moved? Talk about stiff ... -- What was with the black goggles Twain's band wore? -- Bono looked really off-balance when he was performing during the Kirk Franklin song ... like he was, "My word, I'm the only white guy here." Other observations: -- Don't let Celine Dion sing with opera singers. It was bad enough her chirping with Pavarotti on her last CD. -- Speaking of Pavarotti, he sang like he had something to prove ... like he didn't want to get upstaged by Aretha Franklin again. -- Someone shoulda kicked Clapton off the stage and let B.B. King perform by himself. B.B. doesn't need the help. Still there were some fine moments. As expected, Vince Gill's "If You Ever Have Forever In Mind" was grand and moving. And the Dixie Chicks and Lauryn Hill seemed genuinely moved by their wins. And best moment: "If you listen to these real close, you can hear Garth Brooks play baseball." -- Vince Gill holding the little gramophone up to his ear during his Grammy acceptance speech. Ron Warnick NP: Cisco (great, great stuff Thank you, Jeff Wall)
Re: Grammyszzzzzzzzz....
Not to beat a dead horse, but could someone who saw Shania's performance tonight, puh-leeze explain to me what she's got to do with country music? Oh it must be the twin fiddles in the band. g Jim, smilin'
Re: Grammyszzzzzzzzz....
In a message dated 2/25/99 5:12:13 AM !!!First Boot!!!, [EMAIL PROTECTED] writes: -- Bono looked really off-balance when he was performing during the Kirk Franklin song ... like he was, "My word, I'm the only white guy here." He just got out of an operation for a sinus infection yesterday. Could still be feeling the anesthesia. THE DIXIE CHICKS WON? Oh God, country's answer to The Spice Girls gets an award for Best Cleavage--Country Duo or Group (couldn't be for their talent, or lack thereof). Mitch Matthews Gravel Train/Sunken Road
Re: Gag reflex
Actually, she probably deserves this since she's the only country chicky that I know of who actually plays guitar Maybe Gibson already gave an award to Anita Cochran. Dina
Martina (was Re: Kelly Willis Review from Salon)
Louise said: I can never understand the popularity of Martina McBride. To me she is blandness personified. Maybe that's the answer. I don't think Martina McBride is bland. She always seems lively. She has done some bland songs, but blandness personified? That would be, um, Mindy McCready, I think. Martina has done some good songs over the years. Some that I like from her 1995 "Wild Angels" album are her versions of "Two More Bottles of Wine", "Swingin' Doors" (not the Haggard song, though--the one that Molly the Heymakers recorded a few years ago) and "Cry On the Shoulder of the Road" (Levon Helm contributed to this one--I saw him sing it with her on a TV show--ugh, I think the G-man was her other guest). I think many people here would like Martina's 1992 album, "The Time Has Come" very much--full of steel, fiddle, some yodeling, some killer country weepers, and in general very traditional sounds. I really like "Cheap Whiskey" even though it's got bombastic drums. (I'm glad that I'm unable to tell the GB is doing background vocals on this.) Dina
Re: Grammyszzzzzzzzz....
At 12:32 AM -0500 on 2/25/99, Mitch wrote: THE DIXIE CHICKS WON? Oh God, country's answer to The Spice Girls gets an award for Best Cleavage--Country Duo or Group (couldn't be for their talent, or lack thereof). That's a great line, but -- although I liked the previous Chicks much better than the current incarnation -- Laura was the highlight of an otherwise quite talented band. The sisters and the rest of the band weren't exactly dragging Laura down, and if they're fluffier and less interesting than they once were, let alone submerging the full range of their talent in their quest for financial success, they're still better than a lot of what's out there. Great line, though. I'll give you this -- they need fashion tips a lot more than they need music lessons. Bob
Re: Grammyszzzzzzzzz....
oh, come on, compared to Shania Twain, the Dixie Chicks are the Carter Family... -Original Message- From: Bob Soron [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Wednesday, February 24, 1999 10:30 PM Subject: Re: Grammysz At 12:32 AM -0500 on 2/25/99, Mitch wrote: THE DIXIE CHICKS WON? Oh God, country's answer to The Spice Girls gets an award for Best Cleavage--Country Duo or Group (couldn't be for their talent, or lack thereof). That's a great line, but -- although I liked the previous Chicks much better than the current incarnation -- Laura was the highlight of an otherwise quite talented band. The sisters and the rest of the band weren't exactly dragging Laura down, and if they're fluffier and less interesting than they once were, let alone submerging the full range of their talent in their quest for financial success, they're still better than a lot of what's out there. Great line, though. I'll give you this -- they need fashion tips a lot more than they need music lessons. Bob
Re: Grammyszzzzzzzzz....
Not to beat a dead horse, but could someone who saw Shania's performance tonight, puh-leeze explain to me what she's got to do with country music? Oh it must be the twin fiddles in the band. g Jim, smilin' Label affiliation? I suspect Nashville would easily let her go as one of "theirs" if it were not for the millions she generates in sales. She has done some songs which are more country than her current output - Any Man Of Mine and Whose Bed Have Your Boots Been Under for instance, but a lot of her "charm" IS with the pop audience. She's a marketer's dream, don't you think? With Lange in tow, it could be a bit like Pygmalion and Galatea g. Anyway, what I personally think is that so much "bad" press ( people said she can't sing etc;) only fueled the interest of those who probably wouldn't have taken a second look anyway. Yet, if she's able to stir interest in more people delving into country music, then I don't see any harm. I do know several people who never listened to country music before, but since Twain and some others with a pop/rock bent came along, they're now looking into other kinds of country music... But, what I wonder...if she had been originally marketed as "pop", sans fiddle in the mix, would she have ever charted? Was Nashville just a convenient vehicle? Tera
Re: Grammyszzzzzzzzz....
there was a steel guitar back there in the bank of synthesizers. Patsy Cline woulda worn a vinyl bustier if they were available. Sure she would! -Original Message- From: vgs399 [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Wednesday, February 24, 1999 10:54 PM Subject: Re: Grammysz Not to beat a dead horse, but could someone who saw Shania's performance tonight, puh-leeze explain to me what she's got to do with country music? Oh it must be the twin fiddles in the band. g Jim, smilin' Label affiliation? I suspect Nashville would easily let her go as one of "theirs" if it were not for the millions she generates in sales. She has done some songs which are more country than her current output - Any Man Of Mine and Whose Bed Have Your Boots Been Under for instance, but a lot of her "charm" IS with the pop audience. She's a marketer's dream, don't you think? With Lange in tow, it could be a bit like Pygmalion and Galatea g. Anyway, what I personally think is that so much "bad" press ( people said she can't sing etc;) only fueled the interest of those who probably wouldn't have taken a second look anyway. Yet, if she's able to stir interest in more people delving into country music, then I don't see any harm. I do know several people who never listened to country music before, but since Twain and some others with a pop/rock bent came along, they're now looking into other kinds of country music... But, what I wonder...if she had been originally marketed as "pop", sans fiddle in the mix, would she have ever charted? Was Nashville just a convenient vehicle? Tera
Re: Another good quote from the Village Voice web site
The year's most inexplicable musical fad was the vastly overrated genre of "Americana" a/k/a "No Depression," "progressive country," "regressive country," "independent country," "insurgent country," "alternative country," " (Blah blah blah, to borrow a phrase from Brad Bechtel g). What pisses me off about these sortsa dismissals is that, to me, they almost always seem to imply that any concerted (or even semi-concerted) effort to attempt to cover music, or a scene, or whatever that falls so untidily in the vast spaces between mainstream rock and country is bogus on it's face. Why is it so offensive that there are musicians or a magazine (even a listserv g) that are interested in making or following music that often borrows heavily from both genres, often rendering it difficult to neatly categorize as either Country or Rock? At least, that's what *I* get from these sorts of full-on crit dismissals. I realize I'm probably over-reading, but I still don't buy it, even if I do think there are too many pretenders to the throne and cooks in the alt.country kitchen if you will. I mean, show me a quote where Rob Bleetstein(?) or Peter Blackstock or Grant Alden or the Bloodshotters have ever said "*this* (alt.country) will be THE hot thing this year, we're really gonna break big and be the new grunge or whatever. Maybe someone's done this but I haven't seen it. Long on sincerity and short on talent, these are sensitive, educated, well- meaning writers who genuinely lament the end of Route 66 consciousness and the blanding of America. Which is why no one, critics or peers, wants to dog them. I'm not sure what Lipton means by that, but if he means that the alt.country crowd seems to be immune from similar attempts to cut the scene down to size he must not read much music criticism. Dan, offtabed and with more cliches than you can shake a stick at tonight...g
Re: Kelly Willis Review from Salon
First of all, the guy puts this in print not bothering to get Trisha Yearwood's name spelled correctly. Secondly, he hasn't paid attention to those who have said and proven that they wanted to "get back to basics" and make "real country records" or the labels who have signed artists having a more "country" feel. Vince Gill, Dolly Parton, LeeAnn Womack, Patty Loveless, the return to form of Dwight Yoakam, a hearty welcome back to Randy Travis, Alan Jackson still cranking out country, Steve Wariner getting some due; or does this guy just judge his country music by the crossover appeal of the likes of Rimes, Twain, Brooks, McBride, Yearwood? He may not be wrong with McBride though who has had some very good country moments and who does have a gorgeous voice. "Evolution" is probably her most pop-type record to date. "The Way That I Am" is a pretty good example of her skills as a country singer. Maybe the pop/rock influence combined with the vocal theatrics we've seen of late with mostly female country singers is what his real gripe is. "Trampoline" with its latin rhythms and that one twenties-vaudeville-sung-through-a-megaphone-type-song may never have made a big dent in the country charts, even a few years ago. Quite frankly, the album is more of an alternative output than any other recording The Mavericks have ever done. Alison Krauss - may not be so much as a "barb" against her as trying to prove his point - again a critic citing that production points toward the "realness" of an artist. Real by whose standards? Is it by the production quality which existed in the forties, fifities or sixties? Or is he saying that a more pared-down accompaniment is crucial to "keeping it country". Is country music really how many instruments one can bring to the recording studio or is it really about feeling? Is this reviewer hearing lush accompaniment and likens all such recordings to the bargain basement of music or is he listening with an open mind. Is he wishing to jump on a bandwagon of those critics who state everything which is wrong with country music and glamorize their "hip" knowledge by refusing to glamorize the "what's right" . Tera 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
Re: Village Voice Pazz Jop
"William F. Silvers" reprinted someone who said: 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. Yes, she's a real artist; some people only care about money, but she'd give up dough to make sure no one misses the point. But if the South were a party she'd be 86'd for name-dropping. Greil Marcus Berkeley, California Joe Said: What the hell does that mean, motherfucker? Obviously, he means he wants to state his opinions while not alienating his "audience". Pandering double talk. MF doesn't do him justice. Oh, that internal dancin' cheek to cheek... Tera --
Re: Return of the Grievous Angel
Rob Russell wrote: I've just been reading Sid Griffin's Gram bio ... 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?)? That book was published by Sierra Records, Pasadena, who used to sell it direct by mail order. It would be worth checking with them to see if it's still available. An e-mail address I have for Sierra is: [EMAIL PROTECTED] Good luck. +-- ///\ Ian Durkacz --+ |C-oo Department of Automatic Control Systems Engineering | |\ The University of Sheffield, Sheffield, England| +--- \_v e-mail: [EMAIL PROTECTED] +
Re: Grammyszzzzzzzzz....
In a message dated 2/25/99 6:39:29 AM !!!First Boot!!!, [EMAIL PROTECTED] writes: oh, come on, compared to Shania Twain, the Dixie Chicks are the Carter Family... BLASPHEMY! To even put the Dixie Chunks in the same sentence as the Carter Family, let alone comparison. Forgive him Mother Maybelle, he knows not what he speaks. Mitch Matthews Gravel Train/Sunken Road
Re: Grammyszzzzzzzzz....
In a message dated 2/25/99 7:00:54 AM !!!First Boot!!!, [EMAIL PROTECTED] writes: Patsy Cline woulda worn a vinyl bustier if they were available. Sure she would! Russ, you better be joking, you're treading on thin ice on Lae Postcard2 with them words. Mitch Matthews Gravel Train/Sunken Road
Re: Grammyszzzzzzzzz....
In a message dated 2/25/99 11:56:17 AM !!!First Boot!!!, [EMAIL PROTECTED] writes: Russ, you better be joking, you're treading on thin ice on Lae Postcard2 with them words. I meant Lake Postcard2. Sorry. Mitch
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 Thanks, David, I don't know why I have that tendency. Maybe it's a reaction against inverted pyramid style. But I will try to be careful about being consistent with my PS's. Here's an excerpt from Chet Flippo's chapter in "Country: The Music and the Musicians." He was writing about the early 70s' Outlaw Revolution: After discussing why Nashville was losing track of its audiences, and not doing so well, Flippo writes: "During this time (the late 60s, early 70s) there were many factors that came to change country music drastically and forever. I would like to concentrate on one that was basically fostered by singers caught up in the Nashville Sound. There came to be a broad-based revolution spawned by the non-power brokers -- the writers and singers -- that was as much influenced by the Beatles as Bob Bylan, as much by the Vietnam War as by country star Johnny Cash... It was called the "Outlaw" movement, a glib publicity term, but it came to represent a genuine watershed in country music history. "It sprang from a back-alley rendezvous in Nashville between kindred spirits who liked to stay up late and carouse around town before getting down to business with some music. But it came to represent a real determination by a handful of artists to bring country music into line with the rest of the musical world -- artistically as well as financially. By the time it ran its course, the Outlaw movement had changed the face of country music forever. The producer as king -- that fuedal notion was shattered. Country artists gained control over their own record sessions, their own booking, their record production, everything else related to their careers, including the right to make their own mistakes..." This doesn't prove anything, vis a vis Nashville sound = good or bad. But I guess it does at least back up the notion that the Nashville sound was mainly a producer/label-driven thing, and listening in hindsight, that factor makes it harder for (me) to appreciate it, especially when it's hitched to street-level, gritty tunes whose lyrics demand atmospherics of a less sweet and "managed" sort. At least for me. Part of my problem is the chasm between 1) how much the lyrics of Streets of Baltimore and Detroit City and Five Hundred Miles from Home really grab me, give me goosebumps almost, put me in the place of that lonely warehouse or factory worker, a long way from home (me in L.A. in 1978-80), and then the 2) deliberate management of the sound, to make it appeal to as many people as possible at that time, which, in so doing, snaps its fingers and transports me away from that factory and that loneliness. It pisses me off. Though I'll confess, I need to move on. After arguing about this, I think I've copped a worse attitude about the Nashville Sound than I really need to have. -- Terry Smith ps You know, Vince Gill singing "Forever on My Mind" at the Grammy's, with full orchestral backing and the Vienna Boys Choir singing background (g) was the highlight of the show. Really. Oh, yeah, when Shania came on in her dominatrix get-up, I started hooting, and whining, and bitching, and my kids said something like, "Shut up, dad, you sound like some old grandmother complaining about Elvis." Of course, I beat them severely.
Going offlist (Gravel Train mini-tour)
Gravel Train is hitting the road for its "3 shows in 3 days" tour. I ask that matt Benz serve as my second in the upcoming "Dixie Chicks vs. Talent" debate, and that the Warrior Princess of Twang sing "see How We Are" with us when we get to Pittsburgh. Mitch Matthews Gravel Train/Sunken Road
RE: Hyper produced Bobby Bare
A couple of things about the quoted Flippo passage, the first of which is that this: The producer as king -- that fuedal notion was shattered. Country artists gained control over their own record sessions, their own booking, their record production, everything else related to their careers, including the right to make their own mistakes..." is, I think most everyone would agree, sadly dated g. More to the point, though, is that when he says that the Outlaw thing ...came to represent a real determination by a handful of artists to bring country music into line with the rest of the musical world -- artistically as well as financially. what that meant from a musical point of view was, among other things, the incorporation of rock and rock-related influences into the music. That's the irony of trying to frame Jennings et.al. as conservators of "real" country music. In the terms Flippo's talking about, Shania Twain is a direct descendant of sorts from the Outlaws, struggling with the powers-that-be at her label in order to make the kind of record *she* wanted to (with Any Man Of Mine), incorporating contemporaneous extra-country sounds and attitudes - which is a notion I don't have much trouble with, actually, but I suspect others might g. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Production-- Ralph Emery's take on this thread
Howdy, I was listening to our local morning radio talk show host interview Ralph Emery a few minutes ago. Most of the interview was about Ralph and his new book, plus some history of Ralph's experiences in Nashville. I noted that the following portion of the interview was significant in some ways regarding the ongoing thread about "over/hyper production," and the emergence of different sounds in country (i.e., countrypolitan, outlaw, etc.). The host was remarking on last night's Grammys (which I missed, watching instead Lance Burton, Master Magician) and commented on the career paths of Shania Twain and the Dixie Chicks. He asked Ralph what he thought of the "new direction" of country music. My best recollected paraphrase of the response... "Every interview I do, people ask me about that. Yesterday, last week, 5 years ago, 10 years ago, 20 years ago... Country music, like every other form of popular music, is always evolving. Like every other type of music there are a variety of factors involved. First of all, artists *and* producers [emphasis mine: SR] are creative people and don't necessarily like doing something the same way every time. They like to experiment with new sounds. Also, they try to produce sounds that the reflect what is popular with the audience at the time and they try to produce sounds that anticipate what will be popular. Sometimes they guess right, sometimes they don't. ...right now the Dixie Chicks and Shania Twain are on the cutting edge, but tomorrow there will be somebody new and we'll forget about them. Vince Gill, however, will be here forever." From there Ralph offered up a few opinions about new vs. traditional sounds (basically, that they always have and always will co-exist), and then launched into a story about Dolly's early career in Nashville. Anyway, I thought these comments were appropriate to forward on to the list in light of discussions about artists and producers. On a personal note, I don't hold to the theory that is sometimes advanced here that artists are "forced" to bend to the will of producers against any artists' better judgment. I don't know jack about how to record an album, but I've always operated under the assumption that it's a collaborative process and that just maybe in the case of experienced artists, the artist has a bit of an upper hand in influencing the production of the album. I really wish I could stay and play longer. I stay so busy at work that I don't have time to do much more than offer random drive-by type postings and an odd announcement or so. This "production" thread has been interesting to read. Take care, Shane Rhyne Knoxville, TN [EMAIL PROTECTED]
Re: Grammyszzzzzzzzz....
Jon Weisberger writes: Having said that, and taking note that the fiddle players in the band do, in fact, play their instruments (I've had two separate reports of at least one of them contacting people who played fiddle on the recordings in order to get some pointers on specific passages), it looks to me as though Twain is moving in the direction of crossing over permanently. I caught some of this last night during a break at rehearsal. More than anything else the trappings looked to me an awful lot like a throwback to '80s pop; from Twain's Tina Turner-esque outfit to the band costumes to the multiple keyboard setups. I half-expected to see the guitarist wearing a headband and a mullet and the bass player playing a Steinberger. Hell, Little Texas looked like the Sons of the Pioneers compared to this! --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
RE: Grammyszzzzzzzzz....
Having said that, and taking note that the fiddle players in the band do, in fact, play their instruments (I've had two separate reports of at least one of them contacting people who played fiddle on the recordings in order to get some pointers on specific passages), it looks to me as though Twain is moving in the direction of crossing over permanently. [Matt Benz] Hmmm. I was thinking that wasn't even her actual band behind her -mostly cos the outfits made em look more like something the Grammy design folks woulda come up with-and therefore, the fiddle players were just role playing. They sure didn't seem to be playing in close ups, especially while singing: I swear the one was faking it. The whole thing was such a jaw dropping spectacle of bad taste...She's leaving country on a jet plane. Gill was great, and stuck me as the most honest and real performance of the ones I saw (I didn't see Lauryn Hill). Nice suit, too. Did anyone catch Yearwood's expression when he accepted the Grammy and made that Garth joke? Clapton was embarrassing, and are we sure he and BB even rehearsed? That was a pretty lamo blues performance all around. That whole gospel based all star tune -which I've never heard - was badly done, and somewhat of a boring arrangement. I was actually remembering We Are The World fondly. Tho surprising, Bono wasn't the lone offender: who was the blonde weasely looking singer? She could *not* sing, and had no business being among those gospel singers on stage. Brian Setzer and the Dixie Chicks would of been the most awkward presenters if not for Billy Corgan and the woman from Garbage. Rosie O'Donnell's fame continues to amaze me. As a comedian, she makes a great talk show host. She made a Spice Girls joke, for gawd's sake. I like how CBS made sure that their network stars were in the audience and on camera.
Re: Bourbonaires (Gravel Train mini-tour)
And as some kind of evidence of just how small a world it really is, my band the Bourbonaires will be on the bill with Gravel Train tomorrow night at the Kendall Cafe in Cambridge, Mass. Lancaster County Prison and Joe Harvard are also on the bill. The festivities start at 9 with Joe H.'s set. --Jon Johnson Let me chime in here. I urge all of you New England folks to check this band out. The Bourbanaires are my favorite rockabilly band in the Boston area. I wish that I could be there. I'm jealous. marie
RE: Grammyszzzzzzzzz....
Which was Martina's original appeal to me. Her EYES, you cheeky monkeys. Chris I believe her appeal lies in another set of twins, actually Not to beat a dead horse, but could someone who saw Shania's performance tonight, puh-leeze explain to me what she's got to do with country music? Oh it must be the twin fiddles in the band. g
Hellcountry Friday 2/26/99
Howdy friends, I'd like to invite you all to come out early on Friday, Feb. 26th preceding the monthly Hellcountry showcase. From 7-9 pm we'll be gathering for drinks and I'll be wishing Boston a fond farewell. After twelve years here, I'm relocating, eventually to Nashville but for now to the woods of rural PA. Hellcountry will continue, and I'll be booking for now from a distance, and making it back for the monthly showcases but damn, I'm going to miss y'all. Friday Feb. 26/99 - "Rockapunkaswingabilly" theme night with Lancaster County Prison (NYC) http://208.233.94.44/lcp/ Gravel Train (Detroit Rock City) http://www.detroitmusic.com/tmod/gravel.html the Bourbonaires (Boston) http://www.hellcountry.com/bourbonaires.htm and Joe Harvard (Boston) http://www.rockinboston.com ~ upcoming "HELLCOUNTRY SUNDAYS" at the Kendall. All shows are free with donations for the artist(s) cheerfully, and gratefully accepted and they start around 8:30pm and end by 11. 2/28 - Jimmy Ryan hosts a bluegrass pickin' party following a special "in the round" appearance tonight by Australian singer/songwriter Steve Camden and Checkered Past recording artist Tommy Womack (http://www.pubwire.com/Tommy/Welcome.html ) early show time - 8:30 PM SHARP!!! 3/7 - Marcus opens for Michael Tarbox (solo, of the Tarbox Ramblers) 3/14 - Pineapple Ranch Hands (Boston) 3/21 - Paved Country (Boston) 3/28 - Jimmy Ryan hosts a bluegrass pickin' party 4/4 - Easter Sunday - show tbd 4/11 - Gilmans (Boston) 4/18 - Tar Hut recording artists King Radio 4/25 - Say Zuzu (Portsmouth, NH) More Hellcountry dates for your calendar... Friday Mar. 26/99 with Tar Hut recording artists the Ex-Husbands (NYC) http://www.tarhut.com and Diesel Doug and the Long Haul Truckers (Portland, ME) http://www.dieseldoug.com Grits (Boston, MA) and Robert Becker (NYC - original Gin Blossoms keyboardist) Feel free to forward this email to your friends. If you wish to be removed from this mailing list just reply with unsubscribe in the header. We hope you don't... Hellcountry "supporting the Boston area twang scene" http://www.hellcountry.com [EMAIL PROTECTED]
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. Actually I think most people view production not as makeup (which can enhance if applied tastefully) but as a window -- a seemingly transparent view of the performance on the other side. Under this metaphor, the production really can't do anything to enhance the music, but only get out of the way; the best it can hope for is that it remains free of specks and streaks which might obscure our vision of the performance. I suspect that at the time, the Nashville-sound strings would have been understood and accepted by listeners as a part of the performance, not part of the production. (Yes I know that technically everything is "part" of the production, but I'm thinking more about the average radio listener who doesn't really think about -- or want to think about -- the fact that what he/she's listening to is "produced".) 30 years later, in a different aesthetic climate, those strings and backup singers jump out as "production," a spot on the window which intereferes with what we now view (differently) as the performance -- the gritty basics of vocal, guitar, bass, drums, or whatever. While extremely critical and musically-educated folks like ourselves may spend half our day corresponding and debating this stuff (and appreciate production values), your average listener just doesn't want the medium to interfere with the content. And it's not just that they don't want to be challenged, but that our culture thrives under the (very romantic) illusion that we can gain unmediated access to "real" people through art, without technology or commercial considerations coloring that access. So yeah, the grittier and more real the better. (Something philosophical on the assurance of subjectivity in the face of postmodern alienation would probably fit here, but I'll save that for the Derrida list...) It's a culturally-determined way of listening, but one that's become "natural" nonetheless. When it comes down to it, it's how I listen as well. As much as I like to think about and talk about music, the greatest moments are when I can just escape into it -- not analyze it, not think about it, and, most of all, not have some element of the "production" remind me that the performance I'm listening to has been strategically and commercially constructed. (I imagine the allure of the live performance relates to this desire as well.) I guess what I'm getting at is that the notion of gritty, bare-bones reality in music may be a myth, but it's a myth we live by.
Clip: Layoffs Hit Country Music Industry
Layoffs Hit Country Music Industry By Jim Patterson Associated Press Writer Wednesday, February 24, 1999; 2:41 a.m. EST NASHVILLE, Tenn. (AP) -- As Shania Twain waited to see how many Grammys she would win tonight, some of her country music colleagues were in a far less glamorous situation: waiting to see if they could find work. Even as Twain and Garth Brooks sell millions, the industry has been wracked by layoffs. The problem is Nashville's recent inability to launch new top-selling acts. ``The consumer is changing,'' said Joe Galante, who runs the Nashville office of 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.'' After reaching record heights in 1995, country album sales have sagged. Last year's sales increase of 2.7 percent was due largely to Brooks, who accounted for 10 percent of the nearly 73 million albums sold, according to SoundScan, which tracks sales. 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 in Nashville. Some worry that a repeat of the mid-1980s may be in store. That's when the bottom fell out of the boom started by the 1980 movie ``Urban Cowboy.'' ``Even when you're getting a hit, you're not selling as many units as you did four years ago,'' Galante said. ``You do 2 million (sales) on the Dixie Chicks; a couple of years ago that would have been 4 or 5 million.'' 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 want to cut costs and small labels like Rising Tide, Magnatone, Almo Sounds, Imprint and Decca have 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 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, though she won't have trouble getting another. ``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. Still, 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. Bryant, who started his career in the Music City, said 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,'' he said. © Copyright 1999 The Associated Press
The Old Joe Clarks
Just noticed that The Old Joe Clarks will be playing at SXSW. (something for DOTF, Tom S?) Any idea out there if there is a follow up to the excellent Town of ten in sight? Eivind Berge Norway
SXS: Film for the Undead
(From Film Threat Weekly) SOUTH BY SOUTHWEST UNDEAD FILM FESTIVAL INVADES AUSTIN An alternative to the upcoming South By Southwest Film Festival has reared its ugly head. To be held in Austin, Texas, members of SlowKid Productions have formed their own film fest. This year, the first annual South By Southwest Undead Film Festival will be held concurrently with the South By Southwest Film Festival during the days of March 19-20th at yet to be disclosed venues in and around Austin. Nathan McGinty, organizer of the SXSW Undead Film Festival for Slowkid Productions, has already confirmed a number of unpretentious choices for films, making their premiere including: "Zombie Like Me", which explores the discrimination that Zombies experience in a world dominated by Mummys, "The Naked and the Undead" a WWII era film chronicling the struggles of a group of undead GI's working to defeat the Japanese in the pacific theater and, "The Collegians Are Go!!", filmed locally in Austin and a recent finalist in the United States Super 8mm Film Festival. "We just couldn't believe the blatant 'pro-life' bias that the South By Southwest Film Festival held against films featuring certain members of the undead. We feel it's time that mummys and zombies - undead people everywhere - banded together to be heard," Chuck Collegian, one of the festival's participants, says, "That's exactly what the festival here is seeking to do by helping this much maligned and misunderstood demographic establish it's own unique voice in the grand tradition of the American cinema." Mr. McGinty made a special point of including the Collegian's production in the festival, "For months now, I've been listening to Dr. (Dean) Collegian and Chuck Collegian talk about how their film has been censored by the major film festivals, including South By Southwest. Now, at least they've got some proof." Recently, The Collegians have made public on their web site a Freedom of Information Act Request letter from the CIA in which they address the censorship issue (http://www.flojo.com). Because the Undead Festival was organized on such short notice, final screening times and locations have yet to be determined. "We've still got a lot of work to do, but, hopefully we'll be able to pull it together. There are a lot of filmmakers really ticked off at South By Southwest." Mr. McGinty notes. "We've got plenty of volunteers." Entries should be sent to: SXSW Undead Film Fest, 912A W. Elizabeth, Austin, TX 78704. E-mail the gang at: [EMAIL PROTECTED] http://www.flojo.com/undeadfest Read more about SXSW Undead on the site...
Grammyszzzzzzzzz....
Sheryl Crow did a fine job. I appreciated the fact that she paid tribute to the people at AM who were responsible for her success by allowing her to grow as an artist. Shania Twain HAD to perform with her legs spread apart like that. If she closed her legs, her outfit would have fallen to the floor. Her costume and the costumes her band wore seemed the least natural of all the many variations of clothing I saw that night. She still sounded like new country to me, even with the smoke bombs and spandex. Must have been the steel guitar... Lauryn Hill's reading of Psalm 40 was one of the best things anyone did, especially the way she emphasized "He lifted me out of the slimy pit". np: Grammy winner for best contemporary folk album
Re: Grammyszzzzzzzzz....
You know, I'm not really defending Shania, but did you ever stop to think that maybe she actually wants to be a pop artist or maybe - GASP! - wants to try to be both? Is there any law that prohibits an artist from trying to expand their musical sound? Sure, she's annoying, but it's equally annoying when people around here fault her for "not playing real country." Show me in the music rulebook where it says an artist must always and only play one brand of music and stay devoted to it for a lifetime. How come nobody's faulting the P2 worshipped Wilco for abandoning the country sound? If they were as popular and sold as many records as Twain, you probably would...(perhaps a bad comparison, but you get the point) As far as the outfits - who cares and big deal? I thought the P2'ers were open minded enough to not judge people based on what they wear. If she had worn a cowboy hat and boots, you all probably would have been all over that in a negative way, too. I can't stand her music. But geez, give it a rest.
Re: Grammyszzzzzzzzz....
Someone sent me this: and what did we learn from this year's grammies? 1. we now know what the members of nine in nails do in their spare time... they play as shania twain's backing band. (has she even seen a picture of someone in a cowboy boot? do her "country roots" date back any farther than country legends the eagles zztop?) 2. celine dion somehow managed to steal pete townshend's nose from barbra streisand. 3. john williams will go down in history as one of the "great" composers, along w/ beethoven, mozart, etc. 4. eric clapton is one of the greatest blues guitarists of all time. (just as phil collins is one of the greatest soul singers of all time) 5. even over the course of three long hours rosie o'donnell is incapable of saying anything remotely funny. (man, did anyone else see her impression of elvis' mother singing the itsy bitsy spider? what blew me away was not that it was sooo bad -- it was -- but that she actually thought enough of it to save it for the end!!!)
Re: Production-- Ralph Emery's take on this thread
"Shane S. Rhyne" wrote: On a personal note, I don't hold to the theory that is sometimes advanced here that artists are "forced" to bend to the will of producers against any artists' better judgment. I don't know jack about how to record an album, but I've always operated under the assumption that it's a collaborative process and that just maybe in the case of experienced artists, the artist has a bit of an upper hand in influencing the production of the album. depends on who holds the power, what type of person the artist is, how desperate they are to hang onto the deal, etc. However, my experience with artists is that for the most part they don't get to any degree of achievement by being milktoasts and are fairly hard to push around, if not impossible. some artists just don't care about the process and just want to come in, sing to the track, and leave. Some get into every minute decision in the studio until they have to be hog-tied and removed, screaming "take that note out!" as they are carried out the door. I have had many like this, my sweet mate included, and the problem with the picky types is they are almost invariably correct. Everybody made fun of Lucinda for re-cutting her record umpteen times, right? -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
RE: Repost: 50/90
Hey, how come Greg Kot liked "Summerteeth" so much he put it at 25 on this list but in his Rolling Stone review, it warranted only 3 and 1/2 stars? Just asking... --Slonedog
Re: Another good quote from the Village Voice web site
The year's most inexplicable musical fad was the vastly overrated genre of "Americana" a/k/a "No Depression," "progressive country," "regressive country," "independent country," "insurgent country," "alternative country," " Anyone notice the obvious irony here. This year's most inexplicable music fad also can claim the Pazz Job #1 record of the year. Correct me if I'm wrong, but I think Mermaid Ave. up there in or near the top ten as well. A pretty good year for an overrated genre. Neal Weiss
Saturday night...
Down in the Highlands at the Dark Horse Tavern, the Ditchdiggers are going to be Honky-Tonk Rockin' with the brute force of a runaway Freightliner! If you are in town, then don't miss this show! We are takin' it easy this month while we put the finishing touches on our follow up CD to Cow Patty Bingo. The schedule currently looks like this 2/27 - Saturday - Atlanta, GA - The Dark Horse Tavern w/The Blastmen Puller 3/5 - Friday - Charlotte, NC - The Double Door Inn w/ The Belmont Playboys Come out and see us. Remember to bring your potted meat! The Ditchdiggers www.ditchdiggers.com [EMAIL PROTECTED]
Another Willis clip
Kelly Willis Mounts Her Horse Once Again Kelly Willis is to be forgiven a certain amount of professional bitterness. After all, the last time she had a new album on the shelves was in 1993. Her last label deal fell apart two years ago with nothing to show for her troubles but a four-song EP released only in Texas. And for an artist with three critically lauded albums behind her and a reputation as one of the best female voices in Texas, her total sales sure are a long ways from the half million mark. Jaded? You bet. Or maybe not. If any of these things genuinely trouble the thirty-two-year-old singer/songwriter, she hides it remarkably well. At the moment, Willis seems to be a model of optimism. Her new label, Rykodisc, has just released What I Deserve, her first album in six years, and the reviews thus far have been encouraging. But most importantly, she finally feels the freedom to pursue her own artistic vision. The title track of the new album, which she co-wrote with Gary Louris of the Jayhawks, seems to sum up perfectly where Willis has been and where she stands now: "Well I have done/The best I can/Oh but what I've done/It's not who I am/And oh what I deserve ..." "I was only twenty years old when I got my first deal with MCA, and I just hadn't really developed yet," Willis explains in a phone call from her adopted hometown of Austin. "I was young, but I wanted to be like Nanci Griffith, or Steve Earle or Emmylou -- that's how I wanted to develop. I didn't think I was that talented at the time, but that's where I wanted to go. [MCA] tried to compromise with me, but they just really wanted me to look good and sell music. So it was a struggle, and being so young and not sure of myself, I always felt bad when I disagreed." When MCA dropped her after three albums failed to register on country radio, Willis set about reinventing herself. She turned her attention to writing her own songs, a luxury she had scarce time for while caught up in the country music star-making circus. Fading Fast, a promo-only EP released in 1996 on her new label, AM, found her collaborating with alt-country forerunners Louris, Son Volt and 16 Horsepower, and hinted at the more rock-oriented, stylized arrangements which characterize What I Deserve. But before she really got started on the album, the AM deal fell apart when her trusted AR rep was fired and Willis asked to be released. "I had a really strong feeling that if I stayed there I would end up with a person who either didn't get me or who really felt like I would have to change what I was doing. I had already been in a record deal like that, and that's not what I was up for. And I thought it would be really easy to get another deal, but no ...(laughs). I had a horrible time, and ended up having to make [the album] myself." After finishing the album in December of 1997, Willis began shopping the finished project to a handful of labels. "Ryko was the most enthusiastic, and loved the album exactly the way it was," she says. "At a label like Rykodisc, the pressure is just to make a really good creative record that contributes to the musical community at large, whereas at MCA it was to make a record that would sell a lot." If Willis is clearly happier with her new label situation, however, she's not about to look back in anger on her MCA years. "It was a great learning experience, and I had a wonderful time as well," she says. "I got to work with really talented people, and created a career that has carried me through to this record. So it was a chance of a lifetime. It wasn't all bad." Likewise, even though Ryko will be marketing What I Deserve primarily to American and Triple A markets, Willis has by no means abandoned her country roots. "I don't think they're going to try for the full-on country chart, but that's where I made my audience, and I think it would be silly for me to ignore it because I really love country music and I think there is a strong country feel to this record. I guess I'm just one of those cursed people that doesn't fit in really well anywhere, but it's not impossible." As for the bottom line, Willis says she'd love to see the new album hit the 100,000 sales mark, which would be a modest improvement from the 60,000 or so she averaged on her last three. "I don't think that's really unrealistic to hope for, but it's not going to kill me if it doesn't," she says. Hopefully, Ryko will prove just as flexible. "I can handle losing a deal, but I feel that Rykodisc would not be freaked out ... I think they would be into making another record or two. "I feel confident about that at this point anyway," she adds, laughing quietly. "Talk to me in about a year, and I'll let you know." RICHARD SKANSE (February 24, 1999)
Re: Saturday night...
In a message dated 2/25/99 12:39:33 PM Central Standard Time, [EMAIL PROTECTED] writes: Remember to bring your potted meat! The Ditchdiggers why? Did the health department repossess your brains? Gee, I miss Atlanta... well, most of it. Slim PS: Hi JP!!!
Re: Lucinda
lance davis wrote: I think it is a good sign that Lucinda got a grammy. It means there is still more than one way to skin that cat. Joe Gracey I agree, but to play devil's advocate, couldn't it also be asserted that she skinned an underfed, underappreciated, stray cat (contemporary folk), as opposed to, say, a fat, slow-footed, well-taken-care-of cat (mainstream country). Or, how good a sign is it really when the music establishment consigns Lucinda to a Grammy category that isn't respected enough to even televise? However, had she won for best female country album (or whatever the category is), now THAT would've been a sign. Just wondering stuff. Lance . . . Well, yeah, we all wish what Lucinda is doing would be called Hot New Country, but it doesn't sell well enough yet to break that door down. I think "Contemporary Folk" has become a haven for many of us who are actually doing modern country music, no matter what the grammys choose to call it. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: Production, can't Bare it
On a personal note, I don't hold to the theory that is sometimes advanced here that artists are "forced" to bend to the will of producers against any artists' better judgment. I don't know jack about how to record an That was Shane, this is Matt, the turncoat g Unfortunately, Shane, this is true in alot of cases: artists are frequently forced to bend to the will of the producer in making records. That's not to say it always happens, or even happens most of the time, but it does happen. Newly signed artists don't always have the clout or experience to guide them. COurse, I can't think of any examples right this minute (well, I can: Buddy Holly), but the "theory" -while perhaps applied wistfully by fans -like Terry-who disagree with production choices- is based on valid concerns and tales voiced by performers. Shane sort of made it sound as if there's this constant level of contact between artist and producer; it's always the same. In fact, I'd imagine unwistfully that's it's always different, depending on the producer and artist and what sort of relationship they have (or have had foisted upon them by the label). Sometimes the producer calls the shots on how a record will be arranged and produced, and sometimes the artist keeps a lot of control, or produces it himself. Sometimes it's a draw, or shifts to one side or the other. But I think it's just as big a mistake to assume that artists usually keep creative control over their work as it is to assume the opposite. This idea that labels always force their artists to do this or that is a notion that I ain't heard around here, except in the sense of, sure as shit it happens sometimes. Does anyone else notice how qualifications such as "sometimes" or "occasionally" drop out of later discussions of issues? I do it, too, but then I'm old and weary, and brain-dead from listening to too much Bobby Bare/Chet Atkins. -- Terry Smith
Re: George Jones' phrasing (was Gag reflex)
Mr. Joe Gracey Sir sez: An interesting note about George Jones, from my standpoint as a watcher of singers- he sings through the whole front of his skull. Whereas most vocalists open their mouths and project a sound from the hole, George basically sings through clenched teeth and projects the sound from every orifice in his skull, including vibrating the bones of his face. I think this is one of the things that adds such weird tension to his vocals. Try it- sing real loud through closed teeth. See? Yeah, when I wrote yesterday I was talking about his phrasing in particular, but the particular timbre of his voice is unique as well. Iv'e never thought about it in exactly the terms you use above, except to observe the clenched-teeth thing and that he does seem to really sing through his *head* chest rather the chest or diaphragm. Once, um, I sat around for the better part of an afternoon singing "Why Baby Why" over and over trying to understand how he gets that sound g. All I could ever get to was a real nasal-sounding tone that, alas, never even approached George-ness. I tried to constrict my throat and hold my mouth in odd, closed ways like he does, but never got the results Ah well. At least this practice came in handy on the "Why Baby Why" singalong in CK's room last Tfest g. There's a little of that timbre in Buck as well, no? (as opposed to Johnny Paycheck, who seems to get the phrasing but not the timbre). They both have that head-centered, closed-mouth sound, as opposed to the more "correct" resonating voice a la Faron and such. Interesting topic. I'm always fascinated by the particular "grain" of different singers' voices. Willie's a strange one that way; he sometimes strikes me as having several different phrasing-styles (with more and less of that around-the-beat thing he does) and timbres that he brings out for different purposes. --junior
Re: Grammyszzzzzzzzz....
Not to be the type of cad who would pile on a delicate flower like Ms. Twain, but if Jon can pick out a vocal phrasing thing from the Maines gal in the Dixie Chicks that bugs him, I'll do the same for Shania. When she starts off a song, by saying, "cool" or "get it, boys" or something like that, I just want to kill somebody. I don't know why this bothers me so much, but that's it. Of course, my wife, who's a transplanted Canadian, tried to stick up for Twain when I complained about her, and then tried to argue that I should respect her accomplishments since both her parents died when she was young. I sputtered a bit and then grumped out of the room. Cool. -- Terry Smith
lambchop on Conan again
Good news: The Vic Chestnutt/Lambchop appearance on Late Night will be repeated on Thursday March 11. If you are in the neighborhood, Josh Rouse, Lambchop, and Vic will be performing tomorrow night, Friday, here in Nashville. meshel n'vegas
Damnations TX clip
Damnations TX Bring Banjo to the Masses If there's a running tally somewhere of the world's all-time best second-hand purchases, add this one to the list: Not too long ago, Damnations TX singer/bassist Amy Boone walked into an Austin pawnshop and plunked down around $70 for a second-hand Washburn banjo. "It was probably my rent money, but it was cheap!" Boone says of the purchase, though it was hardly money down the drain. That old banjo would ultimately prove to be one of the most defining elements of her fledgling band's sound, second only to the sweet harmonies Boone shares with her sister and co-band leader Deborah Kelly. Boone's contribution on banjo is limited to the initial purchase, however; it's guitarist Rob Bernard's spirited plucking that drives the Damnations live and on their Sire debut, Half Mad Moon. "I envisioned the banjo being in the band, but I was still new on bass and had enough of a challenge just to keep getting better at that," Boone says. "So, I invited Rob over, made him some coffee to tantalize him, and asked, 'What do you think about playing banjo?' He said, 'Uh, I'll give it a try.' So he sat in my house and I strung out a bunch of folk songs and he learned all the chords." The prominence of banjo, mandolin and the aforementioned sisterly harmonies betrays the group's love of traditional bluegrass, country and folk music, but there's more than enough rock in the mix to lend the Damnations pseudo-punk cred -- or at least to rub traditionalists the wrong way. "There are so many bluegrass and country purists that would probably want to ring our neck," laughs Boone. "We basically stick to rock venues that can handle the crossover type of thing." Half Mad Moon still begs to be filed under alt-country, but it stands apart from the crowd of lonesome Son Volt and Whiskeytown imitators by virtue of its buoyant, infectious energy. They're not above a haunting melody or double-edged lyric, but by and large the Damnations' spin on the No Depression aesthetic actually steers clear of depression. When the sisters sing of love's "hellish kind of heaven" in the album's stand-out title track, painting a grim scene of a rotting relationship with the line, "It's been a long time let's have ourselves a quarrel/Let's go sit upon our drunk and lazy laurels," they do so over an insanely sprightly Appalachian jig that demands a fervid
Re: Another good quote from the Village Voice web site
At 01:34 PM 2/25/99 Neal Weiss wrote: The year's most inexplicable musical fad... snip Anyone notice the obvious irony here. This year's most inexplicable music fad also can claim the Pazz Job #1 record of the year. Correct me if I'm wrong, but I think Mermaid Ave. up there in or near the top ten as well. A pretty good year for an overrated genre. Not to pick on Neal, but if one reads the entire quote, it gives a better idea of the critics mindset. I don't think he was dismissing the entire genre. Jamie D. Lipton's quote: The year's most inexplicable musical fad was the vastly overrated genre of "Americana" a/k/a "No Depression," "progressive country," "regressive country," "independent country," "insurgent country," "alternative country," "neo-traditional country," "garage country," "cow punk," "twangcore," "y'alternative," "grange." For every Lucinda there are 50 Freakwaters and for every Shaver there are 100 Backsliders. Long on sincerity and short on talent, these are sensitive, educated, well-meaning writers who genuinely lament the end of Route 66 consciousness and the blanding of America. Which is why no one, critics or peers, wants to dog them.
Re: Grammyszzzzzzzzz....
On the subject of last nights music spectacle: one of my dj's told me she could only get through 20 minutes of the Grammyz and turned to VH1 where Johnny Rotten was talkin about how there are no real celebrities left in the world and he was the only one! :-) No ego there! Which show was better? np: Jimmie Dale Gilmore on World Cafe'
Re: Chris Wall
Not in the current life. Ms Dunn's bro. is Chris Waters Is Chris Wall Holly Dull...er, I mean, Dunn's, brother? If so, is anyone familiar with a tune of his she covered about slow-moving trains? I remember it being a good one. Kelly ~
Re: Gag reflex
Jennifer Sperandeo wrote: Actually, she probably deserves this since she's the only country chicky that I know of who actually plays guitar (with her hands, smart guy)...Don't pick on Deana - I love the Hairy Legs record, but I haven't heard the new one, but I will. What about Anita Cochran? I've never heard Deana Carter actually *play* (as opposed to strum). Picking her is a bit of an insult to women, as is placing Courtney Love alongside John Fogerty. Louise -- If you like rocking country music, check out the Okeh Wranglers web site at: http://dspace.dial.pipex.com/bluesmoke
RE: lambchop on Conan again
If anyone tapes that show, I'd love a copy. Three great acts... Chris If you are in the neighborhood, Josh Rouse, Lambchop, and Vic will be performing tomorrow night, Friday, here in Nashville. meshel n'vegas
Re: Martina (was Re: Kelly Willis Review from Salon)
Howdy, You know, I've already taken some ribbing on P2 for it and it makes poor ol' Slim nearly gag to death when I say it, but count me as a fan of Martina McBride. I don't catch the "blandness" label that folks seem to put on her. Of course, I also happen to believe that "Independence Day" is one of the best songs of the decade (since folks seem to be in a mood to compile such data). And, I'd happily count "Cheap Whiskey," as one of my personal favorites as well. (For that matter, I think y'all might benefit from a listen to her debut album, The Time Has Come, which features "Cheap Whiskey" and other tunes that make for a pretty solid debut performance. The album also includes backing support from Carl Jackson and Kathy Chiavola, an overlooked voice in her own right.) I find that McBride is capable of using her talent to deliver a country-pop tune, a ballad, or what you guys sometimes refer to as a "real" country song. Regardless of what type of song she's performing, I generally have no trouble finding the country-influence in it, unlike (to pick on an easy target) some of Shania's most recent efforts (although, Twain does carry a definite country influence in earlier works. She will, I imagine, eventually jump with both feet onto the pop side of the fence, as Mr. Weisberger suggested earlier.) Here's the part that'll probably make Slim choke on his tongue... I have no qualms about placing McBride among some of the notable other female country singers who mixed a sometimes "pop-oriented" sound with country-rooted ballads and "down home" finger poppin' music. One that comes to mind pretty quickly in that group is Jeannie C. Riley, but others who fit that description pretty well include Tammy Wynette and Donna Fargo. At least, that's how my ears hear it. Take care, Shane Rhyne Knoxville, TN [EMAIL PROTECTED]
Re: SXSW query: Broken Spoke??
The Broken Spoke is listed as one of the official venues this year. Your wristband'll get you in. Stacey -Original Message- From: Ph. Barnard [EMAIL PROTECTED] Does Broken Spoke do wristband admission during SXSW, or are they independent of the whole thing? I have hazy and contradictory memories on this one g --junior
Re: SXSW query: Broken Spoke??
Yep they're part of the CRSF. Jim, smilin' and smilin'
RE: Damnations TX clip
Ho hum, another "it's got some banjo plinkin', must be bluegrass"-thinkin' critic. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: SXSW query: Broken Spoke??
"Ph. Barnard" wrote: Does Broken Spoke do wristband admission during SXSW, or are they independent of the whole thing? I have hazy and contradictory memories on this one g --junior No, they are not part of SXSW. BTW, it looks like Kimmie Rhodes is doing a benefit thing for David Lindley's family at the Texas Union Ballroom on Saturday night with Jimmie Dale Gilmore and a host of other people. More details as I know them. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: George Jones' phrasing (was Gag reflex)
[EMAIL PROTECTED] wrote: sing real loud through closed teeth. See? That way of singing has been his thing since he figured it our shortly after he bagan singing. He said that he knew he had a different sound when he did that. Yeah, and I also think he probably got that from guys like Bill Monroe. Seems like a bluegrass thing to me. In fact, I'd say George is very much like a bluegrass singer doing honky tonk music. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: Gag reflex
[EMAIL PROTECTED] writes: "Who the hell decides these awards?" From http://www.wallofsound.com "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." Kind of funny... It must tick Gibson off that so many of the artists chosen are all over Fender/Guild's promo material (or Gretsch in the case of Setzer). Cheers, Jay N.
RE: George Jones' phrasing (was Gag reflex)
Joe says: sing real loud through closed teeth. See? That way of singing has been his thing since he figured it our shortly after he bagan singing. He said that he knew he had a different sound when he did that. Yeah, and I also think he probably got that from guys like Bill Monroe. Seems like a bluegrass thing to me. In fact, I'd say George is very much like a bluegrass singer doing honky tonk music. An interesting comment. I'd say that the *technique* isn't especially a bluegrass one - Monroe and most of the other major bluegrass singers of Jones' younger days don't clench their jaws - but the emotional content of that, the physical restraint/emotional outpouring dialectic, if you will g, is a prominent feature of the style. Jones has said (though it will take me a while to find just where, David g) that he was influenced by bluegrass, and there are some cuts on, for instance, the Jones/Montgomery comp that are, as far as I'm concerned, bluegrass - though no doubt some hardcore bluegrassers will rule them out by virtue of the drums. They've got good banjerpicking from Curtis McPeake, though, as well as dobro by the recently-mentioned Shot Jackson. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: George Jones' voice
[EMAIL PROTECTED] writes: And am I the only one who got a little queasy at Joe Gracey's description of how George's voice emanates from every orifice? Yuck. Maybe the sound guy should mic his ear. = Agree, I was tempted to send Chris Carter (X-Files) some of it to use for a new episode. Kate n.p. Willie Nelson/Spirit; while it's snowing like heck.
biller wakefield
don't know if anyone has talked about this new album, entitled "the hot guitars of biller and wakefield" but it's a gas. dave biller plays guitar and jeremy wakefield plays steel, and the whole thing is jazzed up hillbilly boogie directly descended from the classic sounds of speedy west and jimmy bryant. it escapes me now, but i know these guys have both paid their dues in various west coast outfits, and they got a couple of flyrite boys, as well as dave stucky and deke dickerson (who co-produced) adding their talents. its on hightone offshoot hmg, and it's really great great stuff.
Re: Grammyszzzzzzzzz....
At 09:39 AM 2/25/99 -0800, you wrote: Sheryl Crow did a fine job. I appreciated the fact that she paid tribute to the people at AM who were responsible for her success by allowing her to grow as an artist. Very timely comment on the state of the industry and, maybe, the end of an era. Jeff Miles of Music mail order http://www.milesofmusic.com FREE printed Catalog: (818) 883-9975 fax: (818) 992-8302, [EMAIL PROTECTED] Alt-Country, rockabilly, bluegrass, folk, power pop and tons more.
Re: George Jones' singing
That way of singing has been his thing since he figured it our shortly after he began singing. He said that he knew he had a different sound when he did that. This is interesting. Could you point me to where he has said this? --david cantwell There is a book called George Jones The Life and Times of a Honky Tonk Legend by Bob Allen. It is not the best written book, Bob says so himself in the opening. (He uses many of thew same words and phrases over and over and over and..) But it has a lot of good information, and tells the whole story about George. Bob got some good stuff from George. In reference to his singing it talks about after he saw Hank Williams and Hank had so much emotion that it moved him. It says in the book (I can't believe I found this part, I feel like suck a fucking geek): "Now approaching his late teens, he (George) found that his singing voice had dropped and it was increasingly more difficult for him to sing comfortably in the high tenor range that was so often affected by his idols, Roy Acuff and Bill Monroe. He discovered that these new songs of Hank Williams's fit almost perfect into his new vocal range, almost like a hand in glove. He had also come to realize by this time that he could save consideralble wear and tear on his voice during a long night of singing in a smoke-filled bar if he occasionally backed off from his usual all-out 'full-throat' delivery and changed things up by singing, instead, with his mouth partially closed or even with his teeth slightly clinched. He discovered this allowed him to dramatically bend, twist and otherwise embellish individual notes, with all the power and precision of a woodwind player. Even more important, he found that this also enabled him to hold back the full power of a melody and let it resonate eerily in his throat, giving the impression of barely controllable emotions swirling wildly around inside him, held in fragile, temporary abeyance. When he did this, he also noticed that it not only timgled his own spine, but seemed to send cold chills though all those who listened." Amen. I guess you can tell I dig George Jones. I'm a geek. Nancy
Grammy high/lowlights
Me and the misses sacked out to watch the Grammys and wound up splitting time between that and some Shannon Doherty movie on VH1. Which was worse? I can't really say. Some observations: Madonna - ugh! I've always thought of her as style over substance. 3 grammy awards? For what, those stupid platform shoes? Geez, she bugs me. Shirley Manson of Garbage. What was she on? She looked like she needed a munchie run to 7-11. Those clerks *never* know when you're stoned and shopping. Gawd, how I hate that Aerosmith not only recorded a Diane Warren song, had a hit with it but also performed it on the Grammys. Rock and Roll is dead. I kept thinking the camera angle was going to get a little too low and go right up Shania's skirt. I like the Dixie Chicks. Their songs are catchy, they're goofy and fun. More to come as I think of it but for now give Milli Vanilli back their award, they weren;t any worse than most of the refuse that won awards last night. Jeff Miles of Music mail order http://www.milesofmusic.com FREE printed Catalog: (818) 883-9975 fax: (818) 992-8302, [EMAIL PROTECTED] Alt-Country, rockabilly, bluegrass, folk, power pop and tons more.
RE: Nick Hornby / Tom Perrotta
from today's Austin Chronicle: "After producers of the upcoming film version of Nick Hornby's High Fidelity (shooting in either Austin or Chicago) solicited every Hickman, McKay, McKenzie and Crowley in town to send their press pack, it was revealed that every Amos, Loeb, Love and Phair were also asked to submit materials for the part."
RE: Nick Hornby / Tom Perrotta
Oh, man. That's a musichound's bible, for all the great mix tape philosophies the main character expounds. Why am I picturing a soundtrack of Eve 6, Dishwalla, and Harvey Danger? If any flick deserves a great soundtrack, it's this one, down to the track order. (sigh). Chris np: mental images of Shania's washboard stomach -- From: [EMAIL PROTECTED][SMTP:[EMAIL PROTECTED]] Sent: Thursday, February 25, 1999 2:38 PM To: passenger side Subject: RE: Nick Hornby / Tom Perrotta from today's Austin Chronicle: "After producers of the upcoming film version of Nick Hornby's High Fidelity (shooting in either Austin or Chicago) solicited every Hickman, McKay, McKenzie and Crowley in town to send their press pack, it was revealed that every Amos, Loeb, Love and Phair were also asked to submit materials for the part."
Re: SXSW query: Broken Spoke??
At 02:47 PM 2/25/99 -0600, you wrote: Yep they're part of the CRSF. Wouldn't that be CSRF (Corporate Sponsored Rat Fuck) for those playing along at home who weren't here last year. Jeff Miles of Music mail order http://www.milesofmusic.com FREE printed Catalog: (818) 883-9975 fax: (818) 992-8302, [EMAIL PROTECTED] Alt-Country, rockabilly, bluegrass, folk, power pop and tons more.
Birthday inquiry
Hello y'all -- Could you guys help me out with a little Nancy Drew action? I need to know Lucinda Williams' and Vic Chestnutt's birthdays... Anyone? Standing by -- Your Hogan
RE: Birthday inquiry
LW - Jan 26, 1953 in Lake Charles, LA -- From: Kelly Hogan[SMTP:[EMAIL PROTECTED]] Sent: Thursday, February 25, 1999 3:11 PM To: passenger side Subject: Birthday inquiry Hello y'all -- Could you guys help me out with a little Nancy Drew action? I need to know Lucinda Williams' and Vic Chestnutt's birthdays... Anyone? Standing by -- Your Hogan
Re: Birthday inquiry
Kelly Hogan wrote: I need to know Lucinda Williams' and Vic Chestnutt's birthdays... Lucinda is 26 Jan. Guess we'll be seing Vic tomorrow night and I'll ask if no one else answers by then. Sarah W. -- http://www.mindspring.com/~vincebell/
RE: Birthday inquiry
Vic Chesnutt Born November 12, 1964, in Jacksonville, FL. - according to http://www.amazon.com/exec/obidos/ts/artist-biography/58379/t/002-6838385-6637442 But the AMG says "1965". "Fascinating, Captain." Could you guys help me out with a little Nancy Drew action? *ahem* Frank Hardy, s-v-p. I need to know Lucinda Williams' and Vic Chestnutt's birthdays... Anyone? "Bueller?..." Chris
Re: Almo Sounds (Was: Clip: Layoffs Hit Country Music Industry)
ALMO closed its Nashville office. Gillian is and always was handled out of the LA office. -- From: "Shane S. Rhyne" [EMAIL PROTECTED] To: "passenger side" [EMAIL PROTECTED] Subject: Almo Sounds (Was: Clip: Layoffs Hit Country Music Industry) Date: Thu, Feb 25, 1999, 4:45 PM Howdy, This paragraph from an article clipped here (and which was for some odd reason yesterday's front page above-the-fold article in the Knoxville News-Sentinel) caught my attention: 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 want to cut costs and small labels like Rising Tide, Magnatone, Almo Sounds, Imprint and Decca have closed their doors in the past couple of years. Did I miss something? When did Almo Sounds close up? Isn't that Gillian Welch's label? Weren't they recently also mentioned on P2 as organizers of some sort of tribute album? Just curious. Take care, Shane Rhyne Knoxville, TN [EMAIL PROTECTED]
Re: Birthday inquiry
I believe Lu = 1/26/53 K.
Re: Grammyszzzzzzzzz....
On Thu, 25 Feb 1999, Mike Hays wrote: It should be noted that the G man has already announced his intent to do a full on pop-rock album as a soundtrack for a movie as his next project. Mike Hays So, is he gonna buy the Decca trademark from MCA and start his own label? g -- 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: George Jones' voice
Next up for discussion--honky-tonk diction. Why the heck do singers like Buck Owens and early Paycheck add an "ell" to words that don't have them? Like, "I ain't nell-ver..." They don't talk like that in southern Ohio (Paycheck's stomping grounds), and I bet they don't in Bakersfield, either. Makes it easier to come down off the first syllable without sounding harsh. Start on a high note on the first syllable and come down a fifth with the word "Ne-ver" and then try it with "Nell-ver." Kinda like singing "year" instead of "here" when you've got the tenor part in B. Greases up the skillet a bit. Speaking of Jones and Paycheck: Paycheck played Van Howard to George for some time, and it's been argued that some of Jones' weirdest phrasing was a direct result of trying to anticipate what Paycheck was gonna do, or vice versa. John Weisberger, correct me if I'm wrong.. -- 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: The Old Joe Clarks
What I heard was the lap steel guitarist and drummer left the band last spring. Mike Coykendall was looking for a new guitar player and accordian player for awhile and the band has just started playing gigs again. I have yet to see the new lineup and have heard nothing of a new recording. Prior to SXSW the band will play on a bill with Richard Buckner and Chuck Prophet at the Bottom of the Hill in San Francisco on 3/5. Should be a good one. -Jason I'm hearing of a new release being shipped to radio within a month from some of the indie promoters I deal with at our station. Should ship for general release shortly thereafter. Iceman Eivind Berge wrote: Just noticed that The Old Joe Clarks will be playing at SXSW. (something for DOTF, Tom S?) Any idea out there if there is a follow up to the excellent "Town of ten " in sight? Eivind BergeNorway
RE: Grammy high/lowlights
Gawd, how I hate that Aerosmith not only recorded a Diane Warren song, had a hit with it but also performed it on the Grammys. Rock and Roll is dead. Isn't that the same Diane Warren song that Mark Chesnutt's currently got out? Not my favorite song... BTW, one of our local DJs followed the airing of Chesnutt's cut with a statement that Chesnutt had said he did it because he was tired of singing cry-in-your-beer songs. Normally, I'd get pretty worked up about that, but this is, I believe, the same DJ who offered the tidbit that Alan Jackson had said that he felt that he was pretty lucky, because he didn't think he could succeed as a newcomer now - leaving off Jackson's further statement, quoted here a month or two ago, that this was because he was too country for today's country radio. Hence I wonder if maybe his version of Chesnutt's comment was, er, edited (f'r instance, "I recorded it because I'm tired of doing cry-in-your-beer songs that go nowhere on the charts"). Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: Grammyszzzzzzzzz....
On Thu, 25 Feb 1999, Jon Weisberger wrote: [Matt Benz] Hmmm. I was thinking that wasn't even her actual band behind her... It was, or at least one of the fiddle players was the same. I've seen him/her (!) before on other televised performances. You aren't alone on that question, Jon. I was watching last night and first wondered if the fiddlers were twins, then realized that one looked more like a guy. Bob
Re: SXSW query: Broken Spoke??
Does Broken Spoke do wristband admission during SXSW, or are they independent of the whole thing? I have hazy and contradictory memories on this one g --junior Although your memories are probably hazy from the drink, the Spoke's SXSW role is usually confusing. For many years they remained independent and booked their regulars during the big week. Then they relented and gave up Thursdays. Then, when the conference began programming music on Wednesdays the Spoke gave 'em that night too. But until last year Friday and Saturday were not SXSW nights. (Chris Wall traditionally played Friday) Last year Friday was given over and just yesterday Mr. White of the Spoke called me to say that Jimmie Dale Gilmore had cancelled his Saturday show (rumor had it that Dave Alvin was going to join him). So he gave the night to SXSW. This is the history of SXSW encroachment upon the last of the true Texas dance halls. This time of year is a real drag, what with everybody in town up in arms over wrist band price, music awards, showcase slots and bitching and moaning about how the conference has hopelessly lost touch with everything. I would boycott except that there's so much free food and beer. And all the women I meet leave after three days.
Re: Almo Sounds (Was: Clip: Layoffs Hit Country Music Industry)
In a message dated 2/25/99 5:00:28 PM Central Standard Time, rhyne@east- tennessee-history.org writes: Did I miss something? When did Almo Sounds close up? Isn't that Gillian Welch's label? Weren't they recently also mentioned on P2 as organizers of some sort of tribute album? The Nashville office closed. they had Paul Jfferson, billy Yates, Bekka (Bramlett) and Billy (Burnette). Garth Fundis was the labelguru, and my brother in promotions. He felt the ax. Slim
RE: Grammy high/lowlights
I wonder if maybe his version of Chesnutt's comment was, er, edited (f'r instance, "I recorded it because I'm tired of doing cry-in-your-beer songs that go nowhere on the charts"). Man I'm having a great day. Even Jon's getting me to laugh. g No, really Jon, this is classic. Jim, smilin' NP:Lone Justice - This World Is Not My Home
Merle/Dale
Kate - No, Merle didn't play with Dale at Tramps. I know Dale would have thought he had died and went to heaven if Merle had. Let me know what you can about the Paradise - thanks. Off the see the Ghosts Rockets at the Rodeo Bar in NYC tonight. e ya later, Kat
Merle/Dale
OOPS - my last post should have been offlist. Kat
Next to Last Call: CCBD
I'm only going to say this one more time: The Ghost Rockets (NJ), Elena Syke and the Demolition String Band (NY), and Honky Tonk Confidential (DC) will be at February's Capital City Barn Dance at the Dogtown Lounge in Richmond Virginia this Saturday, the 27 of February. That's three P2 bands three, folks. Show starts at 9:30pm, I think. Particulars at http://www.geocities.com/SunsetStrip/7262/ -- 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: Merle/Dale
Kate - No, Merle didn't play with Dale at Tramps. I know Dale would have thought he had died and went to heaven if Merle had. Must be the show Dale opened for Merle. Dale did come out and do a harmony on "Okie" at Bonnie's urging. Dale was positively stoked the next night in Richmond. 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: SXSW query: Broken Spoke??
And meanwhie, besides the Saturday SXSW line-up there, culminating with Walser-Hancock-Watson, there's the "now I know I'm really in town" Wednesday night line-up at the Broken Spoke--which includes James Hand, Charlie Burton and the Texas 2 Steppers, Ted Roddy's Tearjoint Troubadors, and Cordell Hurd. This sounds like the probable best best for that Wednesday night start-- though I don't know who've they got lined up between speeches at those Austin Music Awards... If you're inclined, Mr. Jeff Beck will also be at La Zona Rosa! And yeah--Lullaby for the Working Class,, Mount Pilot and (is this right?) Jim Roll at Liberty Lunch...or Jo Carol Pierce and Fred Eaglesmith at the Hole in the Wall... on it goes--but I bet I get to the Broken Spoke for at least the later part of Wednesday. Barry M.
Re: Merle/Dale
Kate - No, Merle didn't play with Dale at Tramps. I know Dale would have thought he had died and went to heaven if Merle had. Let me know what you can about the Paradise - thanks. Off the see the Ghosts Rockets at the Rodeo Bar in NYC tonight. e ya later, Kat For the record--Merle and Dale did play together at Tramps last year. And Dale was in heaven, with good re ason--as were a lot of us lucky enough to be there. Barry M. Looking doubtful for being at our list friends Rodeo Bar date tonight.
Re: Birthday inquiry
Hello y'all -- Could you guys help me out with a little Nancy Drew action? I need to know Lucinda Williams' and Vic Chestnutt's birthdays... Anyone? Standing by -- Your Hogan If we tell you, will you cut an album already? Barry M.
Steve Earle and Britney Spears
Just got back from the record store where my daughter and I picked up new ones by Earle and Spears. Can't wait to put it on. -- Terry Smith ps actually, I hate to admit it, but that video by young Britney is catchy as hell, as is the song. I usually hate that sort of stuff. Another musical success from the MickeyMouseTrust.
Re: Grammyszzzzzzzzz....
In a message dated 2/25/99 11:48:53 AM Central Standard Time, [EMAIL PROTECTED] writes: I bet she dang sure would. me, too. Another "me too" post brought to you by, Linda Ray
Re: Steve Earle and Britney Spears
That's odd, why did this list suddenly pop on. is it [EMAIL PROTECTED] , that still administers it?
Re: Steve Earle and Britney Spears
T Pappadopoulos wrote: That's odd, why did this list suddenly pop on. is it [EMAIL PROTECTED] , that still administers it? Even though I enjoy reading what Greil Marcus has to say, Joe G's "motherfucker" post had my vote for post of the year, too. Until this one. Dallas np: Cesar Rosas SOUL DISGUISE (ok, but I pine for the days when I got stuff like this for free.)
Skinning the Cat (Was: Re: Lucinda)
Howdy, Here's a little nit to pick. I hope not to seem too picky or anything, but it's a minor pet peeve of mine... Joe Gracey: I think it is a good sign that Lucinda got a grammy. It means there is still more than one way to skin that cat. Lance Davis: I agree, but to play devil's advocate, couldn't it also be asserted that she skinned an underfed, underappreciated, stray cat (contemporary folk), as opposed to, say, a fat, slow-footed, well-taken-care-of cat (mainstream country). I enjoying mixing metaphors as much as the next bartender, but, ahem, the "cat" in question when "skinning a cat" is a fish and not a feline. I know, I know. I need to not worry about such things. My family hates it when I bring up such minor quibbles, too. Not that skinning a feline wouldn't have advantages now and then. g Take care, Shane Rhyne Knoxville, TN [EMAIL PROTECTED] NP: John Wesley Harding, Trad. Arr. Jones
Re: Production-- Ralph Emery's take on this thread
Howdy, Thanks for the input Matt!, Jon, Joe and Terry. Your responses to my post (particularly my personal testimony) bring me to some new questions. As I mentioned, I don't know jack about how to make a record. I'm just a listener. I suppose I always assumed that production was a more collaborative effort than what it sounds like. In language I can understand, I'll illustrate the point that I always carried the idea that it was something like the relationship between writers and editors. Most assuredly every writer does not like every editor he/she is ever assigned to work with, but I've never been in a position where I just handed my manuscript to an editor and said "Here, change it at will." There's a give and take there, much like what El Presidente Gracey described. Yes, young upstart writers don't always get the luxury of choosing their editor, but a good editor worthy of the job title doesn't take the writer out of the editing process-- indeed, the writer is the key ingredient in the editing process. Even a young writer without a single byline to his credit has the ability (if not the flat-out responsibility) to stand-up for himself and exercise some semblance of control over the editing process. The editor (and, in my perhaps naive assumption, the producer) is part-technician, part-advisor, part-midwife, and part-security blanket. Since each the editor and the writer has some stake in the success of the project, it is ideally suited that they work collaboratively, not independently. Now, I fully understand, this isn't always the case. Editors can be power-mad jerks sometimes. And writers can be sniveling primadonnas who won't remove an extra word (or parentheses g) because they don't want to. I guess I said all that to say this-- it doesn't make sense to me that folks can single-handedly blame Chet Atkins (or insert name of producer here) for any perceived faults in the production of Bobby Bare's (or insert name of artist here) records. Atkins may have acheived a good level of power, but I find it hard to believe he could force "Countrypolitan" down the throat of anyone who did not willingly want to collaborate to some degree. Hey, I'd like to eventually sell a novel, but I won't allow an editor to change my story about an East Tennessee string band into a slasher thriller because he thinks it will sell better. Writers and editors of like mind tend to find each other over time. I just kind of assumed it was the same with artists and producers (i.e, Bare and Atkins). Yes, again, I know that the balance of power in the strange world of music business is not *always* tipped in the favor of the artist, but I just can't swallow the notion that Chet Atkins was some sort of task master telling his galley-slave musicians to play "Countrypolitan" or walk the plank. I am enjoying re-reading this particular thread. I find the relationship between artist and producer to be increasingly fascinating to me. Take care, Shane Rhyne Knoxville, TN [EMAIL PROTECTED] NP: John Wesley Harding, Trad. Arr. Jones
Re: Grammyszzzzzzzzz....
In a message dated 2/25/99 6:23:19 PM Eastern Standard Time, [EMAIL PROTECTED] writes: In the "I am not making this up" category, my boss -- herself a Texan, though she says she has no interest in country -- asked if any of the Dixie Chicks used to be in the B-52's. That answer would be NO. Deb
Re: Grammyszzzzzzzzz....
Hey there, Russ sez: Patsy Cline woulda worn a vinyl bustier if they were available. Sure she would! Russ, you better be joking, you're treading on thin ice on Lae Postcard2 with them words. Mitch Matthews Gravel Train/Sunken Road Well Mitch, from everything I've heard and read Patsy pretty much did whatever the hell she wanted. And as far as "Grammy winners who dont want to make me wretch" go, the Dixie Chicks are up there. They do play their own instruments, one of which is a banjo, which puts them miles ahead of both The Spice Girls and Tania Shwain. And do you think BR5-49 or The Mavericks had a chance? We're lucky Alabama didnt win. As far as Bob's comment: Great line, though. I'll give you this -- they need fashion tips a lot more than they need music lessons. They guy gets some teeny tiny hipster glasses and he thinks he's Beau Brummel. One more thing. There was a Ray Charles bio on one of the other channels during the awards. I flipped over in time to see Billy Joel talking about how Ray allowed him to understand country music. He demonstrated by singing a standard (ferget which now) in an AMAZINGLY overdone country hick accent. Then by singing the same tune in a more 'soulful' voice. Is there still space on Curry's 'acts we wouldnt mind seeing wiped from the earth' list? (Billy, not Ray.) Later... CK And lastly - Rosie ODonnel shouldnt be able to host a tupperwear party, much less the Grammies. 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]
Chicago: Steve and Del at Borders
According to this week's NewCity, before their show at the Vic in a month, Steve Earle and the Del McCoury band will do a in-store set at the Borders on Clark and Diversey at 7 PM. Good thing it's a short walk to the Vic. Bob
Who is Robert Wilonsky?
After reading his articles in the Dallas Observer on Wilco and Paul Westerberg (thanks to fellow posters), I am amazed at the quality and the depth of his writing. This guy writes very insightful and well researched articles. He delves into subjects that are ignored by most reviewers but are commonplace on this list. Does anybody know anything more about this obviously talented writer? KM np: Beth Orton "Central Reservation"
RE: George Jones' phrasing (was Gag reflex)
At 05:01 PM 2/25/99 -0500, Jon wrote: Jones has said (though it will take me a while to find just where, David g) that he was influenced by bluegrass Oh you don't need to look. He's said it everywhere, over and over: as a youngun' he worshipped the Opry stars, and that meant Acuff and Monroe. BTW, I've read the Bob Allen bio that Deborah (?) recomended, I just forgot that part was in there. Allen's book ain't so hot--it wants to be new journalismy, like a Hellfire or Your Cheatin' Heart, and it falls somewhere between--but it sure as hell beats Ragged But Right, which was by, I think, Dolly Carlisle. --david cantwell
Re: Merle/Dale
At 7:19 PM -0500 on 2/25/99, Mike Hays wrote: Kate - No, Merle didn't play with Dale at Tramps. I know Dale would have thought he had died and went to heaven if Merle had. Must be the show Dale opened for Merle. Dale did come out and do a harmony on "Okie" at Bonnie's urging. Dale was positively stoked the next night in Richmond. He was kind of petrified, or something, at the time, though. "Urging" doesn't capture how hard Bonnie had to work to get him out there. Bob
Re: Arbitrary Stars (Was: Re: Repost: 50/90)
For the one publication I write for that uses the star system, you can give as many stars as you want, but the editor reserves the right to change that. Editors pretty much get to do whatever they want with your stuff, it seems. I even had one change my point of view. . .once. But it wasn't on a review. And it's true the writer has absolutely nothing to do with the headline. BTW, speaking of absolutely perfectly ideal editors, I just got the new ish of No Depression. How could we not love an aesthetic that puts Hazel Dickens and Paul Westerberg in the same magazine. . .let alone Steve Earle and Del McCoury in the same band! Linda
Re: Skinning the Cat (Was: Re: Lucinda)
Here's a little nit to pick. I hope not to seem too picky or anything, but it's a minor pet peeve of mine... I enjoying mixing metaphors as much as the next bartender, but, ahem, the "cat" in question when "skinning a cat" is a fish and not a feline. Shane Rhyne Maybe it's just me, but I think it's funny that us mixing up animal metaphors is a "pet" peeve of yours. Sorry. Between midterms and the paper I'm not writing I'm punch drunk. Lance . . . not counting his eggs before the cookie crumbles before the horse : )
