Skaggs' Grammy dedication
Did anyone mention this? Hope not. Related to our Ralph Stanley "Clinch Mountain Country-Grammies" thread, I saw last night on TNN that when Ricky received his Grammy he dedicated it to Ralph, and almost seemed wistful about the fact that Ralph's effort hadn't taken it instead. Also said he wouldn't have ever made it in the music biz without Ralph believing in him and getting him started. With the damned Grammys I doubt anyone in the room knew who he was talking about (sorry, still bitter g). Classy guy. Dan "Stanley"
Re: 1998 P2 SURVEY
Louise wrote; Well, Gemini's are the communicative types, so there's probably nothing better for them than joining a high volume mailing list. Librans are very sociable and like to get to know loads of people ( which they are doing on P2) and Sagittarians are just bloody cool! Taurians are plodders and don't quit anything. "Astrology is the most feeble-minded of the superstitions...I remember when at the Fleet Street paper where I worked, it was decided to fire the astrologist. I always wished I was the editor who wrote the sacking letter which began, "As you will have no doubt foreseenÂ…" (Christopher Hitchens, 1998) I couldn't resist (;-)), dan bentele
Re: Damn This Old LA Town
Barry wrote; The worst mistake is supposed to be to say anything about this rudeness or to try to hush it..Yoiu become an instant heavy. I'm afraid you're right Barry, but it is getting out of hand, I mean it's really getting bad. I was within oh, 15 feet last night of Richard Buckner as he played an abolutely riveting set and was surrounded on each side by groups of folks who could not shut up (or recognize the damn-near genius occurring right in front of them, YMMV on that g). If nothing else, why someone would want to be that close to a singer-songwriter as talented as Buckner while she's tearing his way through "22" and be laughing and carrying on about some irrelevant bullsh*t is just mind-blowing to me. Take it to the back of the room. I mean would these folks go to a book reading by a great author or a painting class with some leading painter and balance their checkbooks??? Somehow I said nothing, fearing that if I did I would just explode and end up getting kicked out-I was that near physically losing it. I mean it's getting bad, and I don't know what to do. Maybe just wait til the end of the entire show and politely ask them not to do it next time? Plead? Bribe them to can it? Start packing heat??? I hear your pain, Neal, dan bentele "If you don't shut the fuck up, I'm gonna have them turn the lights on here so everyone can see who the asshole is." (Steve Earle to persistent heckler, Amsterdam, 1996)
Re: Damn This Old LA Town
In a message dated 2/28/99 8:36:31 AM Central Standard Time, [EMAIL PROTECTED] writes: If nothing else, why someone would want to be that close to a singer-songwriter as talented as Buckner while she's tearing his way through "22" and be laughing and carrying on about some irrelevant bullsh*t is just mind-blowing to me. Take it to the back of the room. I hope you told that to the talkers. You're preaching to the converted, here, with that. Linda "Shut the Fuck Up" Ray, who does not mind embarrassing herself to embarrass people who talk within four rows of the stage, and does so consistently
Clip: Jeff Tweedy - Don't Fence Him In
Don't fence him in
By Jane Ganahl
OF THE EXAMINER STAFF
Sunday, February 28, 1999
©1999 San Francisco Examiner
URL:
http://www.sfgate.com/cgi-bin/article.cgi?file=/examiner/hotnews/stories/27/Stweedy28.dtltype=music
Jeff Tweedy isn't country, or punk, or folk -- except on the days that he is
Jeff Tweedy is a tough man to pigeonhole. Insurgent country crooner, punk rocker,
musicologist, folk hero, poet, guitarist.
Ever since his days as the teen star of the seminal, now defunct "alt-country" outfit
Uncle Tupelo ('90s rock meets hick tunes), the 31-year-old Midwesterner has shifted
genres like a master.
It all depends on what music he's making that day.
Last year alone, the hyperactive Tweedy recorded albums with his current band, Wilco
("Summer Teeth," due out March 9); and his just-for-fun side project Golden Smog, an
underground supergroup that sold out Slim's last month, comprising members of other
Chicago-area bands like Soul Asylum and The Jayhawks.
And he promoted the release of a third album: the Grammy-nominated, much-heralded
"Mermaid Avenue" -- a collaboration between Wilco, English political folksinger Billy
Bragg and the late Woody Guthrie, whose long-lost lyrics were resurrected with music
composed by Tweedy and Bragg.
Tweedy's dexterity -- an effortless ability to hop-scotch between projects that always
seem to turn out fabulously -- has led the music media to dub him a "visionary." But
the gravel-voiced, prickly Tweedy, in town recently with Golden Smog, is the first to
say nah, he's "just f---ing around."
Q: Do you ever sit down and rest? I saw you last year with Billy Bragg, Golden Smog
AND Wilco.
A: I stay busy. I have to. I get better by staying at it. And I do sit down a lot more
than people think. This year we didn't tour that much, compared to recent years.
Q: Is your son Spencer one reason?
A: He's 3 now, and he's amazing -- talking, saying everything. But it wasn't because
of him that we didn't tour as much. "Mermaid Avenue" just didn't lend itself well to a
full-blown tour. It was too hard to get everyone together. But we did play several
songs from it during our Wilco shows.
Q: It was nominated for a Contemporary Folk Album Grammy ...
Q: Yeah, as proud as we are of it, we were pretty shocked it was nominated. It's
exciting and kind of surreal. But I think Lucinda Williams will win it. (She did.) If
we did win, I figure Billy will accept and probably give a really long speech.
(laughs)
Q: "Mermaid Avenue" made a lot of top 10 lists, but how did it sell?
A: It's not the best-selling Wilco album, but it might be the biggest selling Billy
Bragg record ever in the States. In fact, I saw an ad in a British magazine saying,
"Buy the record that is breaking Billy Bragg in the States!" I wonder if Wilco had
anything to do with that?! Sorry, a little ego happening here.
Q: Did ego get in the way during its creation?
A: (hesitates) Well, it's all about perspective. We knew we came into it much later
than Billy, but we also had our own vision of it. Billy was really gracious at first
in accepting that a certain amount of his vision would not be intact at the end of the
day. But it reached a point where he became sort of territorial. That's
understandable, and I can't argue with how it turned out, but there's a part of me
that thinks it could have been better.
Q: When we spoke before of "Summer Teeth," you said it would have no twang at all, and
it doesn't. What do you call your style now?
A: I would say ... postmodern bubble-gum? (laughs) I have no idea.
Q: You're gonna be asked this a lot, since "Summer Teeth" sounds so different from
your other work.
A: But I don't have to answer. It's just what Wilco sounds like NOW. It's just how our
vision has progressed, for musical reasons.
Q: And personal reasons? This record has a much darker feel. I listen to lines like "I
dreamed about killing you last night" and want to ask if everything is OK at home?
A: Yeah things are fine. Look, these are stories. I know some songs will be
misinterpreted. I just look for things that seem honest and direct and hard to sing.
Q: Because you want to challenge yourself?
A: Because I want to FEEL something. And these days, it takes a pretty extreme lyric
-- whether it's rooted in something that happened to me or not -- to make me feel. The
less something sounds like ME, the more compelled I am to explore it. Like visiting
two sides of an argument.
Q: Okay. I'll write this: "News Flash -- Jeff Tweedy does not want to kill his wife."
A: (laughs) I'm not saying that either. I DO want to kill my wife! But seriously,
these are the things that provoke images of passion. I'm always interested in those
things.
Q: You've been called visionary. Do you aim to push the envelope or just go on
instinct?
A: The seed of "Being There" (Wilco's most recent album) was a certain amount of anger
over being cornered, pigeonholed, by
Re: Dan Mesh Mike Ireland
At 08:44 AM 2/28/99 -0500, you wrote: What does Mike play when it's just a duo? Another guitar or his usual bass? When I saw him and Dan out, Mike played an acoustic bass mostly, but I noticed he also had his "usual" electric bass set up behind him (though it went unused that night). On a few songs he sang only, and he may have switched to a guitar on a number or two, I forget. One obvious thing about this set up is that it really shows off Mike's voice, but another strength is that it really showcases Dan more than ever before--and he's fantastic. Like David Rawlings with Gillian Welch, Dan isn't just strumming behind Mike here, he's a complete partner: Mike Ireland AND Dan Mesh. Great stuff, I thought... --david cantwell
Re: Dan Mesh Mike Ireland
Dan isn't just strumming behind Mike here, he's a complete partner: Mike Ireland AND Dan Mesh. Great stuff, I thought... --david cantwell I'm really looking forward to this - thanks, David! Kelly K
Re: Damn This Old LA Town
I was within oh, 15 feet last night of Richard Buckner as he played an abolutely riveting set and was surrounded on each side by groups of folks who could not shut up dan bentele Though this doesn't surprise me in the big picture, in a smaller sense I don't get it. Aside from weaselly industry outposts like LA and New York (or sites of conventions, seminars, and such which corral in those industry weasels), who would go to a Buckner show to talk? The kind of music that Buckner writes seems to presuppose an audience that is cultishly devoted on one hand, or just a lover of well-written language on the other. It's one thing to talk during a band like Better Than Ezra. Their popularity is in a demographic that tends to view music as a "place" to be seen and not necessarily a "thing" to be heard. But Buckner?!?! How can his show be the "place to be seen?" That assumes that Buckner has word-of-mouth "street cred," but wouldn't the word-of-mouth say that his word is MUCH MORE creative than whatever spills out of your cakehole? I don't get it, like I said, in the small picture. In the big picture it's obvious. "Hey, Fuckface! You're not in your living room watching TV! And that guy on stage is NOT a cathode-ray figment of your delusional self-importance! Shut the Fuck up!!!" Lance . . . feeling pain . . .
RE: The Eradication Game (Re: Grammyszzzzzzzzz....)
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]]On Behalf Of Tom Stoodley Sent: Saturday, February 27, 1999 12:57 PM To: passenger side Subject: Re: The Eradication Game (Re: Grammysz) OK in no real order, these are the ones my sous chef and I agree on: Jimi Hendrix Jefferson Airplane Beach Boys Bob Seger (yes I've heard the defenses from the Detroit types but isn't it even worse to have had heart and then commence sucking ?) There were hosts of others but they were in the so what category, like Night Ranger, Eddie Money or Candlebox. Nicholas
Playlist: Tennessee Saturday Night -- 2/27/99
Howdy, Some strange events during the show with power gremlins zapping the station's electricity on and off throughout the evening. A great big ol' storm threatened to float away the camper, but otherwise we made it through a Tennessee Saturday Night unscathed. I have determined that I actually have more than 2 listeners, as previously believed. Tonight featured several phone calls from the local senior citizen's apartment complex. (Said one of the callers, wanting to dedicate a song to his girlfriend, "I think they're playing your show on every floor.") Rumor has it that the show is also quite popular with local gas stations. Contact information, etc., follows the playlist, so you can learn how to submit your music that reaches the aforementioned demographics and beyond. Tennessee Saturday Night -- Show #23 -- 6 PM to 9 PM WDVX-FM -- Clinton/Knoxville, TN -- February 27, 1999 Tennessee Saturday Night -- Red Foley with the Cumberland Valley Boys -- Heroes of Country Music, Vol. 2 -- Rhino Sweet Temptation -- Merle Travis -- The Best of Merle Travis -- Rhino Brand New Beau -- Ralph Blizard the New Southern Ramblers -- Southern Ramble -- Rounder You Don't Love Me Anymore -- Ronnie Bowman -- Cold Virginia Night -- Rebel Alabama Trot -- Roane County Ramblers -- Rural String Bands of Tennessee -- County Amanda Lynn -- Michael Reno Harrell -- Ways to Travel -- Rank New Jazz Fiddle -- Asylum Street Spankers -- Hot Lunch -- Cold Spring I'll Have Another Cup of Coffee -- Claude Gray -- Truckin' On -- Starday Lonesome Valley -- The Carter Family -- Worried Man Blues -- Rounder After Holding Heaven -- The Eddie Adcock Band -- Talk to Your Heart -- CMH Slow Blues -- Cephas Wiggins -- Homemade -- Alligator Leaves Fall -- Chris Thile -- Stealing Second -- Sugar Hill Lucy and Andy Drive to Arkansas -- Kevin Gordon -- Cadillac Jack's #1 Son -- Shanachie Sugarfoot Rag -- Junior Brown -- Back to School Survival Guide -- Atlantic She's No Lady -- Lyle Lovett -- Pontiac -- Curb/MCA This Ol' Honky Tonk -- Rosie Flores -- Dance Hall Dreams -- Rounder Tainted Angel -- Chris Wall -- Tainted Angel -- Cold Spring I Miss a Lot of Trains -- Iris DeMent -- Real: The Tom T. Hall Project -- Sire The Great Unknown -- Sara Evans -- No Place That Far -- RCA The Way I Am -- Greta Lee -- This Ain't Over Yet Shame on You -- Spade Cooley His Orchestra -- Hillbilly Fever, Vol. 4 -- Rhino Ring of Fire -- Johnny Cash -- Super Hits of the 60s -- Epic Move It on Over -- Hank Williams -- The Complete Hank Williams -- Mercury Sad Singin' and Slow Ridin' -- Jean Shepard -- Honky-Tonk Heroine -- County Music Foundation Knoxville Girl -- BR5-49 -- Live from Roberts -- Arista Night Train to Memphis -- Dolly Parton -- Heartsongs -- Blue Eye Chattanoogie Shoe Shine Boy -- Red Foley -- Heroes of Country Music, Vol. 3 -- Rhino Tweedle Dee -- Wanda Jackson -- Right or Wrong/There's a Party Goin' On -- TNT When Will I Be Loved -- The Everly Brothers -- Cadence Classics -- Rhino Whose Little Pigeon Are You -- Tom Tall the Creel Sisters -- That'll Flat Git It -- Bear Family I Was the One -- Elvis Presley -- Elvis 56 -- RCA Instant Love -- The Countrypolitans -- Tired of Drowning -- Ultrapolitan Country Girl -- Faron Young -- All-Time Greatest Hits -- Curb Couples Only -- Wynn Stewart -- The Best of the Challenge Masters -- AVI Sixteen Tons -- Tennessee Ernie Ford -- Classic Country Music: A Smithsonian Collection, Vol. 2 -- RCA Miner's Refrain -- Gillian Welch -- Hell Among the Yearlings -- Almo Coal Minin' Man -- Ricky Skaggs -- Ancient Tones -- Skaggs Family Detroit City -- Bobby Bare -- The Essential Bobby Bare -- RCA These Arms -- Dwight Yoakum -- A Long Way Home -- Reprise City Lights -- Ray Price -- The Essential Ray Price -- Columbia Big in Vegas -- Buck Owens -- The Very Best of Buck Owens, Vol. 2 -- Rhino So Long, So Wrong -- Alison Krauss Union Station -- So Long, So Wrong -- Rounder Carrie Brown -- Steve Earle the Del McCoury Band -- The Mountain -- E-Squared Box of Pine -- The Deliberate Strangers -- Mood Music for Snake Handlers -- Payday Rootie Tootie -- Paul Howard His Cotton Pickers -- Hillbilly Boogie -- Columbia Where Ya Been -- The Derailers -- Jackpot -- Watermelon Mr. Lonesome -- Heather Myles -- Highways and Honky Tonks -- Rounder Mind to Change -- Hillbilly Idol -- Town and Country -- HBI I Think I'll Just Stay Here and Drink -- Merle Haggard -- Down Every Road -- Capitol My Elusive Dreams -- George Jones Tammy Wynette -- Super Hits -- Epic Tennessee Flat-Top Box -- Johnny Cash -- The Essential Johnny Cash -- Columbia Cas Walker Theme Song -- Dolly Parton -- Heartsongs -- Blue Eye Walkin' After Midnight -- Patsy Cline -- The Patsy Cline Collection -- MCA And that wraps up another Tennessee Saturday Night. Questions, comments, fortune cookie slips, and movie ticket stubs may be directed to me at my e-mail address at [EMAIL PROTECTED] or I may be contacted directly by regular mail service (this is especially
Re: Damn This Old LA Town
, who would go to a Buckner show to talk? Well, I'm ashamed to say this, but Son Volt fans. Plenty of 'em. It wasn't so much a scenester problem as a "I'm staking out my space now to yell "Whiskey Bottle 50 times", and I'll just wait til this dark-haired bearded poet weirdo gets the hell offstage", or something. I guess it's one of the downsides of Farrar's writing at least a fair amount of "crossover" material, and playing to his hometown crowd in St. Louis, I don't know. And I hear ya Linda, I should have said something, but I didn't want to get booted out of the place-I was too afraid I would just lose it if they gave me any guff, which I don't doubt might have happened. But what happened last night has given me new resolve, especially if I'm seeing someone who I can see again somewhat easily. Last night I was too afraid, I'd never seen Buckner plugged-in with a drummer, and it's just a totally different ballgame. Altho "transcendent" gets overused probably it was pretty close to that, at least for me. dan
Re: The Eradication Game (Re: Grammyszzzzzzzzz....)
In a message dated 2/27/99 9:49:13 PM Eastern Standard Time, [EMAIL PROTECTED] writes: Therefore, I'm gonna groove to Eric Carmon's "She Did It" and Al Stewart's "Year of the Cat" until they put me in a deep dark hole. Did I ever tell you I was in Tahoe in a casino playing keeno (or some game I didn't understand) when I heard strains of "Year of the Cat" coming from their small show room? And yes, it really was Al. Wasn't much a draw -- I peaked in and there were only a handful of people. Sorry, Jer Deb Ah yes. Al Stewart, add him to the list, toot sweet. I recall a concert at the Albert Hall in 1967 where I has to sit through him at his most narcissistic and then Roy Harper at his most self-indulgent to hear The Watersons and then, because the first two had overrun so much I had to leave halfway through their set to catch the last train home. And, re Cheryl's comments on the right way to wear makeup, it did occur to me at the time to ask the poster what his views were on the correct sort of makeup for men... NP: M People - One night in heaven/Itchycoo Park It's all too beautiful. -- Iain Noble Hound Dog Research, Survey and Social Research Consultancy, 28A Collegiate Crescent Sheffield S10 2BA UK Phone/fax: (+44) (0)114 267 1394 email:[EMAIL PROTECTED] [EMAIL PROTECTED] ---
Damnations again
Not being one of the elect who gets free reviwers CDs, I can join in very late on the Damnations TX hoopla. I havent felt totally overwhelmed by this record. I couldnt hum any of the songs after the first couple of listens. On the other hand, I keep playing it over and over again and what a pleasure it is on a weekend when I'm stuck at the computer. The high point is the sound: the wonderful singing laced over the the guitars and the loose banjo. It's kinda exhilarating. John Croslin has learned a lot since he was self-producing the Reivers. I'm not overwhelmed by the songwriting, though it isnt weak by any stretch (though I could live without the song about the stolen amplifier). When I hear a band that sounds this fine, I wish they would do more covers. (I really thought this about Hazeldine, who sounded great doing the Delmore Brothers cover on "Straight Outta Boone County," but were markedly less magical on their first album.) I'm baffled, though, by the suggestions that the harmonies were reminiscent of the Louvins or X. They're nowhere in the ballpark of the Louvins, either in style, feel, or sound. And they're pretty straight harmonies, which makes 'em nothing like X. My only explanation is that the reviewer's thinking goes like this: "Great harmonies -- who else does harmonies that I ever noticed? -- well, X, but they're more punk -- how about country? -- oh the Louvins. So, the harmonies must be like X and the Louvins. Hey! I think I'll write that down." Will Miner Denver, CO
Re: The Eradication Game (Re: Grammyszzzzzzzzz....)
OK in no real order, these are the ones my sous chef and I agree on: Jimi Hendrix Jefferson Airplane Beach Boys Nicholas OK, the Airplane, I basically agree with. However, I love White Flag's parody of the "Surrealistic Pillow" cover with Kim and Ronnie from the Muffs. I'd hate to see that go. But I have to say, that's one of the most pretentiously unfunny album titles of all friggin time. (Maybe we should start that thread--hint, hint). But Hendrix and the Beach Boys? This is a joke, right? Right? Hello . . . is this thing on? Lance . . .
Re: SXSW party--heads up!
Slim, do you have anymore info on this - like what the name of the benefit concert is/what the charity is? you can send it me directly, if you'd like thanks, MichaelBerick That reminds me: isn't Kinky having a benefit in Austin for his wildlife charity (or some other wildlife charity) a week or two before Tfest? Do any of you Austinites know the lineup for that show? I vaguely recall a couple of big names March 10 at La Zona Rosa - JJ Walker, J. Ely, RE Keen, B.Hancock, M. Ball, JD Gilmore, Ray Benson, LR Parnell, J. McMurtry, Aus. Lounge Lizards, Geezinslaws, all backed up by Double Trouble, Steven Bruton, ponty Bone, Alvin Crow, and others. tickets are only $100. Slim - NOT going
questions from an SXSW first-timer
Since this year is my first time at SXSW I have a few questions for you veterans: --How close to on-schedule do the venues stay? I'm curious 'cause some nights I may try to see one band at one place and another down the street at another venue, which brings me to question #2: --Is it even feasible to try to go to two, or even three, venues in one night if they're reasonably close to each other?? For example, if on Friday night I decide to see Slobberbone at midnight at Maggie Mae's and then at 1 am head to Freakwater (no comments from the peanut gallery:)) at Jazz Bon Temps Room a block down the street is that even do-able? Will I even get in the door for the second show, or do I have to decide in advance which place to go and just stay there for the evening? --any of you Austinites know anything about the band called "...and you will know them by the trail of dead"??? I'm intrigued by the name. :) Thanks, Steve Kirsch [EMAIL PROTECTED] "I've been thinking with my guts since I was 14 years old, and, frankly speaking, between you and me, I have come to the conclusion that my guts have shit for brains." -- Nick Hornby, "High Fidelity" ___ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO [654-5866]
Re: Damnations again (revisited)
When I hear a band that sounds this fine, I wish they would do more covers. Will Miner When you see them, Will, you get to hear those covers--which happen to be some of their most dynamic numbers, and are probably the cause of some of the comments about the Damnations that might seem confusing if all you've heard is this album as released. The "Live Set" limited edition contains several of they key covers I'm talking about--sweet and tough vocalized versions of "Copper Kettle" and "John Hardy" that seem like brand new hundred year old records--and the best, most electric, rhythmic, close harmonizing version of Lucinda's "Happy Woman Blues" I've heard anybody do, period. I will admit, now, to being slighgtly disappointed with the released CD--and I say this as an unmitigated fan. From what you hear from the Damnations live, to what was chosen for the record, to the version they mixed a year ago, to the version just put out, seems to me to have worked out in practice as a series of steps away from the original turns from the-traditional country and blues based sounds they'd featured. And you have to think this was done in hopes of commercial success (entirely their business, surely, but it's also mine not to be that excited by the choice.) You'd have to think that because they still sound different live, at least, last time I heard 'em. (ONe of the Austin folks--Slim?--Smilin' Jim?) suggested yesterday that they're already PAST the sound of this record, but will know doubt have to push it for now! Some of that "stolen by gypsies/Euro-ambient" sound shows up, which for reasons obscure to me ( continuing odd sense of catching a wave!?) has sometimes been the l mark of bands running like hell from alt.country...but, by design, I'd figure, none of those very Americana covers mentioned above made the release. It may be as hard to decsribe why this band was "alt.coiuntry" someday as it was to make that clear about Lone Justice...but the ballgame's far from over, with this much talent afoot. Now I do like the songs written for the CD...and I like the CD, all things considered..but I I've been telling friends the Damnations are "the best unrecorded band in the US" for 2 years nowand I think they still are. Barry M.
Re: The Eradication Game (Re: Grammyszzzzzzzzz....)
Sorry, I will not give up Brian Wilson!! He can't help it that Mike Love is such a geek g And, I think I want to keep Jimi too. I still get goosebumps on holidays when I blast his Star Spangled Banner and shoot illegal fireworks off the porch while my neighbors are blaring Skynyrd and torching some elaborate whistling dixie fireworks contraption while the $5 dollar hookers down on the street run for cover cause they know the firetrucks and law are coming soon. Deb
Re: Playlist: Tennessee Saturday Night -- 2/27/99
Shane, You know you all have more than 2 listeners g But I think it's great that the retirement home is digging you. Man, I'm including you all as a landmark. Deb
Re: Damn This Old LA Town
[EMAIL PROTECTED] wrote: Tireless defender of my hometown that I am, I must bitch for a moment about last night's Damnations gig. That poor band was subjugated to everything I hate about LA. Yeah, we had one of those when WTH came out. the front of the room was friends and supporters but the back of the room and the bar were full of loud, drunk, idiots who basically drowned our acoustic set out. A bunch of them were from the opening act, too, who had earlier played a full horn-section rock set, and who apparently thought we sucked, or so they kept saying. Can't wait to get back.. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: Damn This Old LA Town
Interesting that this seems to be a fairly common problem around the country. We have great gigs where people actually listen and we have this one gig where people literally scream over us the whole set. The last time we played it I almost went nuts but contained myself, since I'm just the bass player. I can't figure out why people pay money to see Kimmie, then ignore her and act like we are a copy band. The best places for us are the ones where it is understood that the room is a listening room for songwriters and anybody who ignores that pretty much gets quietly stifled and shot out back, or at least ones where there is a massive sound system that can get twice as loud as the crowd. [EMAIL PROTECTED] wrote: Barry wrote; The worst mistake is supposed to be to say anything about this rudeness or to try to hush it..Yoiu become an instant heavy. I'm afraid you're right Barry, but it is getting out of hand, I mean it's really getting bad. I was within oh, 15 feet last night of Richard Buckner as he played an abolutely riveting set and was surrounded on each side by groups of folks who could not shut up (or recognize the damn-near genius occurring right in front of them, YMMV on that g). If nothing else, why someone would want to be that close to a singer-songwriter as talented as Buckner while she's tearing his way through "22" and be laughing and carrying on about some irrelevant bullsh*t is just mind-blowing to me. Take it to the back of the room. I mean would these folks go to a book reading by a great author or a painting class with some leading painter and balance their checkbooks??? Somehow I said nothing, fearing that if I did I would just explode and end up getting kicked out-I was that near physically losing it. I mean it's getting bad, and I don't know what to do. Maybe just wait til the end of the entire show and politely ask them not to do it next time? Plead? Bribe them to can it? Start packing heat??? I hear your pain, Neal, dan bentele "If you don't shut the fuck up, I'm gonna have them turn the lights on here so everyone can see who the asshole is." (Steve Earle to persistent heckler, Amsterdam, 1996) -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Chris Wall
He Gave Music a Shot
Singer-songwriter Chris Wall was tending bar in Corona del Mar when he
heard the sounds that put him on the trail to a country career, hit
song
and his own record label.
JOHN ROOS
* 02/24/99
Los Angeles Times
Copyright 1999 / The Times Mirror Company
It's hard to imagine anyone hearing his calling while tending bar. But
that's exactly what happened to Chris Wall 20 years ago while mixing
cocktails at the Quiet Woman in Corona del Mar.
"That's where I really got interested in music . . . seeing Hollywood
Fats, Steve Wood from Honk and guys from Kenny Loggins' band jam
there--they all played quite a bit back then," said Wall, a country
singer-songwriter now living in Austin, Texas. "That led me to the new
country stuff they were playing down at the Swallow's [Inn in San Juan
Capistrano] . . . like Rosie [Flores] the Screamers and [Fullerton-bred
steel guitarist and Dobro player] Greg Leisz."
TD
Wall left Orange County after the death of his father on Easter Sunday
1980 and moved to his uncle's ranch in Montana to "play cowboy for a
while." After working as a ranch hand, Wall moved to Jackson Hole, Wyo.,
to work as a bartender at the famous Million-Dollar Cowboy Bar. He began
writing songs, and after some prodding by friends, Wall decided to go
public.
Filling in for a lead singer with laryngitis, Wall joined the Western
band Pinto Bennett the Famous Motel Cowboys. Oddly enough, his first
paying gig in 1987 brought him back to the Swallow's Inn, where he had
also worked behind the bar for a spell.
Wall, who's lived in Texas since 1988, is excited about coming full
circle with his return to the Swallow's tonight, where he'll play with
guitarist Chris Claridy, bassist Gary Miles and drummer K.W. Turnbow.
"I really enjoyed Southern California," said Wall, 46, who grew up on
Balboa Island, graduated from Corona del Mar High, attended Orange Coast
College and received a master's degree in history from Whittier College.
He taught history and coached football briefly at Corona del Mar High
(1973-74).
The performer got his big break when he met acclaimed Texas
singer-songwriter Guy Clark in 1986 at the Northern Rockies Folk Festival
in Idaho. Later that night, the two swapped songs over dinner.
Clark was soon singing Wall's praises to his buddy, Jerry Jeff Walker,
who eventually caught one of Wall's sets in Jackson Hole, then invited
him to Austin to open some of his shows. Within a month, Wall moved to
the Lone Star State and was being managed by Walker's wife, Susan.
That association lasted three years, yielding two albums ("Honky Tonk
Heart," "No Sweat") and helping Wall build a cult following as he played
mostly in honky-tonks and Texas dance halls. Then tensions surfaced
between the Walkers and Wall over what Wall felt was inadequate promotion
of his music, prompting Wall to strike out on his own.
With no new album or tour in sight, Wall grew anxious. Then a novelty
song he had written years before rode to his rescue.
"Trashy Women," a tongue-in-cheek ditty about females sporting "tight
jeans and too much lipstick and rouge," became a No. 1 country hit for
Confederate Railroad in 1993.
*
Songwriting job offers suddenly came pouring in from Nashville. But
Wall instead used his songwriting royalties to start his own label, Cold
Spring Records. The roots-oriented company has released three of his
albums, including "Cowboy Nation" (1994), the live album "Any Saturday
Night in Texas" (1997) and last year's excellent "Tainted Angel."
Influenced by singer-songwriters from Ray Wylie Hubbard and Merle
Haggard to such contemporaries as Joe Ely, John Prine and Guy Clark, Wall
uses his whiskey-stained baritone to croon timeless tales of longing,
cheatin' hearts, busted dreams and dusty, endless highways.
He sings about how true love can give life purpose ("Better Things to
Do"). Then there's the one about the marginal musician who really just
longs for his wife and kids ("He Lives My Dream"). His stories of
gun-toting rednecks, town drunks and rodeo riders aren't pretty, yet
there's an underlying compassion for his characters.
"I'm just trying to do what all of these great Texans have done before
me . . . that is, write a good story that has a different spin on it.
Songwriters like Butch Hancock, Lucinda Williams and Robert Earl Keen
stand out because they bring people and places to life with vivid imagery
and strong melodies."
*
Cold Spring Records was originally intended only as a way he could
maintain creative control over his music. But Wall and his business
partner have since signed three other Texas-based acts to their roster,
including the Asylum Street Spankers, an acoustic-powered blues and swing
band; Reckless Kelly, young upstarts who backed
We'd Like to Introduce You to Our Friend .....
FARM AID co-founder Neil Young wins 1999 Patrick Lippert Rock the Vote Award * 02/23/99 PR Newswire (Copyright (c) 1999, PR Newswire) CAMBRIDGE, Mass., Feb. 23 /PRNewswire/ -- MTV Networks' Rock the Vote honored FARM AID Co-founder Neil Young and his wife Pegi Young today for their activism. Neil Young, an outspoken supporter of family farmers, was recognized at Rock the Vote's 6th Annual Patrick Lippert Awards at the House of Blues in Los Angeles. Both Neil Young and Pegi Young were cited for their work with the Bridge School, a program for the communicative and educational development of children with severe speech and physical impairments. Along with Willie Nelson and John Mellencamp, Neil Young organized the first FARM AID concert in 1985, and has continued to serve on its board of directors. The three co-founders anchor every FARM AID concert. The longest- running of the "concerts for causes," FARM AID has created an ongoing support network for family farmers. "At every FARM AID concert, I count on Neil to speak his mind. Neil doesn't hold back when he blasts factory farms for polluting the water and soil. He's not afraid to point out Washington's farm policy failures. He's got courage, and I'm glad he's getting this award," said FARM AID president Willie Nelson. "Neil, Willie and I are not guys who give up easily. FARM AID is our way of fighting for family farmers." said John Mellencamp. "I hope this award helps put a spotlight on family farmers who struggle so hard to hold onto the land," said FARM AID Executive Director Carolyn Mugar. "Rock the Vote's new focus on community activism is exactly what FARM AID promotes. The only way we'll save family farms is when people say 'no' to factory farms and insist on safe food grown locally by family farmers." Mugar lauded Neil Young and his co-founders for their longstanding commitment. "Artists like Neil, Willie, and John inspire people to dig in and stay focused. The fight for family farmers is for safe food, the environment, and preserving the rural fabric of our nation. Neil doesn't give up on important goals like these." Mugar said in addition to years spent speaking out and supporting farm families against industrial agriculture, Neil delivers the gift of an extraordinary performance every year at the FARM AID concert. "Whether he's jamming with Phish, or reuniting with old friends like David Crosby, or joining Willie on stage, Neil always has the crowd transfixed," said Mugar. Long time friend and Nebraska family farmer Corky Jones thanked Neil Young for his loyalty to farmers. "No one deserves this award more than Neil. I love to see Neil get fired up. It gives farmers like me the extra fight we need to stay on another season. It gives us hope." * FARM AID's annual concert is televised live on CMT: Country Music Television. More than $15 million in FARM AID grants has been distributed to farm and rural service organizations across the country. Donors may call 1-800-FARM AID to make donations or to receive additional information. /CONTACT: Brenda K. Foster, 202-331-4323, for FARM AID/
Grammy Awards We'd Like to See
Grammy Awards we'd like to see RICK MITCHELL * 02/24/99 Houston Chronicle (Copyright 1999) Tonight's Grammy Awards celebrate the best, or at least the biggest, pop music had to offer in the past year. Not all of this year's 95 Grammy category winners will make it onto the televised portion of the program. Here's a sampling of "not ready for prime time" nominees in categories we'd like to see. The "Bono" award for acceptance speech most likely to require a parental warning sticker: Marilyn Manson; Courtney Love; Ani DiFranco; Wu Tang Clan's O.D.B; Rage Against the Machine. The "Don't Nobody Care" award for categories in which Lauryn Hill is not nominated: Best Rock Instrumental Performance; Best New Age Album; Best Instrumental Composition Written for Motion Picture or Television; Best Album Notes; Best Engineered Album, Classical. The "Boy Power" award for token-male album of the year nominees: Garbage men Butch Vig, Duke Erikson and Steve Marker; Shania Twain husband/producer Robert "Mutt" Lange; Lauryn Hill boyfriend Rohan Marley; Madonna's ex-boyfriend, whatever his name was. The "Soy Bomb" award for artist most deserving of a cream-pie-in- the-face: Celine Dion; Andrae Bocelli and Celine Dion; R. Kelly and Celine Dion; Luciano Pavarotti and Celine Dion; Bono, with or without Celine Dion. The "LL Cool J Give Us Prime Time Next Year Or We Boycott" award: Polka nominees Brave Combo, Lenny Gomulka, Walter Ostanek, Del Sinchak, Jimmy Sturr. The "Hanson" award for being allowed to stay up late on a school night: Brandy; Monica; the Backstreet Boys; the Sesame Street Muppets; the members of Kiss. The "Axl" award for people who should not be left in the same room together: Brandy and Monica; Courtney Love and Eddie Vedder; Courtney Love and Madonna; Courtney Love and Billy Corgan; Courtney Love and Courtney Love. The "We'll Take Our Five Against Y'all's Five" award for strongest lineup of nominees: Contemporary folk album nominees Billy Bragg * Wilco, Steve Earle, Emmylou Harris, Lyle Lovett and Lucinda Williams. The "Alamo" award for Texans who are making a stand: La Mafia, the Dixie Chicks, Kirk Franklin, Erykah Badu, Fastball. The "Domenico Modugno" award for reminding us that the Grammys still don't quite get it: Record of the year nominees Brandy Monica (The Boy Is Mine), Celine Dion (My Heart Will Go On), Goo Goo Dolls (Iris), Madonna (Ray of Light) and Shania Twain (You're Still the One). If these are really the five overall best records of the year, then Modugno's Volare really was a more worthy choice than Elvis Presley's Heartbreak Hotel back in 1958. .
Son of Mr. Earle
* ALBUM REVIEWS | BLUEGRASS MIKEL TOOMBS * 02/25/99 The San Diego Union-Tribune (Copyright 1999) THE MOUNTAIN * STEVE EARLE AND THE DEL McCOURY BAND E-Squared * * * Country's hard-timer collides with the light-fingered pickers of * bluegrass' finest. * Steve Earle impishly introduces the album by threatening to recite the Mickey Mouse theme, then strums a few power guitar chords before he's trumped by the McCoury clan and band. At that point, everyone begins bringing it all back home. The Dylan reference is apt, because "The Mountain" recalls Bob's shocking rockin' folk forays of the mid-'60s (although, ironically, not his later, sweeter country efforts). The crude slur of Earle's vocals stands in contrast to the McCourys' subtle playing; at the * same time, his songs reflect a serious dedication to bluegrass and its founding father, Bill Monroe. (Earle, true to form, calls him Mr. Bill.) On the other hand, Earle is roundly outsung by the likes of Emmylou Harris, in the massive chorus for the all-star "Pilgrim," and Iris DeMent, who channels Linda Ronstadt as she duets on "I'm Still in Love With You."
Wintergrass
* BLUEGRASS FANS WILL GET AN EARFUL AT TACOMA FESTIVAL PATRICK MACDONALD * 02/25/99 The Seattle Times (Copyright 1999) --- Festival preview "Wintergrass," featuring Tony Rice, Peter Rowan, Chesapeake, IIIrd Tyme Out, the Laurel Canyon Ramblers, the Dry Branch Fire Squad, J.D. Crowe the New South, Cornerstone and the Gibson Brothers, today through Sunday at the Sheraton Tacoma Hotel Convention Center and the First Baptist Church in downtown Tacoma ($10-$75; 253-926-4164). --- Now in its sixth year, "Wintergrass" has become one of the * biggest bluegrass festivals in the country. The four-day event features five stages in two locations, some 50 music workshops, kids' activities, a "swingrass" dance, the Pizza Hut Showdown for amateur groups, vendor booths and lots of opportunities for jamming. "It's fairly unusual because it's inside," explained Patrice * O'Neill of the Wintergrass staff. "Most of the other bluegrass festivals are outdoors in the summertime." Wintergrass is also noteworthy in that it welcomes other styles. There's a Celtic show, a featured performance by bluesman Kelly Joe Phelps and another by acclaimed jazz guitarist Bill Frisell. * Two masters of bluegrass, acoustic flat-picker Tony Rice and guitarist-mandolinist Peter Rowan, both disciples of the late Bill * Monroe, Father of Bluegrass, will make rare appearances together tomorrow and Saturday. Rowan is a former member of Monroe's * Bluegrass Boys. Other featured performers include the Dry Branch Fire Squad, an Ohio group dedicated to the preservation of old-time Appalachian music; Chesapeake, a quartet known for taking a second look at great songs that have been performed over the years; and J.D. Crowe and * the New South, a top-notch progressive bluegrass band headed by influential banjoist Crowe. Newly featured this year are the Gibson Brothers, recently * named "emerging band of the year" at the International Bluegrass Music Association's Awards. The festival is musician-friendly, with workshops for amateurs and professionals and ample opportunities for playing with other musicians. "All day and all night, all over the hotel, you hear people jamming," O'Neill said. Fans are treated well, too, she added. "We spoil them to death," she said, with discounted accommodations at a variety of hotels and motels, plenty of room for RVs and trailers, and a shuttle-bus service running 20 hours a day. This year the festival's brochure was translated into Japanese and distributed in Japan. As a result, tour groups are coming from there, as well as from Germany, England, Switzerland and other countries. "We have a pretty big Canadian contingent," O'Neill said. Much of the festival is run by volunteer labor. "People who really love it are nurturing it and keeping it going for the next generation," said O'Neill. The festival welcomes children, with special activities for them all day. In addition to several stages in the Sheraton, the nearby First Baptist Church is also used for featured performances. The 900-capacity, turn-of-the-century building, originally built as a theater, has fine acoustics and sightlines, according to O'Neill. She compared it to the legendary Ryman Auditorium in Nashville, the original home of the Grand Ole Opry. "It feels intimate," she said, "it's quiet and peaceful." About 3,000 festival-goers are expected each day. Single-day and weekend passes are available, with reduced rates for children and seniors.
The Return of Mr. Earle
U. Texas-Austin: CD REVIEW: Steve Earl and the Del McCoury Band's 'The Mountain' * 02/25/99 (c) 1999 Copyright U-Wire. All Rights Reserved. By Will Furgeson, Daily Texan (U. Texas-Austin) * AUSTIN, Texas -- Singer-songwriter Steve Earle has never been content to stick with one type of music. Earle started his career in rockabilly, moved to country, then developed a rock sound on 1988's Copperhead Road. He got sidetracked with a drug addiction, but came out of rehab in 1994 and further expanded, recording with the likes of the Supersuckers and the V-Roys. In his latest incarnation, Earle has enlisted The Del McCoury Band to back him up on The Mountain, a * bluegrass album that finds Earle covering new ground yet again. The sheer talent of the Del McCoury Band alone could make this a * strong album. Regarded as one of the leading forces in modern bluegrass music, the group creates an authentic sound with their skilled instrumentation, but the main reason The Mountain works is Earle's songwriting. His ability to write heartfelt music that exploits the * strengths of the bluegrass genre without resorting to tired and overused cliches gives the album a distinctly modern sound while preserving musical tradition. On the title track, Earle tells the story of a man and his connection to his surroundings, showing his ability to use a common theme (man's companionship with nature) to produce a moving and original song. The album contains many other great songs, such as "Pilgrim," a song Earle wrote for the funeral of a close friend, but the high point of The Mountain is "I'm Still In Love With You," a tender duet between Earle and Iris Dement. The limitation of Earle's nasal drawl is exposed when matched with the angelic quality of Dement's voice on this beautiful tale of lost love and misunderstanding. But as a testament to his songwriting, the listener gets used to his voice over the course of the album and grows to like it. For all the superb songs on the album, there are unfortunately some duds, such as "Paddy On The Boat" and the obligatory open road song, "Long, Lonesome Highway Blues." Despite these few weak songs, the album * is a strong example of bluegrass music at its finest. In The Mountain's liner notes, Earle praises the work of one of his primary influences, the late, great Bill Monroe. He goes on to confess that his goal for this album was to write at least one song that would * become a part of the rich history of bluegrass music, a song that would * be performed at bluegrass festivals long after he was dead. After listening to the album, one can't help but think that Earle might have * succeeded. Anyone who thinks that real bluegrass died with Monroe need only listen to this rich collection of songs to know that the future of the genre is in good hands with gifted musicians like the Del McCoury * Band and songwriters like Steve Earle.
Mr. Earle Rides Again
* Bluegrass thrives, despite country aficionados calling it a weed Jim Patterson * 02/25/99 The Fort Worth Star-Telegram (Copyright 1999) *NASHVILLE, Tenn. - Not long before he died, bluegrass founder Bill * Monroe confided to country music star Ricky Skaggs that he was worried his brand of music was dying, too. *Monroe passed away in September 1996, but bluegrass hasn't. Skaggs and a handful of other well-known and not-so-well-known artists have seen to that. TD *Skaggs released his Bluegrass Rules! album in 1997 and followed it * up this year with Ancient Tomes. Nashville outlaw Steve Earle and * onetime Monroe band member Del McCoury also have new bluegrass albums that are superb. *Bluegrass has been stigmatized, Skaggs said. "It's Deliverance, it's The Beverly Hillbillies . . . * get-drunk-at-a-bluegrass-festival-and-fall-over kind of music. And it's not. There's so much more depth to it than that." Monroe should have known his music would survive. During his * lifetime, bluegrass weathered the rise of rock 'n' roll and the cold * shoulder of the country music industry, which still treats it like an embarrassing relative. *"This is the original alternative country music," Earle said. "It's fun. It's the most fun I have playing music." *Skaggs, 44, a former bluegrass prodigy who scored a string of No. * 1 country singles in the 1980s, said bluegrass deserves a larger role in the current country market. "Garth Brooks' music . . . may be the legs and the hands and the * head right now of country music, but I'm telling you, the heart and * soul of this music beats in tradition. It beats in bluegrass," said * Skaggs, whose new album includes updates of bluegrass numbers by Monroe and The Stanley Brothers. It got its name from Monroe and his Blue Grass Boys, who invented the form in the 1930s. Fast, intricate and dominated by acoustic * strings and tight vocal harmonies, bluegrass became marginalized in * the 1950s when country music artists reacted to the rise of rock 'n' roll by putting more emphasis on drums and electric guitars. *Bluegrass, still primarily acoustic and drumless, benefited from * the folk music revival of the 1960s and has developed separately from * the rest of country music ever since. It is popular enough today to support more than 500 music festivals each summer. It's also blessedly free of having to kowtow * to radio programmers, because country music stations won't play * bluegrass. "Back in the '50s, you'd hear Bill Monroe and Flatt Scruggs and Ernest Tubb and Roy Acuff all on the same station," McCoury said. * "Then, of course, bluegrass and country got segregated as years went by." The result is that outside of live shows and an occasional public * radio station broadcast, it's hard to hear bluegrass music without buying an album. That's a shame, given the deep talent pool in * modern bluegrass. New albums by McCoury, master dobro guitarist Rob Ickes and J.D. Crowe and the New South illustrate the diversity and excellence of * modern bluegrass. Ickes interprets Herbie Hancock on his jazzy Slide City album, while Crowe and his band play hard-country Merle Haggard and Charley Pride hits on Come on Down to My World. The Family, a new album by the Del McCoury Band, shows the best * current bluegrass band and singer at the top of their game. The Del McCoury Band also backs Earle on his album, The Mountain. *For Earle, a gifted songwriter who has hopscotched across folk, * rock and country over the years, making The Mountain presented a * writing challenge and an opportunity to record the kind of country * music he loves. Earle, 44, said he no longer cares about what's going on with * mainstream country music, and when he goes out in Nashville, it's to * listen to bluegrass. *For those looking to get a taste of bluegrass, a good starting place is the newly released second volume of Vanguard's Generations * of Bluegrass featuring everything from classics of The Osborne Brothers and Monroe to contemporaries like Sam Bush, Jerry Douglas and Skaggs. *"It's a little hard to convince people to give bluegrass a try," Skaggs said. *"Throw away everything you've ever heard about bluegrass. This is a new day, there are new musicians. You've got people like Del McCoury, Blue Highway, Alison Krauss - there's great musicians out there bringing a quality music that has substance, it has heart and soul. . . .
Bride of Mr. Earle
* Country-Rocker Does Bluegrass Proud
---
By Craig Havighurst
* 02/26/99
The Wall Street Journal
(Copyright (c) 1999, Dow Jones Company, Inc.)
* Steve Earle and Del McCoury make unlikely compadres, musical or
otherwise. Mr. Earle, 44, a veteran singer/ songwriter from the
* roughneck school of country-rock, has a ragged drawl and a past scarred
by heroin. Mr. McCoury, 60, could pass for an Ozark Mountain preacher
with his fabulous pompadour. His wondrously high, clear voice has
* distinguished him through a 40-year career in bluegrass that included
time in Bill Monroe's band. But by virtue of Mr. McCoury's ear for
great
songs and Mr. Earle's uninhibited enthusiasm for American roots music
of
all varieties, these two began to forge a friendship and a musical
alliance after Mr. McCoury recorded one of Mr. Earle's songs on his
1992
record "Blue Side of Town."
Both live in Nashville, and bridges were built between them by Mr.
McCoury's sons Ronnie, 31, and Rob, 27, who play mandolin and banjo
respectively in the Del McCoury Band. Ronnie would invite Mr. Earle to
sit in at live gigs and try out new songs, and when Mr. Earle recorded
his 1997 "El Corazon," he used the McCoury band to give one of the
tunes
* a bluegrass touch. All this collaboration has culminated in Mr. Earle's
driving, soulful new recording called "The Mountain," on his E-Squared
label. Almost simultaneously, the Del McCoury Band has released "The
* Family," the fourth CD in its current configuration, and a bluegrass
purist's delight.
TD Since 1995, when he completed a rehab program he says saved his
life,
Mr. Earle has been living through a personal and artistic renaissance.
"The Mountain" is the fourth in a string of exceptional records. "I
Feel
* Alright" and "El Corazon" were folk-rock projects that burned with the
same outlaw twang that infused Mr. Earle's best 1980s records,
"Copperhead Road" and his debut, "Guitar Town," but with a lyrical
grace
and depth that sent his stock soaring among critics and fellow
songwriters.
It was 1995's "Train a Comin'," however, that really demonstrated
Mr.
Earle's grasp of the primal American genres: folk, hillbilly and blues.
Because it was an all-acoustic album, executed with the help of some of
* the best instrumentalists from the caverns of real country music, it
offered a depth of texture that electric records can hardly muster.
Norman Blake played guitar. The equally sublime Peter Rowan chopped on
the mandolin. And the late Roy Huskey Jr., to whom "The Mountain" is
dedicated and who Mr. Earle calls "the best doghouse bass player that
ever lived," established the thundering bottom.
How do you get a better band than that? You strike a deal with the
Del McCoury band, who has the edge only in that it's been a unit since
1992 and plays with a drive and tightness that boggles the mind in a
live setting. Besides the father and sons, the group includes
26-year-old Jason Carter on fiddle and Mike Bub, 34, who looks like a
cheerful Irish linebacker, on bass. They wear dashing suits and play
* around one microphone, the way bluegrass was invented, adjusting sound
levels through proximity to the mike. The resulting trade-off of solos
is set to a graceful choreography of men weaving around each other,
keeping the instruments out of each other's way, leaning in close to
sing. It's an apt visual metaphor for the music itself.
After playing with the McCourys one night at Nashville's Station Inn
* ("bluegrass ground zero," he calls it), Mr. Earle made up his mind to
* make a record of all original bluegrass material. A man who takes the
craft of writing extremely seriously, he set a deadline for himself and
knocked out 14 top-notch songs.
The record kicks off with a locomotive of a song about a locomotive
called "Texas Eagle." Bright detail and well-earned nostalgia (the
story
is autobiographical in every detail) breathe new life into the
venerable
train song. And throughout the CD, we hear an insightful blending of
tried-and-true lyrical hooks and traditional melodies with Mr. Earle's
own gift for narrative. "Train a Comin'" contained a visceral, poetic
Civil War song, and so does "The Mountain": "I am Kilran of the 20th
Maine, and we fight for Chamberlain/ Cause he stood right with us when
the Johnnies came like a banshee in the wind."
Also worth noting is "I'm Still in Love With You," a lovely
honky-tonk song that doesn't put Mr. Earle's voice to best use but
nonetheless turns into something brilliant when duet partner Iris
DeMent, one of our most underappreciated singers, joins in.
*The McCoury record hews closer to bluegrass orthodoxy,
Grammy, What Big Ears You have ....
GRAMMY AWARD WINNERS * 02/26/99 York Daily Record (Copyright 1999) Complete list of 41st annual Grammy Award winners announced Wednesday: Record Of The Year: "My Heart Will Go On," Celine Dion. Album Of The Year: "The Miseducation of Lauryn Hill," Lauryn Hill. Song Of The Year: "My Heart Will Go On," James Horner Will Jennings. New Artist: Lauryn Hill. Female Pop Vocal Performance: "My Heart Will Go On," Celine Dion. Male Pop Vocal Performance: "My Father's Eyes," Eric Clapton. Pop Performance By A Duo Or Group With Vocal: "Jump Jive an' Wail," Brian Setzer Orchestra. Pop Collaboration With Vocals: "I Still Have That Other Girl," Elvis Cos tello and Burt Bacharach. Pop Instrumental Performance: "Sleepwalk," Brian Setzer Orchestra. Dance Recording: "Ray of Light," Madonna. Pop Album: "Ray of Light," Madonna. Traditional Pop Vocal Performance: "Live at Carnegie Hall - The 50th Anniversary Concert," Patti Page. Female Rock Vocal Performance: "Uninvited," Alanis Morissette. Male Rock Vocal Performance: "Fly Away," Lenny Kravitz. Rock Performance By A Duo Or Group With Vocal: "Pink," Aeros mith. Hard Rock Performance: "Most High," Jimmy Page and Robert Plant. Metal Performance: "Better Than You," Metallica. Rock Instrumental Performance: "The Roots of Confidence," Pat Metheny Group. Rock Song: "Uninvited," Alanis Moris sette. Rock Album: "The Globe Sessions," Sheryl Crow. Alternative Music Performance: "Hello Nasty," Beastie Boys. Female RB Vocal Performance: "Doo Wop (That Thing)," Lauryn Hill. Male RB Vocal Performance: "St. Louis Blues," Stevie Wonder. RB Performance By A Duo Or Group With Vocal: "The Boy Is Mine," Brandy Monica. RB Song: "Doo Wop (That Thing)," Lauryn Hill. RB Album: "The Miseducation of Lauryn Hill," Lauryn Hill. Traditional RB Vocal Performance: "Live! One Night Only," Patti LaBelle. Rap Solo Performance: "Gettin' Jiggy Wit It," Will Smith. Rap Performance By A Duo Or Group: "Intergalactic," Beastie Boys. Rap Album: "Vol. 2 . . . Hard Knock Life," Jay-Z. Female Country Vocal Performance: "You're Still the One," Shania Twain. Male Country Vocal Performance: "If You Ever Have Forever In Mind," Vince Gill. Country Performance By A Duo Or Group With Vocal: "There's Your Trouble," Dixie Chicks. Country Collaboration With Vocals: "Same Old Train," Clint Black, Joe Diffie, Merle Haggard, Emmylou Harris, Alison Krauss, Patty Loveless, Earl Scruggs, Ricky Skaggs, Marty Stuart, Pam Tillis, Randy Travis, Travis Tritt and Dwight Yoakam. Country Instrumental Performance: "A Soldier's Joy," Randy Scruggs and Vince Gill. Country Song: "You're Still the One," Robert John "Mutt" Lange Shania Twain. Country Album: "Wide Open Spaces," Dixie Chicks. *Bluegrass Album: "Bluegrass Rules!" Ricky Skaggs and Kentucky Thunder. New Age Album: "Landmarks," Clan nad. Contemporary Jazz Performance: "Imaginary Day," Pat Metheny Group. Jazz Vocal Performance: "I Remember Miles," Shirley Horn. Jazz Instrumental Solo: "Rhumbata," Chick Corea and Gary Burton. Jazz Instrumental Performance: "Gershwin's World," Herbie Hancock. Large Jazz Ensemble Performance: "Count Plays Duke," Count Basie Or chestra. Latin Jazz Performance: "Hot House," Arturo Sandoval. Rock Gospel Album: "You Are There," Ashley Cleveland. Pop/Contemporary Gospel Album: "This Is My Song," Deniece Williams. *Southern Gospel, Country Gospel, Or Bluegrass Gospel Album: "The Apostle - Music From and Inspired by the Motion Picture," various artists. Traditional Soul Gospel Album: "He Leadeth Me," Cissy Houston. Contemporary Soul Gospel Album: "The Nu Nation Project," Kirk Franklin. Gospel Choir Or Chorus Album: "Reflections," The Associates. Latin Pop Performance: "Vuelve," Ricky Martin. Latin Rock/Alternative Perfor mance: "Suenos Liquidos," Mana. Tropical Latin Performance: "Contra la Corriente," Marc Anthony. Mexican-American Music Perfor mance: "Los Super Seven," Los Super Seven. Tejano Music Performance: "Said and Done," Flaco Jimenez. Traditional Blues Album: "Any Place I'm Going," Otis Rush. Contemporary Blues Album: "Slow Down," Keb' Mo'. Traditional Folk Album: "Long Journey Home," The Chieftains with various artists. Contemporary Folk Album: "Car Wheels on a Gravel Road," Lucinda Williams. Reggae Album: "Friends," Sly and Robbie. World Music Album: "Quanta
May Day!!
Ryan makes connection JEFFREY LEE PUCKETT * 02/26/99 The Courier-Journal Louisville, KY (Copyright 1999) When Matthew Ryan called from his Nashville home a few days ago, he had the new Paul Westerberg album spinning beautifully in the background. That kicked off an enthusiastic music-geek exchange that touched on the Replacements, Joe Henry, the Waterboys, Van Morrison, Tom Waits and - every once in a while - Ryan's own music. The subtext was clear: Ryan loves music that connects on a deeper level, that works as "a personal conversation" between musician and listener, and he has tried to achieve the same with his own songs. He succeeds often enough to wring fresh tears out of old heartaches. Ryan, 27, has been writing only since age 18 but has seemingly leapfrogged the awkward beginner's phase. His debut album, "May Day," was released in 1997 and is filled with songs that would make a veteran rock romantic proud. It's squarely in the familiar tradition of folks such as Westerberg, who has long dealt with love, loss and the search for self while hanging by a self-obsessed thread. Ryan, who grew up in bluecollar Chester, Pa., knows he's telling old stories but believes he's doing so with an honesty that makes them fresh. "A lot of love songs don't really tell the truth," he said. " `May Day' dealt with the placement of blame in a relationship when there's really nowhere to place it. Timing has just as much to do with things falling apart as something like infidelity. It's a big gray area. "Stuff like `My Heart Will Go On' is all just a big lie, and we shouldn't keep believing that lie because 30 years down the line we'll all be miserable." And then we can listen to "Certainly Never," in which Ryan captures in a few words one of those universal moments - when you stand at her front door, hesitantly determined to try a failing love one more time: "I gave it my most polite rap and wish / I held my heart loosely in my other fist." That's Ryan at his best. He makes the connection and has the conversation. It's why he started writing. "You write things to connect with those people you feel alienated from," he said. "When I first started writing, that was the moment I realized what my ambitions truly were. That's what writing was for me. The more I did it, the more I felt alive."
The Resurrection of Mr. Earle
Discs; Earle reaches `Mountain' * 02/26/99 Boston Herald (Copyright 1999) *STEVE EARLE AND THE DEL McCOURY BANDThe Mountain (E-Squared)4 stars *Singer-songwriter Steve Earle's near-miraculous personal and artistic recovery from the depths of heroin addiction culminates here * in a pure bluegrass album that's not only thoroughly authentic, but thoroughly great. *Joining forces with Del McCoury's Cadillac of bluegrass bands, Earle writes a passel of tunes that would have brought a smile to the face of the late Bill Monroe, who inspired them. Though these songs * are ever mindful of bluegrass tradition, they nevertheless are full of the drama, detail, violence and psychological insight that have always been Earle's stock in trade. Indeed, the "Harlan Man/The Mountain" suite is, as Earle asserts in the liner notes, one of the best things he's ever written. And while Earle's rot-gut-and-rusty-nails gargle might come as something of a shock to bluegrassers raised on generations of high lonesome tenors, it's a refreshing change for a genre in which adherence to tradition and polish can disguise a lack of soul. Earle proves conclusively that that's one problem he will never have. - KEVIN R. CONVEY
The Dr. Said to Give Him Jug Band Music, It Seems ........
Folk; Jim Kweskin and Co. catch the spirit with jug band DANIEL GEWERTZ * 02/26/99 Boston Herald (Copyright 1999) Jug band legend Jim Kweskin has a new band, yet he has hired neither a booking agent nor a publicist, and there's no immediate plans to record. Tomorrow's gig at Club Passim will be only one of a handful of dates this year for Jim Kweskin Samoa with the Swinging Tenants. "Music is not what I do for a living," said Kweskin this week from his commune home in the Fort Hill section of Roxbury. "I'm in the construction business. I mostly play music just for fun, on nights and weekends." The new band explores the old-time music for which Kweskin is known: vivid versions of pop, country, blues, swing and jug band songs from the 1920s through the '50s, from Mance Liscomb to Duke Ellington, Bessie Smith to Julie London. The Kweskin Jug Band of the '60s brought Maria Muldaur to prominence. The new band showcases another young female vocalist, Samoa, "an incredible singer," Kweskin said. Samoa has been living at the Fort Hill commune since she was a baby. The commune was once a public part of Boston life, publishing the city's first "underground" weekly paper, the Avatar, in the late '60s. At the center of the group was the late Mel Lyman, onetime harmonica player with the Kweskin Jug Band. "We were inaccurately called a cult. The word cult has an extreme connotation, and it has absolutely nothing to do with my life," said Kweskin. "Mel Lyman was an inspirational person who many people loved and gathered around." Though long out of the public eye, the Fort Hill group never disbanded, and now, in fact, exists in several locations: There are outposts in Los Angeles and New York City, and a farm in Kansas. "We're an extended family and the construction business has grown, too," said Kweskin, 58. "We were just voted the No. 1 residential contractor in Southern California." Kweskin claims the commune has no religious base, and the only connection it has to his music is a group spirit. "For my own personal well-being and happiness, I choose to live in a large group, and my favorite thing in life is to gather a large group of good musicians around me." The Swinging Tenants are mandolinist Bruce Millard, pianist Leo Blanco, bassist Matt Berlin, guitarist Titus Vollmer, drummer Paloma Ohm and harmonica player Geordie Gude, another child of the Fort Hill family. The vivacious, soulful music that Kweskin has always played first came into his life 50 years ago. "My father had an antiques store in Connecticut, and there were old 78s of Bessie Smith, Jelly Roll Morton and Fats Waller that I fell in love with at a very early age," he said. "It was only in the '60s that I found out all those songs could be played by a jug band." After dropping out of Boston University, Kweskin traveled the country, hooking up with other young unknowns such as Paul Butterfield in Chicago and Spider John Koerner in Minnesota. "In 1963, I was back in Cambridge, jamming with lots of folks at the Club 47," said Kweskin. "Maynard Soloman of Vanguard wanted to make a record with the `band' he heard one night, and I told him: `That's not a band. But if you give me three months, I'll get one.' " The Kweskin Jug Band, with Geoff Maria Muldaur, Richard Greene, Fritz Richmond and Bill Keith, became perhaps the most influential folk band of the 1960s. * * * * * *
Mr. Earle Strikes Again
* Bluegrass gets jolt from Ricky Skaggs and Steve Earle By Jim Patterson Associated Press writer * 02/27/99 Deseret News Copyright (c) 1999 Deseret News Publishing Co. * NASHVILLE, Tenn. -- Not long before he died, bluegrass founder Bill * Monroe confided to country music star Ricky Skaggs that he was worried his brand of music was dying, too. * Monroe passed away in September 1996, but bluegrass hasn't. Skaggs and a handful of other well-known and not-so-well-known artists have seen to that. TD * Skaggs released his "Bluegrass Rules!" album in 1997 and followed it * up this year with "Ancient Tomes." Nashville outlaw Steve Earle and * onetime Monroe band member Del McCoury also have new bluegrass albums that are superb. * Bluegrass has been stigmatized, Skaggs said. "It's 'Deliverance,' it's 'The Beverly Hillbillies' ... * get-drunk-at-a-bluegrass-festival-and-fall-over kind of music. And it's not. There's so much more depth to it than that." Monroe should have known his music would survive. During his lifetime, * bluegrass weathered the rise of rock 'n' roll and the cold shoulder of * the country music industry, which still treats it like an embarrassing relative. * "This is the original alternative country music," Earle said. "It's fun. It's the most fun I have playing music." * Skaggs, 44, a former bluegrass prodigy who scored a string of No. 1 * country singles in the 1980s, said bluegrass deserves a larger role in the current country market. "(Garth Brooks') music ... may be the legs and the hands and the head * right now of country music, but I'm telling you, the heart and soul of * this music beats in tradition. It beats in bluegrass," said Skaggs, * whose new album includes updates of bluegrass numbers by Monroe and The Stanley Brothers. It got its name from Monroe and his Blue Grass Boys who invented the form in the 1930s. Fast, intricate and dominated by acoustic strings and * tight vocal harmonies, bluegrass became marginalized in the 1950s when * country music artists reacted to the rise of rock 'n' roll by putting more emphasis on drums and electric guitars. * Bluegrass, still primarily acoustic and drumless, benefited from the * folk music revival of the 1960s and has developed separately from the * rest of country music ever since. It is popular enough today to support more than 500 music festivals each summer. It's also blessedly free of having to kowtow to radio * programmers, since country music stations won't play bluegrass. "Back in the '50s you'd hear Bill Monroe and Flatt Scruggs and Ernest Tubb and Roy Acuff all on the same station," McCoury said. "Then * of course (bluegrass and country) got segregated as years went by." The result is that outside of live shows and an occasional public * radio station broadcast, it's hard to hear bluegrass music without buying an album. That's a shame, given the deep talent pool in modern * bluegrass. New albums by McCoury, master dobro guitarist Rob Ickes and J.D. Crowe and the New South illustrate the diversity and excellence of modern * bluegrass. Ickes interprets Herbie Hancock on his jazzy "Slide City" album, while Crowe and his band play hard country Merle Haggard and Charley Pride hits on "Come on Down to My World." "The Family," a new album by The Del McCoury Band, shows the best * current bluegrass band and singer at the top of their game. The Del McCoury Band also backs Earle on his album, "The Mountain." * For Earle, a gifted songwriter who has hopscotched across folk, rock and country over the years, making "The Mountain" presented a writing * challenge and an opportunity to record the kind of country music he loves. Earle, 44, who said he no longer cares about what's going on with * mainstream country music, and when he goes out in Nashville, it's to * listen to bluegrass. * For those looking to get a taste of bluegrass, a good starting place is the newly released second volume of Vanguard's "Generations of * Bluegrass" featuring everything from classics of The Osborne Brothers and Monroe to contemporaries like Sam Bush, Jerry Douglas and Skaggs. Also worth seeking out is last year's "Clinch Valley Country" by legendary band leader Ralph Stanley. Country singers including Marty Stuart, Vince Gill and Patty Loveless perform on the double CD of duets. * "It's a little hard to convince people to give (bluegrass) a try," Skaggs said. * "Throw away everything you've ever heard about bluegrass. This is a new day, there are new musicians. You've got people like Del McCoury, Blue Highway, Alison Krauss -- there's great musicians out there bringing a
Dave Alvin
Well-traveled Alvin is poetry in motion Steve Dollar * 02/28/99 The Atlanta Journal - The Atlanta Constitution (Copyright, The Atlanta Journal and Constitution - 1999) Successful career strategies don't appear to have much of a place in the pop music industry anymore. The "build-'em-up, bleed-'em-dry" approach favored by record companies chews up new acts like breath mints, spitting out quickly forgotten hits for future K-Tel compilations. If you can buy that analogy, figure Dave Alvin for a jawbreaker. The 45-year-old singer-songwriter has done his time as an aspiring rock 'n' roller and seen the folly of certain kinds of crossover dreams. Along with older brother Phil, he founded the Blasters, an unlikely roadhouse band that brought a rowdy reverence to blues and rocka-billy-influenced songs amid the self-conscious nihilism of the late-'70s Los Angeles punk scene. Later, Alvin took his turn as a guitarist with X, that scene's most articulate and artful act. TD But for most of the past 15 years, Alvin's taken the troubadour route, embarked on the proverbial never-ending tour, playing guitar in front of small club audiences and recording a series of seven solo albums. "I keep my overhead low," explains Alvin, who performs Thursday at Variety Playhouse with his four-piece band, the Guilty Men. "In order to get the word out, you've got to take your face and pound it into the interstate." That hard-core work ethic has sustained a career that barely dents the pop mainstream. Stamina, and a sense of humor, underscore much of his approach to the business of musicmaking. Tom Russell, a friend and fellow songwriter, tells a revealing story about the time he invited Alvin to kick back on his farm near the Rio Grande. "I had Dave out once," Russell begins. "Fed him steaks. But he ended up having to dig water ditches. He looked up one time from the shovel and growled, 'Next time, get Bob Dylan!' I told him, 'That's the way it starts, man, back to the basics. You've got to earn your steak dinners.' " Along with such contemporaries as Russell, Jimmie Dale Gilmore and Lucinda Williams, Alvin's been doing exactly that, making tough, honest music that refracts the richness of American music traditions * --- Dust Bowl ballads, country blues, country music's "Bakersfield" sound, Tex-Mex, folk songs --- through his own experiences and his focus on a specific sense of place. In his case, that place is Southern California and the semi-rural environs of Downey, probably better known as the working-class hometown of Richard and Karen Carpenter. "The edge of town now . . . it's just part of a massive sprawl," he says, recalling the 1950s, when "there were still mysterious, magical places like orange groves and bean fields and avocado groves. There was a cluster of little towns, and musically there was so much you could go see. Along that whole southeast side of L.A. County, there were a lot of migrations from the South. The music was there, whether it was country or RB or blues. You could access it. I don't know if that's true anymore. "When you can go to sleep one day and there's a forest outside your window and you wake up the next morning and there's a McDonald's . . . well, I don't want to be too depressing, but a lot of the modern American experience has to do with that: rootlessness, homelessness, disconnectedness," continues the singer, a fourth-generation Californian whose family settled in the Central Valley near Fresno in the 1870s. "One of the reasons I like traditional music is to use that as a way to underscore that rootlessness. It's like an echo of when things weren't that way." Alvin's albums, including last year's acclaimed "Blackjack David," summon that echo, but do so in a way that is neither cliched nor dryly imitative. "My brother and I knew there was more to the world than just what was presented to you," says Alvin, whose father was a union organizer who often took his sons along for summertime visits to mining camps across the Western states. "You just had to do a little digging. You could do a little digging and there was this whole other underworld. You learned there were more sides to the story. We got to see everyone from Rev. Gary Davis to Johnny Shines to Johnny "Guitar" Watson. Think about that now and, huh? There was a time when you could go see these guys. I talk to young musicians and they look at me like I was hanging out with Jesus and Buddha." In contemporary musical terms, he might have been. There's a strong feel in Alvin's performances --- the windblown ache in his
Ray Charles
Books: Reviews and Opinion SOUL SURVIVOR Uh-huh: Defying odds, Ray Charles became legend with his trademark blend of blues and jazz, breaking the color barrier without compromising Miriam Longino * 02/28/99 The Atlanta Journal - The Atlanta Constitution (Copyright, The Atlanta Journal and Constitution - 1999) REVIEW Ray Charles: Man and Music. By Michael Lydon. Riverhead. $27.95. 429 pages. The verdict: A thorough unmasking of a music icon. Ray Charles has been a part of the nation's culture for so long that it's easy to take him for granted. He seems to have been around forever, an ageless Muppet seated on a piano stool, rocking back and forth in a mask of black sunglasses and carefree grin, belting out his raspy blues. Yet, after more than four decades as a hitmaker, it's surprising how little most people really know about the 69-year-old man behind those shades. Where did he come from? How did he lose his sight? And is he really the smiling, "uh-huh" hep cat seen in soft drink commercials and on TV? In this ambitious biography, music journalist Michael Lydon has rummaged through Charles' mysterious past as if he were going through the singer's coat pockets, and what he has discovered is a stunning story of poverty, racism, greed, sex, wealth, opportunity and power. From the first, Ray Charles the superstar was never supposed to happen. Born in 1930 into barefoot poverty in the North Florida town of Greenville, he was raised in a "colored" neighborhood called Jellyroll, where women washed white people's clothes and men were largely absent. His mother, Retha, was 16, an orphan taken in by a local couple. His father was Retha's married guardian. Though not technically incest, the relationship was scandalous. On top of it all, Ray was handicapped, losing his sight at age 6 to congenital glaucoma. Although neighbors dismissed him to a future "with a tin cup in his hand," headstrong Charles had different ideas. After leaving the Florida School for the Deaf and Blind, where he learned to read music in Braille and bang out tunes on an upright piano, 18-year-old Ray bought a one-way ticket to Seattle on a Trailways bus. In the Pacific Northwest, the young man found jazz music, racial tolerance and heroin. It was Charles' 16-year addiction to the seductive drug that shaped much of his musical style. Without inhibitions, he ran his long fingers over the keyboard night after night, fusing the smooth jazz of the day with the blues, gospel and country of his childhood. That is the signature sound fans would later hear on the radio, an absolutely fresh approach in which Charles would take standard pop melodies such as "Georgia on My Mind" or "America the Beautiful" or country tunes like the Don Gibson classic "I Can't Stop Loving You" and wrap them up in blues for a white audience. In Seattle, Charles also met 15-year-old Quincy Jones, who would become one of pop music's biggest producers and a lifelong friend. Lydon sets the stage for Charles' unlikely ascension to pop stardom by reminding us how very segregated the music world was in the late 1940s and early '50s. Routinely, Charles and his bandmates encountered Jim Crow on the road, in the form of racist cops and restaurants that had no "colored" seating. Record companies signed artists along racial lines, and radio was split into two distinct camps: white and black. The chapters dealing with Charles' professional breakthrough and rise to fame --- through songs such as "Hit the Road, Jack" and "What'd I Say" --- are the most compelling. In meticulous detail, Lydon, a founding editor of Rolling Stone magazine and a musician, describes how Atlantic Records founders Ahmet Ertegun and Jerry Wexler encouraged Charles to drop his guard and sing with his initial abandon. In fact, the breakthrough happened when Charles recorded the sassy smash hit "I Got a Woman" at Atlanta's WGST studios in November 1954. Lydon writes: " 'I Got a Woman' " had hit written all over it. . . . The record blended elements like a hybrid flower. It had a dancing beat like a jump blues, but it was built on gospel's 'rise to glory' chords, and the cheerful lyric, infectiously delivered by Ray, gave that mix a pop music gloss. As a bonus, Ray repeated the title so often that 'I got a woman, way over town' might become a sing-along line people would plug nickels into the jukeboxes to hear over and over again. 'I Got a Woman' was a record for every happy couple in America, black, white and in-between." That tune became the first of a string of hot sellers for Charles, who
Roger, .....
WILCO GOES TO THE LIMITS `SUMMERTEETH' CHALLENGES BAND - AND SINGER * 02/28/99 Chicago Tribune (Copyright 1999 by the Chicago Tribune) Jeff Tweedy thought he had blown it. Tweedy and his bandmates in Wilco - Jay Bennett, Ken Coomer and John Stirratt - had just finished writing, arranging and producing their third album, "Summerteeth" (Reprise), due out March 9. It boldly transforms the band's roots- rock image by dipping their laid-back, countryfied melodies into a strange brew of warped keyboards, distorted sound effects and otherworldly atmosphere that suggests the influence of the Beach Boys' "Pet Sounds," Brian Eno's "Another Green World" and Neutral Milk Hotel's "On Avery Island." But even as the band members were exhilarated about pushing their boundaries as songwriters and producers, Tweedy couldn't escape the notion that he hadn't lived up to his end of the bargain. "I apologized to the band," the singer-guitarist says. "We kept surprising ourselves in the studio, and I kept being surprised by the things coming out of my mouth as I was singing these songs. Just the worst things, which came out almost in spite of how (his wife) Sue would feel when she heard them, or my parents, or anybody." I dreamed about killing you again last night And it felt alright to me --"Via Chicago," by Wilco "It was like I was letting go of myself, and how I'm going to be perceived," Tweedy continues. The songs, and the sentiments in them, weren't necessarily autobiographical, says the singer. "It was just free expression, almost selfless, and I thought I had gotten closer to where I wanted to be as a writer. The feeling of being uncomfortable with what I had written -- that felt more real to me than anything I could have constructed. "But at the same time I felt like I had let the band down. We worked really hard on this record, and my contribution was this dismal stuff: `Oh, and here's another reminder of how terrible things are.' " Tweedy laughs, his voice a husky, nicotine-scarred baritone, a voice that contrasts sharply with his cherubic face and boyishly rumpled hair. He is upstairs in the Northwest Side home he shares with his wife, Lounge Ax co-owner Sue Miller, and their 3-year-old son, Spencer. The shadows obscure his face as the sun dips behind the midwinter horizon. But there is now a smile in his voice, as he thinks back on his bandmates' reaction. "They basically said I was crazy -- they didn't accept my apology," he says. "That was nice. They were so focused on the music that they didn't hear it that way at all. To them, the lyric writer was just some person who could be me, or never was me, saying all these things." In a separate interview, Bennett -- who worked up the array of vintage keyboard textures that helped define the record -- says Tweedy began to understand the record only after it was finished. "I think he realized then that it was this beautiful thing, not the wallowing record he thought it was," he says. "It has dark lyrics, but the music we made is almost a counter to that. And that wasn't a product of some master plan, it was more a case of, `The studio is a really fun place, and we're making a beautiful building here.' We wanted to take pride in every floor we made. And we were having fun doing it." Listening to Bennett and Tweedy talk, one begins to appreciate the yin-yang relationship that has taken Wilco to the next level as a band, from a respected tradition-bound combo to an exhilarating adventurous one. Years ago, Tweedy, Coomer and Stirratt were in Uncle Tupelo, a band in which Tweedy and Jay Farrar were the primary songwriters. Tupelo's approach was purist in the extreme, with country-inflected songs stripped to their essence in the studio. Any sort of studio tinkering -- overdubs, extra instruments, weird sound experiments -- was viewed as a heinous, avoid-at-all-costs excess. When Farrar left to form his own band, Son Volt, the other three carried on as Wilco and released a 1995 debut album, "A.M.," that did * not stray far from Tupelo's traditional country-rock sound or unadorned production. Then Bennett joined the band, hired for his skill as a guitarist to flesh out the songs in concert. But when it came time to make Wilco's second album, Bennett's experience in the studio with pop- rock bands such as Titanic Love Affair began to assert itself. "I was a little intimidated by these guys at first," Bennett recalls. "They had already had a sound that people really liked. But they also wanted to make pop records -- `A.M.' was supposed to be
Mr. Earle Strikes Yet Again
* Making Hay in the Field of Bluegrass
* Country stars Ricky Skaggs and Steve Earle go back to their roots with
releases that are indicative of the folk genre's rising status.
MICHAEL McCALL* 02/28/99
Los Angeles Times
Copyright 1999 / The Times Mirror Company
NASHVILLE -- In the fall of 1997, Ricky Skaggs placed himself at a
crossroads that changed the direction of his career and his music. As
* Atlantic Records prepared to issue Skaggs' next country music album, the
Kentucky-born singer and mandolinist asked the record company if he could
* simultaneously release an all-bluegrass album on an independent label.
*Skaggs thought the bluegrass album might help raise his profile. His
record sales had slipped significantly in the 1990s, and the onetime
million-seller no longer received any significant airplay on the singles
he released to country radio.
TD
He hoped the concurrent release of two albums might stir interest in
him. Atlantic Records agreed and allowed the move to be made. The result
* surprised everyone, from country music insiders to longtime bluegrass
enthusiasts.
"Life Is a Journey," Skaggs' country album, was released by Atlantic
* in September 1997 and barely sold 20,000 copies. Meanwhile, "Bluegrass
Rules!" was released a month later in a joint partnership between Skaggs
and the independent label Rounder Records. It sold more than 150,000
* copies and received the Grammy for best bluegrass album on Wednesday.
"I am unbelievably overjoyed at what's happened," Skaggs says,
beaming. Because of those sales figures, Skaggs has left Atlantic and has
* devoted himself to playing bluegrass music full time again.
*For the bluegrass community, Skaggs' success is just one high-profile
example of a growing interest in the traditional American musical genre,
which was founded in the 1940s when the late Bill Monroe formed his famed
* Bluegrass Boys band, which included Earl Scruggs on banjo and Lester
Flatt on guitar and vocals.
*With Skaggs now fully back in the bluegrass fold, he has joined
singer-fiddler Alison Krauss as one of the leading young proponents of
the genre. But if Skaggs and Krauss are the modern-day king and queen of
* bluegrass, the dominion they rule is bigger and healthier than it has
* been since the early 1960s, when bluegrass' popularity spread beyond the
* Southeast as part of the folk-music boom.
*Dan Hayes, executive director of the International Bluegrass Music
Assn., characterizes the late 1990s as "a particularly golden time in
* bluegrass music history," adding that there is more good talent playing
to larger audiences and selling more albums than at any time in recent
history.
*Besides Skaggs' recently released album "Ancient Tones," the bluegrass
community will be watching closely the reaction to two other
just-released collections: the Del McCoury Band's "The Family" (on
* Skaggs' Ceili Music label) and Steve Earle's collaboration with the
McCoury Band, "The Mountain" (on Earle's own E-Squared label).
Earle's album is certainly the most surprising and talked-about
* bluegrass entry since Skaggs' return to the fold a year and a half ago.
*"The Mountain" pairs Earle with the most awarded bluegrass group of
the '90s. The acoustic album features a drum-less band, built
* bluegrass-style around mandolin, fiddle, banjo, acoustic guitar and
stand-up bass. All the songs were written by Earle, who penned most of
them with the McCoury Band in mind.
In their way, the three high-profile albums by Skaggs, Earle and the
McCoury Band are decidedly distinct from one another. Skaggs and Kentucky
Thunder's "Ancient Tones" collection looks backward by largely drawing on
* mountain music classics originally performed by such bluegrass patriarchs
as the Stanley Brothers, Flatt Scruggs and Bill Monroe. Rather than
calling on nostalgia, though, Kentucky Thunder plays the songs with a
dynamic intensity that highlights the timelessness of the music.
On the other hand, Earle's "The Mountain" features original songs
written by the singer-songwriter, who further displays his mastery by
* both perfectly mimicking archetypal bluegrass tunes ("Carrie Brown") as
well as expanding the genre to take on new topics and influences ("Paddy
on the Beat"). By coincidence, both Skaggs and Earle wrote a new
instrumental with a reference in the title to Connemara, a scenic rural
area in western Ireland.
The Del McCoury Band straddles Skaggs' classicism and Earle's forward
* progress. By combining a stunning vocal workout on the classic bluegrass
gospel song "Get Down on Your Knees and Pray" with a bristling version of
the pop oldie "Nashville Cats" and stellar new songs, McCoury pays
respect to the past while casting an eye to the future.
*"Bluegrass has been a component of my music for as long as I've been
* making records," Earle
Playlist: Fringe-- featuring The Countrypolitans -- 2/27/99
Howdy, Storms or no storms, I was determined to have a good time on tonight's show. Having this great new disc from the Countrypolitans sure helped out. Y'all who have been discussing the various merits of the Bakersfield sound and the classic Nashville sound really ought to be giving this disc a listen. The lead singer, Elizabeth Ames credits Loretta Lynn, Buck Owens and Merle Haggard as influences and I hear a good bit of that in there. I'll add, though, that at times this album reminds me of some of Rosanne Cash's best stuff, too. Artists making a Fringe debut this week included: The Ditchdiggers, Dusty Rose, John Wesley Harding, Hazeldine, Jimmy LaFave, Peter Rowan, Smokin' Armadillos, and Ilene Weiss. On a separate note, I'm getting ready for the station's special fund-raising activities in April and May and would love to hear from any bands who are going to be in the area during that time for some in-studio performances. There will also be a weekend-long music festival outside the camper, so let me know if your travel plans include East Tennessee this spring. Contact information for discussing this, or submitting music, follows the playlist. At any rate, here's a taste of Fringe: Fringe -- Episode #24 -- 9 PM to Midnight WDVX- FM -- Clinton/Knoxville, TN -- February 27, 1999 Cuckoo Cocoon -- Hazeldine -- Orphans - All Swoll Music Heaven Bound -- Kelly Willis -- What I Deserve -- Rykodisc Hot Burrito #2 -- The Flying Burrito Brothers -- Farther Along: The Best of the Flying Burrito Brothers -- AM Come Rollin' In -- The Countrypolitans -- Tired of Drowning -- Ultrapolitan Belle Air -- The Ditchdiggers -- Cow Patty Bingo -- Go Kat Go The Cryin's Over and Done -- Greta Lee -- This Ain't Over Yet Rockin' Maraccas -- Dusty Rose -- That'll Flat Git It -- Bear Family Basic Information -- The Countrypolitans -- Tired of Drowning -- Ultrapolitan For All I Know -- James McMurtry -- It Had to Happen -- Sugar Hill My Girlfriend Might -- Smokin' Armadillos -- Smokin' Armadillos -- MCG/Curb That Train -- The Countrypolitans -- Tired of Drowning -- Ultrapolitan Long Gone Dream -- Greg Trooper -- Popular Demons -- Koch Ridin' with O'Hanlon -- R.B. Morris -- Take that Ride -- Oh Boy Way Over Yonder in the Minor Key -- Billy Bragg Wilco with Natalie Merchant -- Mermaid Avenue -- Elektra (Natalie Merchant, 3/3@Tennessee Theatre) Hey, What's Your Style -- The Cheeksters -- Hey, What's Your Style -- Caterina Sounds (3/5@Bird's Eye View) Shades of Gray -- Robert Earl Keen -- Picnic -- Arista/Austin (3/5@Bijou Theater) Comin' Down Hard -- Bob Egan -- Bob Egan (3/6@Tomato Head) I Took the Blame -- The Countrypolitans -- Tired of Drowning -- Ultrapolitan King of the Road -- Roger Miller -- King of the Road -- Bear Family Drowning in the Danube -- Hogwaller Ramblers -- Hogwaller Ramblers -- Mea Culpa Tired of Drowning -- The Countrypolitans -- Tired of Drowning -- Ultrapolitan Music Maestro Please -- Tav Falco -- Shadow Dancing -- Upstart In the Name of Lust -- Ilene Weiss -- Gadfly Pie -- Gadfly Malted Milk Blues -- Lucinda Williams -- Ramblin' -- Smithsonian Folkways Lights of the Town -- The Countrypolitans -- Tired of Drowning -- Ultrapolitan The Golden Glove -- John Wesley Harding -- Trad. Arr. Jones -- Zero Hours The Free Mexican Air Force -- Peter Rowan -- Peter Rowan -- Flying Fish Cold Missouri Waters -- Cry, Cry, Cry -- Cry, Cry, Cry -- Razor Tie Sway -- Tav Falco -- Shadow Dancer -- Upstart Steel Guitar Rag -- Pine Valley Cosmonauts -- Salutes the Majesty of Bob Wills -- Bloodshot Behind the Night -- The Countrypolitans -- Tired of Drowning -- Ultrapolitan Honky Tonk Hell -- Webb Wilder the Nashvegans -- Town and Country -- Watermelon Mama Don't You Cry -- Hogwaller Ramblers -- Hogwaller Ramblers -- Mea Culpa I Don't Understand -- Bob Egan -- Bob Egan Will You Welcome Me Home -- The Countrypolitans -- Tired of Drowning -- Ultrapolitan Connemara Breakdown -- Steve Earle Del McCoury Band -- The Mountain -- E-Squared (3/12@Tennessee Theater) World War Defense -- Danielle Howle -- Revival, Vol. 1 -- Yep Roc I Can't Behave -- The Countrypolitans -- Tired of Drowning -- Ultrapolitan Oklahoma Hills -- Jimmy LaFave -- Trail -- Bohemia Beat Run Away -- Greta Lee -- This Ain't Over Yet 18 Wheels of Love -- Drive-By Truckers -- Gangstabilly -- Soul Dump Help Wanted -- Buddy Miller -- Poison Love -- Hightone Records They're Blind -- Kelly Willis -- What I Deserve -- Rykodisc Off With Your Head -- Six String Drag -- Revival, Vol. 1 -- Yep Roc Cradle of Love -- Kelly Willis -- What I Deserve -- Rykodisc And thus, ends a trip to the Fringe. Many thanks to the Countrypolitans for shipping a disc my way. There is a lesson to be learned here, boys and girls...he said, subtly. Please feel free to contact me, send swag, music, and obsolete road maps to: Shane Rhyne 208 W. Glenwood Avenue, #2 Knoxville, TN 37917 Remember... Listening to the Fringe means never having to say you're sorry. Take care, Shane
Re: Mr. Earle Strikes Yet Again
No offense dude, but if you plan on sending a butload of mail to the lists
could you do it at once? I stopped reading them after number five.
At 05:11 PM 2/28/99 -0500, you wrote:
* Making Hay in the Field of Bluegrass
* Country stars Ricky Skaggs and Steve Earle go back to their roots with
releases that are indicative of the folk genre's rising status.
MICHAEL McCALL* 02/28/99
Los Angeles Times
Copyright 1999 / The Times Mirror Company
NASHVILLE -- In the fall of 1997, Ricky Skaggs placed himself at a
crossroads that changed the direction of his career and his music. As
* Atlantic Records prepared to issue Skaggs' next country music album, the
Kentucky-born singer and mandolinist asked the record company if he could
* simultaneously release an all-bluegrass album on an independent label.
*Skaggs thought the bluegrass album might help raise his profile. His
record sales had slipped significantly in the 1990s, and the onetime
million-seller no longer received any significant airplay on the singles
he released to country radio.
TD
He hoped the concurrent release of two albums might stir interest in
him. Atlantic Records agreed and allowed the move to be made. The result
* surprised everyone, from country music insiders to longtime bluegrass
enthusiasts.
"Life Is a Journey," Skaggs' country album, was released by Atlantic
* in September 1997 and barely sold 20,000 copies. Meanwhile, "Bluegrass
Rules!" was released a month later in a joint partnership between Skaggs
and the independent label Rounder Records. It sold more than 150,000
* copies and received the Grammy for best bluegrass album on Wednesday.
"I am unbelievably overjoyed at what's happened," Skaggs says,
beaming. Because of those sales figures, Skaggs has left Atlantic and has
* devoted himself to playing bluegrass music full time again.
*For the bluegrass community, Skaggs' success is just one high-profile
example of a growing interest in the traditional American musical genre,
which was founded in the 1940s when the late Bill Monroe formed his famed
* Bluegrass Boys band, which included Earl Scruggs on banjo and Lester
Flatt on guitar and vocals.
*With Skaggs now fully back in the bluegrass fold, he has joined
singer-fiddler Alison Krauss as one of the leading young proponents of
the genre. But if Skaggs and Krauss are the modern-day king and queen of
* bluegrass, the dominion they rule is bigger and healthier than it has
* been since the early 1960s, when bluegrass' popularity spread beyond the
* Southeast as part of the folk-music boom.
*Dan Hayes, executive director of the International Bluegrass Music
Assn., characterizes the late 1990s as "a particularly golden time in
* bluegrass music history," adding that there is more good talent playing
to larger audiences and selling more albums than at any time in recent
history.
*Besides Skaggs' recently released album "Ancient Tones," the bluegrass
community will be watching closely the reaction to two other
just-released collections: the Del McCoury Band's "The Family" (on
* Skaggs' Ceili Music label) and Steve Earle's collaboration with the
McCoury Band, "The Mountain" (on Earle's own E-Squared label).
Earle's album is certainly the most surprising and talked-about
* bluegrass entry since Skaggs' return to the fold a year and a half ago.
*"The Mountain" pairs Earle with the most awarded bluegrass group of
the '90s. The acoustic album features a drum-less band, built
* bluegrass-style around mandolin, fiddle, banjo, acoustic guitar and
stand-up bass. All the songs were written by Earle, who penned most of
them with the McCoury Band in mind.
In their way, the three high-profile albums by Skaggs, Earle and the
McCoury Band are decidedly distinct from one another. Skaggs and Kentucky
Thunder's "Ancient Tones" collection looks backward by largely drawing on
* mountain music classics originally performed by such bluegrass patriarchs
as the Stanley Brothers, Flatt Scruggs and Bill Monroe. Rather than
calling on nostalgia, though, Kentucky Thunder plays the songs with a
dynamic intensity that highlights the timelessness of the music.
On the other hand, Earle's "The Mountain" features original songs
written by the singer-songwriter, who further displays his mastery by
* both perfectly mimicking archetypal bluegrass tunes ("Carrie Brown") as
well as expanding the genre to take on new topics and influences ("Paddy
on the Beat"). By coincidence, both Skaggs and Earle wrote a new
instrumental with a reference in the title to Connemara, a scenic rural
area in western Ireland.
The Del McCoury Band straddles Skaggs' classicism and Earle's forward
* progress. By combining a stunning vocal workout on the classic bluegrass
gospel song "Get Down on Your Knees and Pray" with a bristling version of
the pop oldie "Nashville Cats" and stellar
Re: Mr. Earle Strikes Yet Again
No offense dude, but if you plan on sending a butload of mail to the lists could you do it at once? I stopped reading them after number five. No offense, Mr. Dude, but Phil's postings of the key ongoing alt.country news have been a much-loved part of this list for years--and it's only lately he's resoreted to doing them once a week instead of every day. here's an idea--live with it. Barry M.
Phil Clips: Keep 'em coming!
-Original Message- From: Patrick Costello [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Sunday, February 28, 1999 5:22 PM Subject: Re: Mr. Earle Strikes Yet Again No offense dude, but if you plan on sending a butload of mail to the lists could you do it at once? I stopped reading them after number five. Um...no offense to *you*...um, er...Dude...but you wanna read for a while and get the lay of the land before you speak for us all? Youre getting yourself into fighting territory in an area thats already been covered here time and again. The delete key is right there on your keyboard if you want to use it. Phil, thanks for the great clips today (and every day that you post 'em) Keep up the good work! Melina
Rodney
Hey I'm listening to Life Is Messy, Rodney Crowell's record from 1992 and IMO one of the best of the decade. g Anyway, haven't heard from him in a while, have we? anybody know what's up with him? I know he's been producing some lately but I was wondering about his recording career. Thanks, Jim, smilin'
Re: Phil Clips: Keep 'em coming!
Fine then someone send me some information on how to unsubscribe. This is getting a bit pointless. I've tried like hell to find something interesting here but. . . At 09:04 PM 2/28/99 -0500, you wrote: -Original Message- From: Patrick Costello [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Sunday, February 28, 1999 5:22 PM Subject: Re: Mr. Earle Strikes Yet Again No offense dude, but if you plan on sending a butload of mail to the lists could you do it at once? I stopped reading them after number five. Um...no offense to *you*...um, er...Dude...but you wanna read for a while and get the lay of the land before you speak for us all? Youre getting yourself into fighting territory in an area thats already been covered here time and again. The delete key is right there on your keyboard if you want to use it. Phil, thanks for the great clips today (and every day that you post 'em) Keep up the good work! Melina
Phil rawks! (was Mr. Earle Strikes Yet Again)
No offense dude, but if you plan on sending a butload of mail to the lists could you do it at once? I stopped reading them after number five. No offense, Mr. Dude, but Phil's postings of the key ongoing alt.country news have been a much-loved part of this list for years--and it's only lately he's resoreted to doing them once a week instead of every day. here's an idea--live with it. Barry M. I agree with Barry - and I know that most everyone on the list feels the same. Phil puts a lot of time and energy into sending these clips to the list. I for one appreciate his effort and look forward to reading these clips. Please don't stop, Phil. marie
Re: Phil Clips: Keep 'em coming!
Patrick Costello wrote: Fine then someone send me some information on how to unsubscribe. It came when you subscribed dude, maybe you shouldn't have deleted that one.
The Countrypolitans
On Sun, 28 Feb 1999, Shane S. Rhyne wrote: Storms or no storms, I was determined to have a good time on tonight's show. Having this great new disc from the Countrypolitans sure helped out. Y'all who have been discussing the various merits of the Bakersfield sound and the classic Nashville sound really ought to be giving this disc a listen. A word of caution here: I've found all of the alt-country releases eminating out of Portland to be less than pleasing. I know, I live out here and should embrace the local scene. The new Flatirons is well, flat plodding although it does contain an amazing version of _Crazy Train_. Yep, the very same song Ozzy recorded. The Countripolitans record definitely has its moments. Although I'd again caution those of you fascinated by their name to be wary. It's not overly Countrypolitan, nor Bakersfield, nor anything else. Again, sort of mid-tempo, plodding, with IMHO, under-developed songs. Plus, it has the most bizarre production I've ever heard. The lead singer's voice literally jumps off the disc about 5 ft' in front of anything else. Not a bad disc but definitely one that sounds like a band beginning to mature. Speaking of maturing, while I'm not a Little Sue fan, her 2nd disc far surpasses her initial release. While not wanting to purchase disc #2, I am curious about where she's headed. Much improved. Sorry, Golden Delicious, nor Bingo, nor any of that other Portland stuff (Hank Plank the 2x4's excluded since I haven't heard them) appeals to me in the slightest. A very nice alt-country scene is present out here, I wish I enjoyed it a bit more. I do hope the bands continue to record and succeed, it's good for all of us. Sorry to be honest and offer up a dissenting view. Hope the other Pac NW folks don't blast me out of the water, but I thought I'd should offer my own singular subjective take. So, no flames por favor. NP: Pernice Brothers Jerry
Re: Phil Clips: Keep 'em coming!
On Sun, 28 Feb 1999, Patrick Costello wrote: Fine then someone send me some information on how to unsubscribe. This is getting a bit pointless. I've tried like hell to find something interesting here but. . . And..I find that I'm feeling just so damn inadequate now. I move to disband P2, any seconds? g JC
Re: Bingo , Alvin, Fulks and the Hollies (was:TheCountrypolitans)
A word of caution here: I've found all of the alt-country releases eminating out of Portland to be less than pleasing. Sorry, Golden Delicious, nor Bingo... Jerry Jerry- The one time I saw those Bingo kids here in NYC they struck me and I think other P2ers on hand as at least having potential...yeah, they'd been listening to their Son Volt and Golden Smog real, real close...but some pleasing musical sounds were popping out (even after a long road trip to get here)...and I thought they at least had potential if the songwriting started to take off... You've probably seen them more often thougg. Nothin doing'? Anybody else have anything to report on 'em? BTW: Dave Alvin just plain shook the packed Bowery Ballroom here last night--and Robbie Fulks joined in at the end, plus there was a surprise little Motown cowboy set from Chris Gaffney...Fulks is till doing the acoustic thing...but the current Guilty Men (half Skeletons, on drums and keyboards) joined him for a few numbers at the end of the set. We have now heard Robbie Fulks perform Dancing Queen and the Hollie's ol' "On a Carousel" electric. In dead earnest. I knew you'd all want to know. Barry
Re: Phil Clips: Keep 'em coming!
In a message dated 2/28/99 5:29:47 PM Eastern Standard Time, [EMAIL PROTECTED] writes: Um...no offense to *you*...um, er...Dude...but you wanna read for a while and get the lay of the land before you speak for us all? Youre getting yourself into fighting territory in an area thats already been covered here time and again. The delete key is right there on your keyboard if you want to use it. Yeah, I hate now that we have to wait until Sunday to get the Phil Clips. Deb
Re: Fulks and the Hollies
...Please add The Who's "Squeezebox" to the list of fine Fulks' performances (this was sung during his most recent visit to Johnny D's). Kate. We have now heard Robbie Fulks perform Dancing Queen and the Hollie's ol' "On a Carousel" electric.
the WB
The new Waco Brothers album is...not fantastic. I am...so tired
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Is It or Is It Not?
There has been some interesting dialogue on BGRASS-L about Steve Earle, the new CD, and what bluegrass 'is' and what bluegrass 'is not'. Some opinion would suggest that Mr. Earle's new CD is only bluegrass when he is not singing. What follows is a few clips from some of the BGRASS-L discourse that ends up with me posing some questions to you folks in the hope that a thread will be generated to explore this issue. Start Clip 1 Just got home with my new copy of the Earle/McCoury album "The Mountain" My first few passes through this CD left me disappointed. Even though I'm a big Earle fan, he sounds like a drunk. (In other words...he sounds like he always did, which works fine in country rock or whatever it is he does) He's trying too hard to be mr. downhome bluegrass man. It's ain't workin. He made an album of what he thought bluegrass fans would like. His lyrics are bluegrass cliches about the deep dark mine and the old swimmin' hole, etc. etc. Sort of reminds me of the old Hee Haw show--let's hit all the hillbilly hotbuttons. I like "I'm Still in Love with You" with Iris Dement. Dixieland sounds almost exactly like Zevon's "Roland, the Headless Thompson Gunner" (sp?) Pilgrim just goes on forever. And forever. That said, the McCoury boys are just superb. They really are at the absolute top of their game. In fact...during every song I'd say to myself, "I wish Del would take lead..." Sigh. I'll keep listening to it just for their music...and I hope Mr. Earle enjoys his ride on the coattails of the McCourys End of Clip 1 Start of Clip 2 Re: the Steve Earle/Del McCoury project: it's SO strange to hear the McCoury boys without Del singing lead the way only he can! I listened to it, and kept waiting for Del to slip in like he does with other projects he guests on like Bill Harrell And Friends, but it just doesn't happen like it should. This is a good CD, but a letdown for deep, died in the wool Del fans like me. End of Clip 2 Start of Clip 3 For deep died in the wool Del Fans there's The Family and Mac Doc and Del. Del does do some singing on The Mountain. Why can't Steve Earle get some respect for recognizing bluegrass as a great music genre? End of Clip 3 Start of Clip 4 What amazes is me is the narrow frame that Bluegrass folks are supposed to operate in. When someone like Alison Kraus goes outside the 'box', she is chastised. When someone like Steve Earle tries to get in the 'box', he is chastised. BUT, whatever Del McCoury does is fine. The Nashville BG Band used the Fairfield Four and I heard criticism. John Fogarty used the Lonesome River Band and I heard praise. Ricky Skaggs comes back to Bluegrass and he is chastised but everyone LOVED the CD! End of Clip 4 Start of Clip 5 Isn't it also amazing that, after going through all these threads of chastizing, people still wonder why bluegrass hasn't grown to the degree of popularity that it deserves. In order for the popularity to grow, you must welcome new artists (and their fan base) in and you must use your existing artists and take the music to new audiances. It's a wonder that bluegrass continues to make gains. Bluegrass can't be defined. This music was never written down with instructions on how it had to be played and/or sung. Can you imagine Curly Ray wondering which fiddle notes had to be played with an upstroke bow and which with a downstroke when he learned to play bluegrass? Bluegrass comes in the form of the interpretation of the player. That is one thing that makes this music so great. The way the music comes out of the instrument or the voice reflects the deep feelings the musician has for that song (some have more than others). Of course, talent has a lot to do with it. The musicianship and the history associated with bluegrass has gained much respect over the past few years. I hope there are always plenty of open doors in this wall that seems to be surrounding the bluegrass village. End of Clip 5 Questions a) is Steve's new album bluegrass or does it matter at all? b) do you buy into the fact that the reason bluegrass isn't more popular and widespread is that there is a very narrowly held opinion of what bluegrass is and isn't and those that are most vocal about this issue cannot agree amongst themselves (i.e., there is no clear definition of the genre, yet people will go to great lengths to defend their perception of the genre - somewhat similar to the rhetoric and behaviour surrounding the abortion issue). c) did the McCoury's 'make' (participate in) a bluegrass album or a folk album or an alternative country album or all three? d) did Steve appear on a McCoury album or vice versa? e) does any of this matter a tinker's darn? I'd be interested in a thread on this - hope you folks would be too. Take care, Phil
Gravel Train Returneth
Got in about an hour ago, and got a call from Lili's to work there tonite. I'll elaborate more later tonite/early tomorrow. Mike is feeling a little better, although he will see the doctor tomorrow, as well as the van going in for a brake job. However, thanks to everyone that was there for us on our road trip. You P2-ers are the best in my book. In the words of SCTV's Lola Heatherton, "I want to bear your children, H!" Mitch Matthews Gravel Train/Sunken Road
Re: Fulks and the Hollies
I'm waiting for him to cover a Lyle Lovett song. lr
Re: Bingo , Alvin, Fulks and the Hollies (was:TheCountrypolitans)
In a message dated 2/28/99 5:15:37 PM Central Standard Time, [EMAIL PROTECTED] writes: We have now heard Robbie Fulks perform Dancing Queen and the Hollie's ol' "On a Carousel" electric. In dead earnest. I knew you'd all want to know. not to mention "Ballad of the Green Berets" lr
Re: Hogan live on the air and in cyberspace
At 3:35 PM -0600 on 2/26/99, Jim Moran wrote: This can be heard live on the net at http://www.wnur.org A really fine set it was, too. Worth y'all heading over to the site to check it out. Bob
Re: Bingo , Alvin, Fulks and the Hollies (was:TheCountrypolitans)
The next time you see him scream for his dead-on version of Wings' "Jet." I kid u not. Jim, smilin'
Re: Is It or Is It Not?
Phil Connor wrote: There has been some interesting dialogue on BGRASS-L about Steve Earle, the new CD, and what bluegrass 'is' and what bluegrass 'is not'. Yeah and I think some of them miss the point on BGRASS-L, its not what is the music but how you enjoy the music. I think any kind of music you have die in the wool fans of such music, jazz, bluegrass, folk, ect and (they) will say what is and what isn't. If a banjo isn't in the mix, alot would say that is not bluegrass. With Steve Earle brings a whole new audience to bluegrass and anything that broadens and helps the artist in bluegrass is a plus. Not to say one person is on his or her so called album or CD. If it sounds good to you then enjoy it the way you like and let the so called (experts) in the field of music have there say. There is alot of music I don't particulary care for but that does not give me the right to put down that form of music. I think anyone that puts it heart and soul into what there doing is key to any thing done right. Music, work, hobbies, ect. In music I think you really can tell what is real amd what is not. To many damm people say what is this type and that, the hell with them and enjoy what you like and maybe you can pass some of the type of or artist along. Hell I think that's what P2 is all about. Different music from all kinds of different people. I'm glad I got that off my chest. Stick
Re: Ralph Stanley last night
I got to see Dr. Ralph in Santa Cruz, plus I have a folk/bluegrass radio show and got to interview him. What a thrill! He is very short, sweet and to the point when presented with a question, and my nerves didn't help matters. Nonetheless, it was one of the most challenging interviews I've ever done and with one of the musicians whom I admire the most! That's too bad to hear about a death in the family. He and the boys performed beautifully and his fiddle player does a helluva Johnny Cash and Willie Nelson impersonation! Happy Trails, Danielle __ Get Your Private, Free Email at http://www.hotmail.com
RE: Fulks and the Hollies
Which reminds me, who's covered "Carrie Ann?" That's a good song. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Matt Cook needs a job in Austin
I would rather not work with food. --Matt Cook We'd rather you didn't work with food, too, Matt.
RE: Matt Cook needs a job in Austin
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]]On Behalf Of Kelly Kessler Sent: Sunday, February 28, 1999 10:58 PM To: passenger side Subject: Re: Matt Cook needs a job in Austin I would rather not work with food. --Matt Cook We'd rather you didn't work with food, too, Matt. My nominee for Post Of The Year. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: Is It or Is It Not?
On Sun, 28 Feb 1999, Jon Weisberger wrote: I'll be interested to see what folks who are more peripherally involved in/interested in bluegrass - enough to have run into some of the folks Phil's talking about - have to say on the subject. A couple summers ago I was at a bar in San Francisco watching Wayne Hancock with a good friend and he admitted that he wasnt that into country music -- mostly because he hated the sound of a steel guitar. Now how someone could dislike a steel guitar when they wouldnt blink at the dead sound of a synthesizer is beyond me, but I think his way of thinking is more common than mine. I have the same problem with the singing when I try and play more traditional records, like the Carter Family or the Stanley Brothers. Sara's singing on "Wildwood Flower" sounds like heaven to me, but to an awful lot of people -- people I might otherwise consider friends -- it sounds like screeching. Sometimes I'm having a transcendent experience listening to "Jacob's Vision" and people ask me to please turn it off because it's driving them nuts. There's a similar repellant quotient to a lot of country instruments: the mandolin, the fiddle, the banjo, even the dobro. And for a lot of different reasons. For some people the sound is just grating. Then there were people, when I was at school in Berkeley, who would, upon hearing a song with a banjo or a fiddle, start mimicking the mentally retarded inbred people they assumed made it. So the problem with bluegrass for the masses is that it's got not just one or two of these elements but they pretty much make up what it is. So it's pretty near guaranteed to drive away all but the most twang savvy. Will Miner Denver, CO
Re: Is It or Is It Not?
This is such an amusing case of horseraces in the making. Like it or don't, but don't hang this on a question of definitions. Somebody's gotta see at least some irony in the apparebtly inevitable bluegrass purist discussion of whether Earle's voice is "right" for their form--considering that I can recall grassers (or maybe, "semi-grassers") saying they've never been able to stand Del's voice itself! It should be easy to understand how he'd be generous about differences. He's got his own (wonderful. I think) idiosyncrasies, and has also made a contribution in being probably the most blues-friendly bluegrass star in some time. And I don't mean that the contribution's not in the friendliness--the openness to that other strain, in itself--but in the often memorable RESULTS (what counts) in all those "blue" songs and discs. And that's the point for a natural born anti-purist like me: If the Earle/McCourys combo works in this case--and that disc seems like something of a longtime keeper classic in the making to me, in part for the interplay of the harsher rock from old time/heroin-in-the-hills voice with the sweet sounds of this band. As I type this, the West 54th Street session with these guys is on TV--and Del just got finished telling us all how exactly he enjoyed this collaboration--and also complimented Earle as a musician, by the way. (as a rhythm guitarist--but fair enough.) The duet with Iris is just a plain good country song, I'd say--and there's some Texas Western Swing influenced stuff too. Why not! Viva a new synthesis with a value of its own. And I hope Steve E gets his wish that some outright bluegrass bands will pick up on some of these songs. Barry M. PS: The "Mickey Mouse" opening of the record reminds me of the laughing fit start without a band of Bob Dylan's 115th Dream on "Bringing It All Back Home"--the songs have some pattern similarities out of similar traditional sources, too. And I suspect it's no accident.
RE: Is It or Is It Not?
Of course, I find it hard to imagine why people wouldn't like bluegrass g, but I'm not sure that the, um, stringency with which some people offer pretty narrow "definitions" of bluegrass actually drives many people off. I'll be interested to see what folks who are more peripherally involved in/interested in bluegrass - enough to have run into some of the folks Phil's talking about - have to say on the subject. I've never actually run into a bona fide bluegrass purist; I've only encountered bluegrass musicians and enthusiasts who talk about bluegrass purists and how difficult they are to please, and who quickly distance themselves from the purist attitude. So I haven't been put off by anyone's purist attitude. Besides, I've always wondered if the attitude developed out of defensiveness in response to widespread indifference to bluegrass--a sort of "who cares if most people aren't aware of bluegrass; it's too good for them anyway." I'm not condoning that attitude anymore than I'm condoning indifference to bluegrass, but I think it's there. At the same time, though, I don't think it's implausible that some potential bluegrass enthusiasts have been put off by the attitude of some purists--I don't think that explains why bluegrass hasn't found a huge audience, but I think it may have kept a small audience even smaller. --Amy
