date:19990305


 
 Your first sentence sparked a few thoughts - alt.country seems to be music
 for we aging baby boomers as opposed to alt.rock or new country which seems
 to target the teen to twenties crowd.  In a sense, alt.country  is our
 nostalgia as much as a repackaging of "70's Metal Greats" or any of those
 compilations you can see advertised on TV.  New ground isn't really broken
 inasmuch as being a crow pie sampling of styles which in some cases would
etc. etc. -- from Tera

This stuff confuses me, as does the idea that a "movement" evolved around
Uncle Tupelo and Tweedy/Farrar. A lot of folks, including a lot of
"elderly" people on this list, have been listening to what's currently
encapsuled in the alt.country category, for up to 30 years, and even
longer. Nothing started with Uncle Tupelo, except for a stampede of
non-Austin rock-n-rollers deciding to twang it up for awhile, and,
thereby, making it a lot more difficult for people like me to pick the
wheat from the chaff in the catalogs  and record stores. So while there
may be a lot of 40-year-olds gravitating toward the alt.country category,
there's a lot of us who were hanging around listening to this stuff before
Jeff Tweedy was out of short pants. -- Terry Smith

ps enjoyed reading the transcripts of the A-list Nashville session
musicians, from the 50s to early 70s, in the Journal of Country Music. I
was wondering how much of those guys' nostalgicizing about the way things
used to be, and about how the session business has changed, is
understandable romanticizing, and how much is on point. One point they
made was that these days session guitar and keyboard players don't have
recognizable styles, while in the "old days" players had a signature
sound, and if they didn't, they were in big trouble. (Thanks, Jon, for the
issue.)

SXSW Music '99: Advice from the Sponsor

1999-03-05 Thread Barry Mazor


Two weeks remain until we start handing out badges and the fun begins
throughout Austin. South By Southwest is going to happen again, like it
or not.

Planning for conference this year has been greatly enhanced by new
services available  at www.sxsw.com.

Keeping track of who's playing where and when is a lot easier with our
searchable bands database. We've also included simple text files of our
music fest schedule for ease of printing, cutting and pasting.

Here's a tip on arriving in Austin prepared: Print out your music fest
information at the last possible moment. We're updating our band
information several times daily and you'll want to have the most accurate
list to plan from.

We've finalized details for our panels and tradeshow, those are posted in
our website and on the way to the printer for the analog version of the
website we call the program book. We've got some great new speakers and
exhibitors coming along with some old favorites.

To those of you who are already registered, we're looking forward to
seeing you in a couple of weeks. We've worked our tails off to plan this
thing, and we truly hope you find it valuable and entertaining.

If you haven't registered yet, you may register online until March 8,
after that walk up registration will at the Austin Convention Center
Ballroom A, beginning March 17 at noon.

P.S. If you're flying in, this is the last SXSW for the Robert Mueller
Airport! Say goodbye to our tiny crowded field and get ready for Austin
Bergstrom Airport for SXSW '00.

Re: Tweedy quote/alt.country (LONG and IRRITATED)



OH boy.  Man Terry, you really have my blood boiling up here in Ann Arbor,
and I am sure this debate has happened here before.  But I am gonna bite
anyways.

On Fri, 5 Mar 1999, Terry A. Smith wrote:

 This stuff confuses me, as does the idea that a "movement" evolved around
 Uncle Tupelo and Tweedy/Farrar. 

I think you've got your head in the sand if you think that Uncle Tupelo
was not at the helm of the current No Depression/Alt. Country ship.  This
does not mean that they are a great band or that there wasn't
non-commercial country prior to UT, (much as one would have to admit there
was brit-pop and skiffle prior to the Beatles -- or -- sexy Honky Tonk/RB
prior to Elvis Presley).  But whether or not you like them we wouldn't
have the term Alt.Country or No Depression used as it is without a few
select bands UT, Jayhawks to name a couple.


 A lot of folks, including a lot of
 "elderly" people on this list, have been listening to what's currently
 encapsuled in the alt.country category, for up to 30 years, and even
 longer. 

This reminds me of a teenager trying to take owenership of his favorite
punk band or grunge band.  'I heard it first!! I heard it first".  This
really isn't relevant to the UT/Tweedy posts.  I am 33 years old and have
been listening to Hank WIlliams/Bill Monroe/Carters/Balfa Brothers/The
Outlaws/Marshal Tucker/The Long Riders/Green on Red/Steve Earle/Dwight
Yoakam et. al. for most of my life.  Big Deal.

I think the point here is not whether the knowledgeable listener
appreciates the music, but rather simply from a marketing point of vew the
demographic is worth a commercial major label working it.

I think Tera's point was well made.  The stuff that sells is
adolescent/sexy hormonal . . . and Alt. Country, whether the 40 somethings
own it or not, is not gong to sell on that level.  It's not meant to
insult the "elderly" g.

Nothing started with Uncle Tupelo, except for a stampede of
 non-Austin rock-n-rollers deciding to twang it up for awhile, and,
 thereby, making it a lot more difficult for people like me to pick the
 wheat from the chaff in the catalogs  and record stores. 

Well, I would somewhat agree with you here.  But unfortunately there has
always been wheat and chaff and posers and artists.  It sounds like you
resent UT in some way.  Well you have that right.  But you are making a
senseless generalization here in my opinion.

Whether you like UT or not they have had an influence and it is in many
ways posistive.  They are clearly not a traditional band . . . but they
did turn a lot of people on to traditional music who may not have heard
it.  THey combined punk roots with a love for traditional music and caught
people's attention.

There are so many loaded words in the sentence above that I don't even
want to touch it.  Just remember that musicians have every right to be
influenced by other music and to play what they want.  And that in many
cases there are people out there who think that it is a positive thing.

Also, I would bet that many people take great solace in the fact that they
can sort through the wheat and chaff.  Some may even find it fun.

What the 'non-austin' part has to do with anything I cannot even guess.
IS Austin the only place where people can play Alt. Country??  So many
rules to learn!!

 So while there
 may be a lot of 40-year-olds gravitating toward the alt.country category,
 there's a lot of us who were hanging around listening to this stuff before
 Jeff Tweedy was out of short pants.

Uh.  Well no doubt.  So what??  Doesn't mean that Tweedy shouldn't play
his music does it??  Does it mean that sub 40 people should ask permission
to listen to him and/or the real alt. country??

I think you missed the point entirely, which is simply that the
demographic is not 'Hit Record' material.  Alt. Country people aren't old
or over the hill -- but rather they very simply aren't teeny-bopper hit
making parents'-dollar-spending major label marketing material.

That's it.

Whether or not you like UT (I am not even a huge fan) without them I say
you don't have Alt. Country/No Depression and you may not even have the
amout of re-releases that we see today.

I also challenge the idea that Alt. Country suddenly includes Bluegrass,
Countrypolitan, Old Time, Folk, Punk-a-billy, Cowpunk, etc.  Those things
existed as genres before Alt. Country and No Depression ever surfaced.

I think ultimately the reason that all of those got thrown into the mix
was to attempt (and one I would make too) to legitimize Alt. Country as a
valid programming format for radio.  And we are still losing this struggle
. . . which leads back to Tera's point . . .

-jim

Hi/Bye

1999-03-05 Thread Bell/Wrightson


Leaving for Texas in a couple of days, so unsubbing for a bit (okay, so
you won't notice g).  Hope we are able to meet up with some of you at
the BBQ, and some of the shows.

Play nice folks, keep those Big Jim Egos in check, and don't let
Freakwater disband until I get back...

Sarah W.
-- 

==
http://www.mindspring.com/~vincebell/
mailto:[EMAIL PROTECTED]
==

RE: Tweedy quote/alt.country (LONG and IRRITATED)


Jim says:

 I also challenge the idea that Alt. Country suddenly includes Bluegrass,
 Countrypolitan, Old Time, Folk, Punk-a-billy, Cowpunk, etc.  Those things
 existed as genres before Alt. Country and No Depression ever surfaced.

So did country-rock.

 I think ultimately the reason that all of those got thrown into the mix
 was to attempt (and one I would make too) to legitimize Alt. Country as a
 valid programming format for radio.

I don't.  I think that including those under the alt.country umbrella
follows in large part from the counterposition of alt.country to mainstream
country, which has been a big part (maybe too big g) of alt.country's
definition.

One point worth recalling - and I wish I could lay my hands on the
interview - is that at least once one of the UT guys has said that part of
their interest in doing country-influenced music was for the outrageousness
factor, i.e., what could be more convention-defying to punk-oriented peers
than getting twangy?

Jon Weisberger  Kenton County, KY [EMAIL PROTECTED]
http://home.fuse.net/jonweisberger/

Re: Tweedy quote

1999-03-05 Thread Chris Orlet

How can anyone say Tweety is reinventing himself by 'creating' tired old
70s pop?
I'm glad Bill Monroe (another genre creator) didnt feel the same need.
Although I have a feeling some of you will say it wouldve been cool for BM
to take a crack at soft rock.

--
 From: Dutch [EMAIL PROTECTED]
 To: passenger side [EMAIL PROTECTED]
 Subject: Re: Tweedy quote
 Date: Thursday, March 04, 1999 4:24 PM

 Sure its OK for an artist to "re-invent themselves" once in a while. Can
 anyone say Neil Young " Trans". Mr. Tweedy can say anything he wants and
it
 doesn't change a thing. He comes from where he comes from and inspires
who
 he inspires. Who knows maybe the whole alt-country/No Depression movement
 might benefit from a "Pet Sounds" impact type of album. Then again as an
 artist I know that any press is good press.

 Dutch
 Crowd of One

 --
  From: [EMAIL PROTECTED]
  To: passenger side [EMAIL PROTECTED]
  Subject: Re: Tweedy quote
  Date: Thursday, March 04, 1999 1:30 PM

  Yes yes, no one likes to be pidgeon-holed and many want the
  freedom to re-invent themselves from time to time musically. All well
and
  good. But methinks Mr. Tweedy protests too much that

Re: Tweedy quote/alt.country (LONG and IRRITATED)

1999-03-05 Thread Dave Purcell

James Gerard Roll wrote:

> I think you've got your head in the sand if you think that Uncle Tupelo
> was not at the helm of the current No Depression/Alt. Country ship.  This
> does not mean that they are a great band or that there wasn't
> non-commercial country prior to UT, (much as one would have to admit there
> was brit-pop and skiffle prior to the Beatles -- or -- sexy Honky Tonk/RB
> prior to Elvis Presley).  But whether or not you like them we wouldn't
> have the term Alt.Country or No Depression used as it is without a few
> select bands UT, Jayhawks to name a couple.

In my best Beavis voice, I'd respond, "Uh...so what?" Uncle Tupelo  wasn't at the helm of *anything*. The media made them, in  retrospect, the leader of this so-called movement. Terry's point is  well stated: country rock/roots rock has been around for a long  damn time (as you well know) and it doesn't mean a hill of beans  that a bunch of journalists who wouldn't know Commander Cody or  the Scorchers from their own arses have declared UT as grand  champeen of this last round of country rockers. I like UT a lot, but  they weren't originators, they were simply a band the media folk  latched onto. People can say it all they want, but it doesn't make it  so.

> This reminds me of a teenager trying to take owenership of his favorite
> punk band or grunge band.  'I heard it first!! I heard it first".  This
> really isn't relevant to the UT/Tweedy posts.  I am 33 years old and have
> been listening to Hank WIlliams/Bill Monroe/Carters/Balfa Brothers/The
> Outlaws/Marshal Tucker/The Long Riders/Green on Red/Steve Earle/Dwight
> Yoakam et. al. for most of my life.  Big Deal.

Big deal, indeed. I agree completely with Terry, though -- it does  get awfully fucking tiresome to read the tripe about UT starting  some big movement, especially when one reads the oft-repeated  claims that they somehow awakened a type of music that had  been dormant since Gram Parsons died. Terry isn't trying to sound  like the coolest guy on the block because he's been there, done  that, he's just pointing out that it's a lot of bollocks. I'm sure I'll be  just as annoyed when roots rock (god, I hate the fucking  alt.country tag) makes it's next mid-decade resurgence in 2005  and some annoying kid is talking about being inspired by the ghost  of Whiskeytown.

On an unrelated note, it's ironic that Jim brings up Kerouac in  reference to Tweedy because I'll gladly nominate Jack as the most  overrated of the Beats. No one would've heard jack about Jack if  Ginsberg hadn't tirelessly shopped and promoted his work. "On  The Road" will always be a jackoff work compared to Ginsberg's  best stuff. But that's matter for another list, I suspect g>.

Not attacking you, Jim, you just happened to hit on a couple of my  pet peeves.

A lot hungover and a little cranky,
Dave

P.S. If this newest round of roots rock is so damned great, why are  95% of its leading lights from the previous go-round (Alejandro,  Earle, Alvin, etc.)?

***
Dave Purcell, [EMAIL PROTECTED]
Northern Ky Roots Music: http://w3.one.net/~newport
Twangfest: http://www.twangfest.com

Re: Tweedy quote

1999-03-05 Thread lance davis


You can go back
through the twentieth  century and see that the predominating influential
music of an era was rather high-speed frantic, sexually charged rhythms and
lyrically suggestive
vocals which seemed to "speak" to the adrenaline-laced, sexually confused,
frustrated and seemingly manic-depressive alter states which is adolescence

Though I found myself nodding along with most of your assertions, Tera, I
would insert one caveat. While Elvis Presley would certainly win a lot of
votes as this century's most influential performer, and his music was
certainly frantic AND highly-charged sexually, it wasn't quite so simple. He
also took his cues from non-frantics like Dean Martin and the "White" hit
parade, and his example is repeated often, for even the most "suggestive"
musicians. The pop charts have been something that has affected even the
most marginal of musics--in one way or another--and in some cases it was
good, in others not. Thus, some alt.country musicians may be struggling with
this very punk sense of "How commercial is too commercial?" Or from the
record company's/financial investor's side: "How country can alt.country be
and still make a decisive commercial impact?"

Lance . . .

Re: UT/Media/my take

1999-03-05 Thread NancyApple


I think that the media did help get the word out about UT, but it was in
response to reaction from all the kids that were diggin their sounds. I think
that it is not so much that the media did not know about the Commader Cody's
etc, but that the kids digging UT did not have a clue about them. To the kids,
UT was the first they ever heard of this stuff.

Re: Beantown Bound/Spurs

1999-03-05 Thread marie arsenault


John Magee:

The Spurs are my pick for best band in the Boston area. Bostonians -
don't miss 'em. Last time they played the Midway,

The Spurs are wonderful. Not only are they great musicians, the band is
great fun. They don't play out that often, it's definately worth the trip.

Just so you know, you need a car to get to the Midway. Or take a taxi.
It's not in the best part of town.

people were dancing
that I'd never seen move a muscle before. It was a strange roadhouse
scene.

I think John was actually one of those non-dancers dancing at my last Spurs'
show.  I always complained that the men in Boston never danced. Well, they don't
appear to dance in Nashville either.

marie

RE: Beantown Bound/Spurs

1999-03-05 Thread Matt Benz



 I think John was actually one of those non-dancers dancing at my last
 Spurs'
 show.  I always complained that the men in Boston never danced. Well,
 they don't
 appear to dance in Nashville either.
 
[Matt Benz]  Let me guess: they stand around, holding a beer,
staring at the band and nodding along. It's the guy thing to do.

Re: Tweedy quote

1999-03-05 Thread Bill Gribble


"Chris Orlet" [EMAIL PROTECTED] writes:
 How can anyone say Tweety is reinventing himself by 'creating' tired old
 70s pop?

Your slam at "tired old '70s pop" is just as ignorant as other people's
slams at "tired old twangy country music".  Don't be a moron.  

Bill Gribble

Re: Tweedy quote/alt.country (LONG and IRRITATED)



On Fri, 5 Mar 1999, Dave Purcell wrote:

 reference to Tweedy because I'll gladly nominate Jack as the most 
 overrated of the Beats. No one would've heard jack about Jack if 
 Ginsberg hadn't tirelessly shopped and promoted his work. "On 
 The Road" will always be a jackoff work compared to Ginsberg's 
 best stuff.

Wow, we must be of very differnt taste, Dave, because I don't think that
Ginsberg (or many other people, much less Beats) have ever touched 'On the
Road' (or for that matter even the last paragraph of 'On the Road'),
Subterraneans, or Dharma Bums.

At least we are consistantly opposed!! g

-jim

ps -- for me the term 'alt. country' indicates the combination of (post
Nirvana) ALT-rock and traditional COUNTRY.  UT/Jayhawks exemplefy this
movement.

I mean how can people deny UT's influence when the Alt. Country Bible (No
Depression) is named after one of their albums??  Somebody help me here??
(by the way I am aware that the term 'No Depression' has its roots at the
very least in The Carter Family -- but I would bet a quick survey of Peter
Blackstock and Grant Alden would reveal that they used the term with UT
somewhat in mind).

Re: Tweedy quote/alt.country (LONG and IRRITATED)

1999-03-05 Thread Ross Whitwam


At 10:14 AM -0500 05/3/99, Dave Purcell wrote:

In my best Beavis voice, I'd respond, "Uh...so what?" Uncle Tupelo  wasn't
at the helm of *anything*. The media made them, in  retrospect, the leader
of this so-called movement. Terry's point is  well stated: country
rock/roots rock has been around for a long  damn time (as you well know)
and it doesn't mean a hill of beans  that a bunch of journalists who
wouldn't know Commander Cody or  the Scorchers from their own arses have
declared UT as grand  champeen of this last round of country rockers. I
like UT a lot, but  they weren't originators, they were simply a band the
media folk  latched onto. People can say it all they want, but it doesn't
make it  so.



Well the genesis of this thread had to do with the way
Tweedy is being perceived as distancing himself from the alt-country
tag at seemingly every opportunity in interviews.  The
tag itself orginally gained wide currency to describe UT and
similar bands, didn't it?  Earlier bands in similar styles had
other tags applied to them, such as roots rock, country rock,
etc.

Personally, I don't argue that these tags couldn't also
be applied to UT, but Tweedy isn't bringing up these tags
in his interviews.  As I remember the articles, Tweedy
specically addresses whether he would define his band
as being part of the "alt-country" or "No Depression" movements.

I don't think the point (originally) was whether UT originated
or pioneered this style of music, but simply that they found
themselves described with a label that didn't exist until after
they had already started playing in that style.  If Tweedy
didn't set out to define himself with this tag -- as perfomers
in well-established, long-defined genres such as blues or
country do --, but rather found others defining his music for
him, perhaps it's not surprising that he doesn't feel much
loyalty or committment to keep using that tag.



Ross Whitwam[EMAIL PROTECTED]
Molecular Pharmacology  Therapeutics Program
Memorial Sloan-Kettering Cancer Center, NYC

Blatant plugs for Memphis gigs

1999-03-05 Thread NancyApple


Here are a few more blatant plugs for upcoming Memphis gigs. You must be
musically hip to be on this list, if you do not wish to receive further
notices, please just let me know. If you want to add a friend to the list, let
me know ... thanks! Be sure to read far enough down to catch the CORDELL
JACKSON GIG!

THIS SATURDAY, March 6  8 pm  Otherlands on Cooper
NANCY APPLE (accompanied by ROY BREWER on fiddle and mandolin) will open for
BROOKS WILLIAMS. 8 pm

at the Hi-Tone at 9:30, MARK HARRIMAN celebrates the release of his CD REMIND
ME TO FORGET

at Newby's CRASH INTO JUNE celebrates their new record, FROM BLIND TO BLUE.

NEXT WEDNESDAY NIGHT, March 10 at THE SOUTH END Memphis Songwriter Stage
NANCY APPLE celebrates women's month with A GIRL THANG
featuring Memphis songwriters in the round
STEPHANIE NEEDHAM
MISTY WHITE and the host you can't get rid of
NANCY APPLE
show starts at 9:30ish. no cover, what a deal Get of the couch and
come (bring something for the tip jug)

NEXT SATURDAY NIGHT at KUDZU's
THE TWANGLERS  showtime, whenever you get there, we will start
the new garage band featuring Nancy Apple (vocals/guitar/bad jokes), Calvin
Turley (drums), Bruce Lester (guitar, vocals), John McLure (bass/vocals), and
Glen (steel)
band members subject to change 1 hr before show time. Remember the more you
drink, the better we sound. E-mail me if you are interested in us being the
drunken band inappropriately dressed at your next corporate event. Cheatin,
drinkin, lyin, stealin songs, also great for weddings and birthday parties.
Have twang, will travel..

TUESDAY, MARCH 16 at JUSTINs GRILL (next to Walgreens in the Wal-mart
Shopping Center at Riverdale and Shelby Drive)
JUSTINs SONGWRITERS in the ROUND
featuring A GIRL THANG FOR MARCH
the one and only CORDELL JACKSON, know as the Rockin Granny from the Budweiser
commercials. Owner of Moon Records.
Also featured KLAUDIA PLODERER, Inside Sounds recording artist originally from
Belgium.
KIM RICHARDSON, destined to be bigger than the Dixie Chicks (and Im not
talking dress size here)
also NANCY APPLE, 3 time Premier Player nominee for songwriter (ok, that was a
downright self serving plug to make me feel better!!)
Showtime is 7:30 so you early birds can come out They have good steaks at
Justins too!!! (and I don't think there is a cover charge!)

MARCH 25 at the BLACK DIAMOND
KEITH SYKES SONGWRITER SHOWCASE
Not sure of the line up yet, but it is always great. $10 cover. Show starts
around 8 or 8:30.

MARCH 26 at THE SOUTH END
THE NANCY APPLE/JAY HARRINGTON BAND (Jay feels funny using Cadillac Cowgirl,
can't imaging why. ) Showtime  not sure yet  opening act  not sure yet
Come one out, that band will all be there. All Nancy and Jay's originals, plus
those great covers that you love, from Lucinda to Hank Williams. And even some
George Jones

MARCH 27 at THE MAP ROOM
(drum roll please) ROY BREWERS NEW ROCKABILLY BAND Go Check this
out

MARCH 27 at DAVIS KIDD 
NANCY, JAY and JASON rock up the cafe (half de-calf, half full tilt boogie!)
Early gig 7-9:30 come on out YA'LL

Ok, that's it. Hope to see you at a gig soon. If you are a band that wants to
be mentioned in future notices, e-mail me baby!

Love,
Nancy

THIS IS A PUBLIC SERVICE FOR THE MEMPHIS MUSICIANS TRYING TO MAKE A LIVING,
PLEASE PAY THE COVER WITHOUT TOO MUCH BITCHING!
Thanks
(and guest list weezles, we don't mind letting you in for free, but please
refrain from talking throughout the entire show!)

Re: Tweedy quote/alt.country (LONG and IRRITATED)

1999-03-05 Thread Bill Gribble


James Gerard Roll [EMAIL PROTECTED] writes:
 I mean how can people deny UT's influence when the Alt. Country Bible (No
 Depression) is named after one of their albums??  Somebody help me here??

ND is *some* people's bible.  Honestly I have never even seen a single
issue of it.  Last night I read a couple of the interviews in the ND
book and I was not blown away by the writing.  And I have never
listened to a single Uncle Tupelo album.  I saw Son Volt on Austin
City Limits and they bored me.

People's experiences are different, even within a "community" like 
alt.country/P2. 

Bill Gribble

Coltrane book?

1999-03-05 Thread Ndubb


Good morning, Anyone know of a good Coltrane bio to recommend? Or even a good
book that looks at the whole (or some) of the bebop jazz greats? Gift shopping
today.

Neal Weiss

Re: Bare Jr. on Conan?

1999-03-05 Thread Jennifer Sperandeo

YES GRIMEY DID WEAR HIS PAJAMAS!!  
I saw it - they rocked - I love Dean's hair (which is most certainly not
permed).  It was great!
--
From: "Dave Purcell" [EMAIL PROTECTED]
To: "passenger side" [EMAIL PROTECTED]
Subject: Re: Bare Jr. on Conan?
Date: Fri, Mar 5, 1999, 10:39 AM

 Linda R. Kawaguchi wrote:

 Did anyone seen Bare Jr. on Conan last night?  My goddamned VCR
 didn't tape it (it couldn't have been my programming skills). 
 What'd they play? How'd it sound?  What'd they look like?  

I didn't see it, but a pal did. Said they rocked, played "You Blew 
Me Off." Grimey did not wear his silk pajamas, which is unfortunate.

Dave

***
Dave Purcell, [EMAIL PROTECTED]
Northern Ky Roots Music: http://w3.one.net/~newport
Twangfest: http://www.twangfest.com

Swingin' Doors, 3/4/99



The first hour of last night's show should be up on the KCMU web page in
the next day or two.  Listen in at:

http://www.kcmu.org/listen.htm


Lloyd Green - Green Strings
Del Reeves - Good Time Charlie's

Five Bucks - Right Now!
Neko Case - Rated X (3/11 at the Tractor)
Loretta Lynn - You Wanna Give Me A Lift
Johnny Paycheck - I Drop More Than I Drink
Wanda Jackson - Reckless Love Affair

The Gourds - (the new way of) Grievin'  Smokin' (3/28 at the Tractor)
Little Sue - Ode to Lynnie Mae (3/6 at the Tractor w/ the Souvenirs)
David Olney - C'mon Through Carolina
Steve Earle  the Del McCoury Band - I'm Still In Love With You

Rosie Flores - Little Bit More
Biller  Wakefield - Steel Crazy
Charline Arthur - Burn That Candle
Maddox Bros  Rose - Pay Me Alimony
Jack Guthrie - Oakie Boogie

Del McCoury Band - Don't You Think It's Time To Go
Jeff White - Stay Away From Me
J.D. Crowe  The New South - Careless Love
Ricky Skaggs - I Believed In You Darlin'
Bill Monroe  his Bluegrass Boys - Close By

Souvenirs - Tired Of Missing You (3/6 at the Tractor w/ Little Sue)
Conway Twitty - Next In Line
Moe Bandy - It Was Always So Easy To Find An Unhappy Woman
George Strait - Lefty's Gone
Lefty Frizzell - That's The Way Love Goes

Freedy Johnston - Coffee, Coffee, Coffee
Kelly Willis - Wrapped
Vern Gosdin - Set 'Em Up Joe
Ernest Tubb  his Texas Troubadours - Walking The Floor Over You
Eddy Arnold - Texarkana Baby

Pete Krebs  the Gossamer Wings - Take Me Away
Damnations TX - For Awhile (3/13 at the Crocodile w/ Richard Buckner)
Chris Mills - Funeral Date (3/7 at the Tractor)
The Pinetops - Sweet William The Cop

Cisco - Hard Times Again
The Derailers - Lover's Lie (request)
Faron Young - Everytime I'm Kissing You
Carl  Pearl Butler - Don't Let Me Cross Over

Lonesome Bob - What Went Wrong (request)
Hadacol - Messed Up
Johnny Horton - I'm Coming Home (request)
Roger Miller - Dang Me (request)
Norma Jean - Don't Let The Doorknob Hit You

Buddy Miller - Lonesome For You
International Submarine Band - Blue Eyes
Connie Smith - Two Empty Arms
Merle Haggard - The Bottle Let Me Down (request)
Johnny Bush - Each Time

Bobbie Gentry - Papa Woncha Let Me Go To Town With You
Richard Buckner - Gauzy Dress In The Sun (3/13 at the Croc. w/ Damnations)
Beaver Nelson - One Car Collision
The Flatirons - Wild Fire
Gillian Welch - By The Mark

Jimmie Davis - Sewing Machine Blues
Jimmie Rodgers - Any Old Time

Swingin' Doors can be heard Thursdays from 6-9pm on KCMU 90.3FM in
Seattle.  Email me if you have any questions about the music played.--don

Re: Coltrane book?

1999-03-05 Thread Tom Smith


[EMAIL PROTECTED] wrote:
 
 Good morning, Anyone know of a good Coltrane bio to recommend? Or even a good
 book that looks at the whole (or some) of the bebop jazz greats?

Eric Nisenson's "Ascension - John Coltrane and His Quest" is 
good.  The book "Jazz Anecdotes" is pretty hilarious 
reading and goes right across all time  genre zones. As for  
Miles' autobiography suitability as a gift, I'd be careful 
about who I'd give that to!

Tom Smith

Re: Tweedy quote /generations


 Tera wrote:
- alt.country seems to be music for we aging baby boomers as opposed to
alt.rock or new country which seems to target the teen to twenties crowd.

Just a quick note as I gather breath to respond to Jake's epic 
call'n'response from yesterday -

I think if you look at the P2 Survey you'll see the untruth of this. I'm 
convinced that alt-country is a (as Monsieur London puts it) "tailbust" and 
"gen-x" phenomenon. A glance around the audience at any alt-country show 
I've attended shows it skewing way to folks in their late-20s to mid-30s, 
with a smattering of younger and older. The punk connection of the 
"insurgent" side in particular makes the demographics fairly easy to track. 
Refer back to the Wilson-London chronicles for various bafflingly vague 
descriptions of the broader implications of this general pattern.

I do think it's important that alt-country has a Gen-X connection (and as 
Jake noted, even a few years difference in age has some important 
implications for where in musical-cultural history you'll stand). And I'd 
also assert New Country is much more boomer-oriented than is alt-country - 
thus HNC takes its rock influences from Billy Joel, not from the Clash.
 
 Carl W.

country radio



After wrappin' up Swingin' Doors last night, I tuned to one of Seattle's
commercial country stations.  They were playin' John Anderson's "Straight
Tequila Night," one of my favorite country songs of the '90s -- alt. or
otherwise.  While it's true that modern country radio's programming is
erratic at best, they're still capable of knockin' one outta the park.
For those interested in hearing actual country music -- as opposed to
roots-rock, f*lk, etc. -- you're still quite likely to run into it on
mainstream country radio.  And you're certainly gonna hear a lot more of
it there than you will on your local AAA station.--don

Clip: Tom Petty finds inspiration in San Francisco

1999-03-05 Thread Brad Bechtel

Check out the bottom of this article for opening acts.
=

Petty Finds Inspiration in San Francisco
Rocker returns to Fillmore before launching tour, CD
James Sullivan, Chronicle Staff Writer
Friday, March 5, 1999
©1999 San Francisco Chronicle

URL:
http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/1999/03/05/DD77323.DTLtype=music

Tom Petty remembers how giddy he was on the last night of the Heartbreakers' historic
20-show run two years ago at the Fillmore. The final show stretched to four hours.

``We just caught a wave, and we were gonna ride it to the beach.''

The adrenaline, he says, carried over into the recording for ``Echo,'' the band's new
album, due next month. To jump-start a summer tour, the Heartbreakers begin another
Fillmore engagement Sunday; they'll play seven sold-out shows.

Before the last time, Petty says, he'd never even been inside the Fillmore. ``I just
showed up uninitiated,'' he says. Still, it was his idea. ``The history had a lot to
do with it. I wanted to put the band in a residency setting, to play just for the sake
of playing. ``We weren't promoting anything. We didn't have any agenda. And it was a
very successful experiment for us. I think we enjoyed it more than anything we've ever
done with the Heartbreakers.'' One of rock 'n' roll's most consistent performers since
his breakthrough more than 20 years ago, the 48-year-old Petty has outlasted punk, New
Wave and spandex metal with a straight-ahead style rooted in the British Invasion, pop
psychedelia and other radio staples of his Florida childhood.

``We've been very blessed with a loyal audience,'' he says. ``We've just tried to stay
honest with them, and that gives us longevity. We've never particularly tried to get
into a suit of clothes.

``I knock wood. It's just wonderful that people still want to hear it.''

One bit of proof: Petty's ``Greatest Hits'' is still on the Billboard Top 200 Albums
chart, six years after its release.

After Petty issued a few albums billed to himself without the Heartbreakers --
guitarist Mike Campbell, keyboardist Benmont Tench, bassist Howie Epstein and drummer
Steve Ferrone -- the 1997 Fillmore stay reconfirmed the group's confidence.

``We have a damn good rock 'n' roll band,'' says Petty in his casual drawl. The
Fillmore shows ``really played a huge part in inspiring us -- not just to do the
record, but to carry on.''

Judging by the first single ``Free Girl Now,'' ``Echo'' finds the Heartbreakers even
more direct than usual. Not that the band best known for its buzzing, unfussy rock
songs -- ``American Girl,'' ``I Need to Know,'' ``Jammin' Me'' -- has ever been
accused of self-indulgence.

``It's a very simple record, very unadorned,'' Petty says. ``People are telling me
it's much more of a rock 'n' roll record, in the sense of faster tempos and louder
guitars, than what we've done in a while.

``I'm very pleased with it -- more so than I usually am.''

The one medium in which Petty can be considered avant-garde is videos. When his
self-titled debut got its first break in England, he became one of the first American
artists to make film shorts for his songs.

``In England, it was not that abnormal to make a little promo clip you could send to
the TV shows.

``When I was given (MTV's) Video Vanguard award, I said, `All this because we didn't
want to go on `Merv Griffin,' '' he says, punctuating the thought with a familiar
``heh-heh.''

Rest assured he won't be mailing in his Fillmore performances. ``No two shows will be
the same,'' Petty promises. Confirmed opening acts include Lucinda Williams and War.
Two years ago, of special guests included John Lee Hooker and the late Carl Perkins.

``I've been very fortunate. I've developed a lot of friendships with people I admire
musically.''

Last time, he says, the Bay Area proved itself the ideal place for the residency
``experiment.'' ``I've always felt that San Francisco has a very open-minded audience.
I thought they'd be more open to us performing as a house band, rather than doing a
medley of our hits. ``I think I was right.''

CONCERTS

TOM PETTY AND THE HEARTBREAKERS: The band's seven Fillmore shows are sold out.

Re: Tweedy quote/alt.country (LONG and IRRITATED)


Jim's ps -- for me the term 'alt. country' indicates the combination of (post
 Nirvana) ALT-rock and traditional COUNTRY.  UT/Jayhawks exemplefy this
 movement.
 
 I mean how can people deny UT's influence when the Alt. Country Bible (No
 Depression) is named after one of their albums??  Somebody help me here??
 (by the way I am aware that the term 'No Depression' has its roots at the
 very least in The Carter Family -- but I would bet a quick survey of Peter
 Blackstock and Grant Alden would reveal that they used the term with UT
 somewhat in mind).
 
As usual with this stuff, it all depends on how you look at it, and from
what distance. When Uncle Tupelo came along, I listened to 'em and liked
'em quite a bit. Some of their records, both pre- and post-breakup, are
among my favorites. But to this listener, at least, they didn't stand out
stylistically from stuff I'd been listening to before. The Scorchers,
Escovedo, Alvin, etc. They just sort of went into my record collection
among all the other roots-oriented stuff I'd been throwing money at for
years and years. It was only later that I started reading about their
influence, etc. I'm not denying that influence, but just noting that, as
Dave said, it probably has as much or more to do with circumstance and
context as it does with the actual music. This applies to any music at any
time, I guess, though with some music -- Elvis, the Beatles, Charlie
Parker, Elmore James, Mozart, etc.  -- the substance transcends or
reinforces circumstance.

All the yammering about Uncle Tupelo  and alt.country by young squirts who
wouldn't know Lefty Frizzell from Whitey Ford did get a little annoying,
I'll confess. This debate, finally, really hinges on how narrowly you want
to define alt.country. If you define it as punk-oriented guys playing
guitar-driven rock with country undertones and heartland attitudes, who
showed up in the mid- to late-80s, then I'll agree, you're probably
correct about Tupelo and their influence on the genre. Draw the category a bit
wider,though, and you're gonna have to contend with everybody from the Amazing
Rhythm Aces to Mason Profit, from Rank and File to the Rolling Stones' Let
It Bleed, from Ricky Nelson to Doug Sahm, from Carlene Carter to New Grass
Revival, and on and on.

And how does "No Depression" as a name for a magazine prove anything about
Uncle Tupe's music itself? They're the media, right? If they see Uncle
Tupelo as big influential innovator, that's fine. But it doesn't
necessarily prove anything. -- Terry Smith

ps I think Jim might have taken my post a little bit wrong, because, I'll
admit, it didn't have a great deal to do with Tera's post that was copied
in that message. Her post just indirectly sparked those thoughts; I
wasn't necessarily challenging her argument.

Re: country radio

1999-03-05 Thread Svb442


In a message dated 3/5/99 12:11:16 PM EST, don yates writes:

 for those interested in hearing actual country music -- as opposed to
 roots-rock, f*lk, etc. -- you're still quite likely to run into it on
 mainstream country radio.  And you're certainly gonna hear a lot more of
 it there than you will on your local AAA station.--don  

as long as you don't mind listening to the all the dreck in between. but i
guess that's par for the course with pretty much all commercial radio (the
exception being kpig in northern cal).

Re: country radio


 
 After wrappin' up Swingin' Doors last night, I tuned to one of Seattle's
 commercial country stations.  They were playin' John Anderson's "Straight
 Tequila Night," one of my favorite country songs of the '90s -- alt. or
 otherwise.  While it's true that modern country radio's programming is
 erratic at best, they're still capable of knockin' one outta the park.
 For those interested in hearing actual country music -- as opposed to
 roots-rock, f*lk, etc. -- you're still quite likely to run into it on
 mainstream country radio.  And you're certainly gonna hear a lot more of
 it there than you will on your local AAA station.--don
 
Well, yes and no. I don't have an AAA station, so I can't speak to that.
But I do have three country stations pre-set on my car radio, and I can
drive to work -- about 17 minutes -- without hearing one tune worth
listening to on any one of those stations. Bland, formulaic,
non-threatening, slick jingles, with a few cute phrase
formulations, the same guitars, etc.* But then out of nowhere, they'll play
something great -- Lee Ann Womack, Randy Travis, Anderson, Vince Gill
(they've been playing that country shuffle duet lately), Dwight -- etc. So
if you tune in and expect to be blown away, best be prepared to wait a
while. And maybe pre-set nine or ten stations, just to be safe. -- Terry Smith

* of course, this applies to most commercial radio, no matter the genre.

Tweedy generations - cont'd


 Tara, to clarify, it seems to me you're shouldering that "boomer" 
 mantle/stigma in vain, if I'm reading you right. Amerians born after 
 1960 are not really baby-boom material, for myriad reasons 
 social-and-economic chronology. For instance, if Watergate is one of 
 the first news events you were able to follow (or even remember), that 
 distinguishes you fairly obviously in cultural experience from anyone 
 old enough to have had class interrupted by the announcement of 
 Kennedy's assassination - we Watergate-era children never had quite 
 the same cultural innocence to lose.
 
 Which has a lot to do, I'd reckon, with the eventual coming of punk, 
 as well as with the interest in country as some sort of purer heritage 
 from the antediluvian age - I don't think it's just coincidence that 
 alt-country adores pre-seventies country (Hank, Buck, Cash, Jones, 
 etc.) and is squeamish about almost everything thereafter. There's a 
 generational sense that any mainstream culture made in our lifetimes 
 must be by nature corrupt, stained by original sin. That a band as big 
 as the Beatles could be seen as great artists and countercultural 
 heroes by broad consensus is a basically alien concept to everyone too 
 young to have participated, methinks. [With the possible 
 counter-example of Star Wars, but that's total escapism. Nobody claims 
 Star Wars galvanized the youth of America, tho in fact it did cause a 
 huge shake-up in HOllywood and thus in the culture at large.]
 
 I'll shut up now ... carl w.

Re: Tweedy generations - cont'd


 Noted I'd spelt Tera's name wrong. Mea culpa.

Re: Townes Van Zandt

1999-03-05 Thread Ndubb


 Hey, I really like The Highway Kind.  What do you dislike about it? 

I thought it showed TVZ at his worst. The performances were woozy and slurred
to me. I could almost imagine him falling off the bar stool. The polar
opposite was Rear View Mirror, which came out around the same time. Really
wonderful live performances.

NW

Re: Tweedy quote/alt.country (LONG and IRRITATED)

1999-03-05 Thread marie arsenault


Who's are the Scorchers?
NW


Some overrated roots band from the 80s. 
The future of nothing, as far as I can tell.

marie

Re: Tweedy quote/alt.country (LONG and IRRITATED)

1999-03-05 Thread Hanspeter Eggenberger


 Reply to:   Re: Tweedy quote/alt.country (LONG and IRRITATED)

Who's are the Scorchers?
NW


Some overrated roots band from the 80s. The future of nothing, as far as I can tell.

marie


As far as I can tell, Jason and the Scorchers was an important cowpunk band.
And a hell of a live band.

Hans P.

Re: country radio

1999-03-05 Thread Jennifer Sperandeo


half the time I either laugh out loud at the cliches or think, "cripes it
sounds like lawrence welk!!".
I'll give you the folk point though - you won't hear that on Country Radio
and as most public radio stations' licenses are held by institutions of
higher learning, their airwaves are rife with it. Most is as cliched as the
worst country stuff.  I guess that's academia for you.



From: [EMAIL PROTECTED]
To: "passenger side" [EMAIL PROTECTED]
Subject: Re: country radio
Date: Fri, Mar 5, 1999, 11:20 AM


In a message dated 3/5/99 12:11:16 PM EST, don yates writes:

 for those interested in hearing actual country music -- as opposed to
 roots-rock, f*lk, etc. -- you're still quite likely to run into it on
 mainstream country radio.  And you're certainly gonna hear a lot more of
 it there than you will on your local AAA station.--don  

as long as you don't mind listening to the all the dreck in between. but i
guess that's par for the course with pretty much all commercial radio (the
exception being kpig in northern cal).

RE: country radio


 half the time I either laugh out loud at the cliches or think, "cripes it
 sounds like lawrence welk!!".

Lots of people have been doing that for as long as I've been listening to
country music.

Jon Weisberger  Kenton County, KY [EMAIL PROTECTED]
http://home.fuse.net/jonweisberger/

Re: country radio




On Fri, 5 Mar 1999, Jennifer Sperandeo wrote:

 half the time I either laugh out loud at the cliches or think, "cripes
 it sounds like lawrence welk!!".

Which is pretty much what folks outside the traditional country music
audience were doin' back in the '50s and '60s when listening to country
radio, Jenni.  The more things change...--don

Scorchers

1999-03-05 Thread Hanspeter Eggenberger


BTW: The career of Jason  The Scorchers was launched by Jack Emerson.
Emerson ist, with Steve Earle, co-founder of E-Squared Records.

And Jason Ringenberg was recently one of the presenters of the 1999 Nashville Music 
Awards.

Hans P.

Re: country radio

1999-03-05 Thread Jennifer Sperandeo

alow me to update:
"cripes, it sounds like Billy Ocean!"
--
From: Don Yates [EMAIL PROTECTED]
To: "passenger side" [EMAIL PROTECTED]
Subject: Re: country radio
Date: Fri, Mar 5, 1999, 12:07 PM

On Fri, 5 Mar 1999, Jennifer Sperandeo wrote:

 half the time I either laugh out loud at the cliches or think, "cripes
 it sounds like lawrence welk!!".

Which is pretty much what folks outside the traditional country music
audience were doin' back in the '50s and '60s when listening to country
radio, Jenni.  The more things change...--don

Re: Tweedy quote/alt.country (LONG and IRRITATED)




On 5 Mar 1999, Bill Gribble wrote:

 ND is *some* people's bible.  Honestly I have never even seen a single
 issue of it.  Last night I read a couple of the interviews in the ND
 book and I was not blown away by the writing.  And I have never
 listened to a single Uncle Tupelo album.  I saw Son Volt on Austin
 City Limits and they bored me.

Geez, this medium sucks.  I am merely stating that one of the main
journals reviewing Americana music (does anyone dispute this??  I am sure
there will be) is named after a UT album.  If you don't accept this, than
I suggest you look up the Origin of the terms Postcard and Postcard2 . .
. to which you surely must agree you participate.

-jim

Recordable CD Players

1999-03-05 Thread Shawn Devlin



  Hey all,
 
  I've been thinking about picking up a home CD Recordable unit.  Does
anybody out there own one, or have you heard of a particular
brand/model that is supposed to be good?  Does the quality vary alot
between brands?  Also, is there any audible difference between getting
a home unit (stereo component) and buying one for a computer with the
intent of duping music?

  thanks -- Shawn



_
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com

Lawrence Welk (RE: country radio)

1999-03-05 Thread Jim_Caligiuri


 half the time I either laugh out loud at the cliches or think, "cripes it
 sounds like lawrence welk!!".

Lots of people have been doing that for as long as I've been listening to
country music.

On a totally different tangent, I have been listening to the upcoming Spade
Cooley record that Bloodshot is releasing soon and my first reaction was
"This sounds like Lawrence Welk!" Maybe not as cheesy but the accordion and
the western swing arrangements have that "champagne" sound. I must be
getting old, though, I kinda liked it. g
Jim, smilin'

Re: Tweedy quote/alt.country (LONG and IRRITATED)




On Fri, 5 Mar 1999, Terry A. Smith wrote:

 ps I think Jim might have taken my post a little bit wrong, because, I'll
 admit, it didn't have a great deal to do with Tera's post that was copied
 in that message. Her post just indirectly sparked those thoughts; I
 wasn't necessarily challenging her argument.

Perhaps.  I just find it frustrating that there is a debate as to whether
on a concrete level, UT/Son Volt/Wilco can be associated with the origin
of the Americana/No Depression/Alternative Country movement.

To me it is a no brainer.  And it seems highly relevant that both the No
Depression Magazine and the Listserves 'Postcard' and the offspring
'Postcard2' are all directly related to UT songs and albums.

I AM NOT CONDONING OR JUDGING THE QUALITY OR INTEGRITY OF THESE BANDS,
MAGAZINES, OR ASSOCIATIONS, OR ADOPTING THEM FOR MYSELF.  JUST
ACKNOWLEDGING THAT THEY EXIST FOR MANY (NOT ALL) PEOPLE.

I am defintely done with this topic.

-Jim

Re: Tweedy quote/alt.country (LONG and IRRITATED)




On Fri, 5 Mar 1999, Terry A. Smith wrote:

 And how does "No Depression" as a name for a magazine prove anything about
 Uncle Tupe's music itself? They're the media, right? If they see Uncle
 Tupelo as big influential innovator, that's fine. But it doesn't
 necessarily prove anything. -- Terry Smith

except that MY ONLY POINT was that the media has dubbed them as the
originators of this movement and that THAT is what Tweedy is distancing
himself from.

--JR

Labels and other headache-inducing stuff (long)

1999-03-05 Thread lance davis


I have a feeling some of you will say it wouldve been cool for BM
to take a crack at soft rock.

Chris Orlet

OK, in an attempt to tie up some of the loose synapses in my head (and on
this list), let me begin by undressing this statement. First of all, there
is no such thing as "soft rock." If the creature at hand is "rock," by
definition it is not "soft." "Soft Rock" and "Lite Rock" were ways for the
industry to categorize more easily the pop, ballad-oriented stuff guys like
Paul McCartney--who had been typically associated with "Rock" and provides
an easy example--were doing. And I think this is some of the problem with
this infernal, good-for-something-we're-just-not-sure-what-it-is ND tag.

Whether Uncle Tupelo invented "alternative country" or not is very
debatable, but that they've been categorically represented as such isn't.
They have become the point guards for this movement-that-may-or-may-not-be,
and it's forced all concerned to react accordingly. That is, the media
players, label players, and most importantly, the musical players themselves
have to reckon with this "alt.country/ND" tag. For some it's restrictive,
while for others it's liberating, and a way to sell more records to a
relatively-defined consumer base. For some of the media folks it's a
convenient way to identify, for an otherwise uninformed public, who these
young cats are. Unfortunately, these press clippings are then read by the
artists themselves who don't wish to be represented as such. The labels (in
general, I'd say) don't really care how their artists are represented as
long as they can recoup their investment. If it helps to be "alt.country,"
fine. If "ND" is the tag-du-jour, that's OK, too. Hell, if "rock 'n' roll"
meant anything--and, as far as I'm concerned that's what most of these folks
are doing--than that now-meaningless label would be dripping off of every
AR guy's tongue by the end of the day.

The problem seems to be that many of these artists have grown up (as artists
and fans both) with a defined antagonism toward the music industry. Many of
them started as punks, and they've seen their friends get signed by labels
looking to cash in on the latest trend ("Grunge," anybody?), pigeonhole
these artists into whatever market they thought they might fit, market these
bands for maybe 15 minutes, and then, subsequently drop them when the
band--surprise, surprise--didn't "make it." (Does anyone else recall the
debt that the Jayhawks accrued with American Records??) So, while guys like
Tweedy seem to be protesting the boxes with which they've been assigned (by
a largely indifferent media industry, and a single-minded music industry,
upon which the former is dependent for promos and other perqs), I think it's
nothing more than a savvy--which is not to say, altogether mature--reaction
to their paradoxical situation. On the one hand they want to be seen as
artists with an individual vision (and represented as such), but on the
other hand, they're contractually obligated to an animal that doesn't care
about art as much as it does profit. So, while these artists would be wise
to start their own record labels (see: Bad Religion, Black Flag, Fugazi, Ani
Defranco), and thereby control (better) their place in the market, they
would probably then lose access to the powerful machinery which allowed them
to have even the tiniest of voices in the first place--distribution, major
radio markets, Rolling Stone, that ever-elusive possibility of appearing on
SNL, etc.

And now you wonder why there are so many band guys who are either junkies,
drunks, or members of AA?? This shit is depressing. But we are here for the
music, and whatever we choose to call it, I think we've done a good job of
keeping the music primary. Even if the music sucks, as in the case of the
Goo Goo Dolls. Kidding!!

Lance . . .

"Kids, you tried and failed miserably. The lesson here: Never try."
--Sage advice from one Homer Simpson

Re: country radio

1999-03-05 Thread Tar Hut Records

"Caribbean Queen" was a swell song.

-Original Message-
From: Jennifer Sperandeo [EMAIL PROTECTED]
To: passenger side [EMAIL PROTECTED]
Date: Friday, March 05, 1999 1:17 PM
Subject: Re: country radio

alow me to update:
"cripes, it sounds like Billy Ocean!"
--
From: Don Yates [EMAIL PROTECTED]
To: "passenger side" [EMAIL PROTECTED]
Subject: Re: country radio
Date: Fri, Mar 5, 1999, 12:07 PM

On Fri, 5 Mar 1999, Jennifer Sperandeo wrote:

 half the time I either laugh out loud at the cliches or think, "cripes
 it sounds like lawrence welk!!".

Which is pretty much what folks outside the traditional country music
audience were doin' back in the '50s and '60s when listening to country
radio, Jenni.  The more things change...--don

Re: Tweedy quote/alt.country (LONG and IRRITATED)

1999-03-05 Thread Tar Hut Records


Exactly, man. The facts is the facts. Hell, I went right out and I bought a
pistol right after I heard "Gun" because I worship Uncle Tupelo. And that's
not all - when Anodyne came out I rented a car and drove to the New Madrid
fault and slept there for a few days in my flannel t-shirt and blue jeans. I
then went out a bought a house with a screen door so, I, too, could have my
friends over to sing. We would all have our whiskey bottles with us and
bitch about the boss and how we just couldn't rip ourselves from our
hometown. Those guys SPOKE to me man. They were real. They knew the struggle
of farming, just like I did.

-Original Message-
From: James Gerard Roll [EMAIL PROTECTED]
To: passenger side [EMAIL PROTECTED]
Date: Friday, March 05, 1999 1:24 PM
Subject: Re: Tweedy quote/alt.country (LONG and IRRITATED)




On Fri, 5 Mar 1999, Terry A. Smith wrote:

 ps I think Jim might have taken my post a little bit wrong, because, I'll
 admit, it didn't have a great deal to do with Tera's post that was copied
 in that message. Her post just indirectly sparked those thoughts; I
 wasn't necessarily challenging her argument.

Perhaps.  I just find it frustrating that there is a debate as to whether
on a concrete level, UT/Son Volt/Wilco can be associated with the origin
of the Americana/No Depression/Alternative Country movement.

To me it is a no brainer.  And it seems highly relevant that both the No
Depression Magazine and the Listserves 'Postcard' and the offspring
'Postcard2' are all directly related to UT songs and albums.

I AM NOT CONDONING OR JUDGING THE QUALITY OR INTEGRITY OF THESE BANDS,
MAGAZINES, OR ASSOCIATIONS, OR ADOPTING THEM FOR MYSELF.  JUST
ACKNOWLEDGING THAT THEY EXIST FOR MANY (NOT ALL) PEOPLE.

I am defintely done with this topic.

-Jim

Re: Scorchers

1999-03-05 Thread Dave Purcell


Hey, a Scorchers thread, howaboutthat?

Hanspeter Eggenberger wrote:

 BTW: The career of Jason  The Scorchers was launched by Jack Emerson.
 Emerson ist, with Steve Earle, co-founder of E-Squared Records.

Jack was also the band's original bassist.

Dave


***
Dave Purcell, [EMAIL PROTECTED]
Northern Ky Roots Music: http://w3.one.net/~newport
Twangfest: http://www.twangfest.com

Re: Tweedy quote/alt.country (LONG and IRRITATED)

1999-03-05 Thread lance davis


Exactly, man. The facts is the facts. Hell, I went right out and I bought a
pistol right after I heard "Gun" because I worship Uncle Tupelo. And that's
not all - when Anodyne came out I rented a car and drove to the New Madrid
fault and slept there for a few days in my flannel t-shirt and blue jeans.
I
then went out a bought a house with a screen door so, I, too, could have my
friends over to sing. We would all have our whiskey bottles with us and
bitch about the boss and how we just couldn't rip ourselves from our
hometown. Those guys SPOKE to me man. They were real. They knew the
struggle
of farming, just like I did.

Tee-hee, this are funny. You know, there's something about comedy that just
makes me laugh.

Lance . . .

Re: Tweedy quote/alt.country

1999-03-05 Thread Jerry Curry


On Fri, 5 Mar 1999, Dave Purcell wrote:
  As far as I can tell, Jason and the Scorchers was an important cowpunk band.
  And a hell of a live band.
 
 Hans P speaketh the truth, except that you can replace "was" with 
 "is."

Yeah, and Jason R.'s solo Cd a few years back was (is) the future
of country music.  Can you say, "It hit the charts with a resounding
thud"?  I thought you could.

Overrated, overamped, overhyped, overplayed, overexposed, overdone,
and over-the-top.

Just digging Dave here..I loved them during their heyday, can't go
down that road any longer.  However "Absolutely Sweet Marie" off of the EP
hit me like a shot between the eyes.  What a perfect way to extend my
appraciation for punk which was running on empty at that time.  That is, I
was tiring of indy punk material but still craved the energy.  Bring on
some meldoy and here came along cowpunk.  I thought I was saved.

Jerry

NP: Lucy Kaplansky - Flesh  Bone

Re: Tweedy quote/alt.country (LONG and IRRITATED)




Jeff Copetas dreamt this up:

 Exactly, man. The facts is the facts. Hell, I went right out and I bought a
 pistol right after I heard "Gun" because I worship Uncle Tupelo. And that's
 not all - when Anodyne came out I rented a car and drove to the New Madrid
 fault and slept there for a few days in my flannel t-shirt and blue jeans.
 I
 then went out a bought a house with a screen door so, I, too, could have my
 friends over to sing. We would all have our whiskey bottles with us and
 bitch about the boss and how we just couldn't rip ourselves from our
 hometown. Those guys SPOKE to me man. They were real. They knew the
 struggle
 of farming, just like I did.
 

then lance davis wrote:

 Tee-hee, this are funny. You know, there's something about comedy that just
 makes me laugh.

to which I add:

yeah. huhuh!  Especially when it sets a complete moron like me on the high
road to knowing more about things.  thanks Jeff, I see now.  forget all
that stupid stuff I said about Tweedy/UT peoples.  k?  I was dum . . . 

-jim

Re: Swingin' Doors, 3/4/99

1999-03-05 Thread Jerry Curry


On Fri, 5 Mar 1999, Don Yates wrote:
 Freedy Johnston - Coffee, Coffee, Coffee

So glad to see this here...great cover version of the Tom T. Hall
song.  Thanks for playing it Mr. Yates.

PS: Next time you hear of Collier playing around your parts, drop me (us)
a line, if you wouldn't mind.

JC

NPIMH: Real: The Songs of Tom T. Hall

Re: Obit: Eddie Dean




On Fri, 5 Mar 1999, James Nelson  wrote:

 His most famous composition was the hokey but sincere and emotional "I
 Dreamed of a Hillbilly Heaven," written with friend Hal Southern.

Which may be true, but Eddie Dean wrote lots of other fine tunes, 
including country music's first bonafide cheatin' song, "One Has My Name
(The Other Has My Heart)."--don

Re: Swingin' Doors, 3/4/99




On Fri, 5 Mar 1999, Jerry Curry wrote:

 PS: Next time you hear of Collier playing around your parts, drop me
 (us) a line, if you wouldn't mind.

No problem -- Friday April 2nd at the Tractor Tavern.  See ya there,
Jerry.--don

Re: Tweedy quote/alt.country (LONG and IRRITATED)


 On Fri, 5 Mar 1999, Terry A. Smith wrote:
 
  And how does "No Depression" as a name for a magazine prove anything about
  Uncle Tupe's music itself? They're the media, right? If they see Uncle
  Tupelo as big influential innovator, that's fine. But it doesn't
  necessarily prove anything. -- Terry Smith
 
 except that MY ONLY POINT was that the media has dubbed them as the
 originators of this movement and that THAT is what Tweedy is distancing
 himself from.
 
 --JR
 
Actually, you made a few more points than that.  My point, whether it
dovetails apositively with your point or not, is that whatever media
proclaimed Uncle Tupelo the originator of alt.country MUSIC suffer from a
musical blind spot that's several decades huge. No argument, however, with
the reality -- which is that somebody's wrongheaded assessment of Uncle
Tupelo as a Brand New Musical Thang did, in fact, inspire a revitalization
of the country-rock genre -- young rock bands playing country-type material.
So we're both right -- they started something, but that something was
started under false pretenses, whether UT intended it or not. I'm sure
they didn't.

Hey, there's no harm in arguing this stuff, is there? My wife thinks I'm
dense, too. -- Terry Smith

Re: Obit: Eddie Dean

1999-03-05 Thread James Nelson




 Don Yates says:

On Fri, 5 Mar 1999, James Nelson  wrote:

 His most famous composition was the hokey but sincere and emotional "I  Dreamed 
of a Hillbilly Heaven," written with friend Hal Southern.

Which may be true, but Eddie Dean wrote lots of other fine tunes, including country 
music's first bonafide cheatin' song, "One Has My Name (The Other Has My 
Heart)."--don

Uh, actually Cary Ginnell wrote that, Don.  You can take it up with him, if you like. 
g

Jim

RE: Recordable CD Players


 Also, is there any audible difference between getting
 a home unit (stereo component) and buying one for a computer with the
 intent of duping music?

As far as I know, there's no audible difference, but there's a financial
one, as a friend of mine recently discovered: the standalone, home units
require discs that cost substantially more than the ones used in computer
peripherals (he says he's paying $6-$7 a disc, as opposed to $1-$2).  As I
understand it - and if I'm wrong, I have no doubt that someone will correct
me - the difference is related largely to a royalty that goes to the record
companies, purportedly to offset the cost of unauthorized duplication of
CDs; the discs used in the computer peripherals are exempt because of their
double duty as data storage media.

Jon Weisberger  Kenton County, KY [EMAIL PROTECTED]
http://home.fuse.net/jonweisberger/

A Question

1999-03-05 Thread Cheryl Cline


Question:

As I first heard the term "alternative country" applied, reluctantly and
for lack of a better term (a search for a better phrase was underway but
never found) to bands  musicians who didn't, for one reason or another,
fit into the prevailing "Hot New Country" format, either because they
were "too country" or because they added the "wrong" kind of rock music
to their mix -- on one hand, Jimmie Dale Gilmore; on the other, Clay
Blaker, and on the third hand, bubbling-under artists like Kevin Welch
or Steve Earle; artists who, furthermore, weren't part of a discernable
genre like bluegrass or rockabilly, except where they were filed under
"folk" by default, my question is;

If they're not "alt country" or "alternative country" according to the
UT/No Depression revisionism, er, I mean yardstick, then, we're back to
the original problem being batted around back then (and when *did* this
start, btw? Bob Soron?) which is: 

What DO we call this stuff?

The Other Alternative Country, Whatever That Is?

And what DO we do call country that is too country for either mainstream
radio or "alt-country?" That has negligble rock content, and hews close
to the *country* side of things?

"Real Country" isn't acceptable, apparently. "Hard" gets mixed up with
"Alt." "Traditional Country" doesn't work for several reasons. "New
Traditionalists?" Oh wait, that was tried. "Post-Traditionalist
Country?" "Neo-Classic Country?" "Post-Classic Neo-Traditionalist
Country?" "Too Country For YOU, Buddy?" (Not you, Buddy. g) 

Just WONDERING.

Seems like an awful lot of country-type music falls through the cracks
between mainstream radio and the UT/No Depression camp.

--Cheryl Cline


P.S.: Coming Soon: Boomers and Gen X, Tailbusters and Teenagers: Pfui.

Plus! Reactions Arising From Assorted Buttons Being Pushed; and Chips
Residing on Shoulders Reactivated and Proving Troublesome.

(Later, though. After lunch. After work. Maybe Monday. g)

Clip-Buckner reissue

1999-03-05 Thread William F. Silvers


 Also, look for the Slow River/Rykodisc rerelease of Richard Buckner's debut album,
 BLOOMED, on May 18, 1999. Originially released on Glitterhouse 
in Germany in
 1993 and in the United States on DejaDisc in 1994, BLOOMED was an
 out-of-nowhere debut from a then 28-year old drifter who helped 
define the "No
 Depression" movement of the early '90s. Rave reviews from the 
press, including a
 Top Twenty Album of the Year nod from Spin magazine, earned 
Richard a deal with
 MCA; near constant touring and similarly praised follow-up 
releases earned him a
 devoted and rabid fan base. The rerelease of BLOOMED (out of 
print for three
 years), includes 5 bonus tracks, each staples of his live set, 
never before recorded.
 The new release has been completely re-mastered and is presented 
with new
 artwork.

Clip-Old 97's

1999-03-05 Thread William F. Silvers


Good thing the movement they're distancing themselves from here is
decades old and can take the hit. g


 Old 97's Get Feedback From Frank Black On New Record
Old 97's
   28.8 RealAudio

  Coming off the momentum from its just-wrapped preview 
tour, the Old 97's are
  continuing to build up steam towards the release of its 
new album, "Fight Songs," due
  out on April 27.

  According to band guitarist and vocalist Rhett Miller, 
the new Old 97's record -- which
  had been originally titled "Imaginary Friends" -- finds 
the group exchanging its alt.
  country garb for a "slightly more Britpop kind of 
guitar sound," a sound featured on the
  first single, "Murder (Or a Heart Attack) [28.8 
RealAudio].

  A departure from the "cow-punk" chops of the band's 
critical breakthrough, "Wreck
  Your Life" as well as its 1997 major-label debut, "Too 
Far to Care," Miller admits that
  the end result of the new album caught him off-guard.

  After finishing an early mix of "Fight Songs," Miller 
felt a little insecure about whether
  the record might alienate some fans, and sent off 
copies of the album to family and
  friends -- including one Frank Black -- for feedback.

  "I felt very weird after [the record] was done, because 
I knew it was not really in the
  same vein as our other three records," Miller told MTV 
News Online. "It's so far away
  from the 'No Depression' movement that we'd been 
associated with, so I was a little
  worried (laughs). So I sent copies of the CD to a few 
people, one of which was Frank
  Black."

  "He had approached us at an Old 97's show a while 
back," Miller continued, "and of
  course we all love him and the Pixies. So, when [Black] 
called me back and said he
  really liked ['Fight Songs'], I knew we had passed the 
bar. Unfortunately, his favorite
  track, 'The Villain,' ended up getting left off the 
U.S. version of the album, but I think
  we're using it as a bonus track on the Japanese import. 
Sorry about that Frank."

  Even though the new Old 97's record doesn't come out 
until next month, fans can catch
  a snippet of another track from "Fight Songs," entitled 
"19" [28.8 RealAudio], that is
  being used on promotional spots for the WB drama 
"Felicity" throughout March.

RE: Lawrence Welk (RE: country radio)


 On a totally different tangent, I have been listening to the
 upcoming Spade
 Cooley record that Bloodshot is releasing soon and my first reaction was
 "This sounds like Lawrence Welk!" Maybe not as cheesy but the
 accordion and
 the western swing arrangements have that "champagne" sound. I must be
 getting old, though, I kinda liked it. g


Welcome to Club Geezer, Jim.  Cooley and Welk were essentially direct
competitors in Southern California in the early-mid 50s.  That's a bit after
the period covered by the Bloodshot transcriptions comp, but even so...

Jon Weisberger  Kenton County, KY [EMAIL PROTECTED]
http://home.fuse.net/jonweisberger/

Re: Recordable CD Players

1999-03-05 Thread Lord Rat


At 10:16 AM 3/5/99 -0800, you wrote:

  Hey all,
 
  I've been thinking about picking up a home CD Recordable unit.  Does
anybody out there own one, or have you heard of a particular
brand/model that is supposed to be good?  Does the quality vary alot
between brands?  Also, is there any audible difference between getting
a home unit (stereo component) and buying one for a computer with the
intent of duping music?

  thanks -- Shawn


If you the thought of having to go beyond 'Plug 'n Play' doesn't frighten
you, a computer CD recorder is the way to go. Besides the difference in
price for media noted in Jon's reply, the hardware for stand alones is more
expensive as well and not nearly as versatile. Stand alones won't create
CD-ROMs, for example. I've have my Plextor 4/12 for just over a year now,
and have burned over 150 CDRs without any major problems, and I highly
recommend it. Plextor has an excellent reputation for quality and customer
service, but they are also among the priciest. If you don't mind rooting
through a lot of pointless debate, the comp.publish.cdrom.hardware is an
excellent starting place for more information.

RE: Recordable CD Players

1999-03-05 Thread Douglas Neal


At 02:55 PM 3/5/99 -0500, you wrote:
 Also, is there any audible difference between getting
 a home unit (stereo component) and buying one for a computer with the
 intent of duping music?

As far as I know, there's no audible difference, but there's a financial
one, as a friend of mine recently discovered: the standalone, home units
require discs that cost substantially more than the ones used in computer
peripherals (he says he's paying $6-$7 a disc, as opposed to $1-$2).  As I
understand it - and if I'm wrong, I have no doubt that someone will correct
me - the difference is related largely to a royalty that goes to the record
companies, purportedly to offset the cost of unauthorized duplication of
CDs; the discs used in the computer peripherals are exempt because of their
double duty as data storage media.

Jon Weisberger  Kenton County, KY [EMAIL PROTECTED]
http://home.fuse.net/jonweisberger/


  How does this industry kickback work?  Do labels like Bloodshot, Hightone
and Rebel see any of this?  Seems suspicious to me.  Is anyone out there
using a computer peripheral for music duplication?  How is it working?

  D.

Re: A Question


 
 Cheryl Cline wrote:
What DO we call this stuff?
 
 I know you're being semi-sarcastic but: Having a country influence and 
 not being on country radio doesn't seem to me to make this stuff all 
 of a genre, even though the same people will often like most of it. 
 "Rootsy stuff" usually does in conversation. It'd behoove writers to 
 call things by more specific and evocative terms. The Old 97s should 
 be called "Dallas Calling pop-punk roots" while Dale Watson should be 
 called "stubbornly retrograde hard country," the Geraldine Fibbers 
 should be called "AIDS-era sonic twang," etc. etc. Delineating the 
 relationship to the alt-country media/marketing/social-scene should be 
 done in a separate sentence. ("Tweedy hates being called alt-country, 
 even though most everyone blames him for the movement;" "Hadacol is a 
 bit of an alt-country bandwagon band"; "Don Walser isn't quite sure 
 what the kids mean by alt-country.")
 
 All in the spirit of your rules-for-critics.
 
 
 Cheryl also wrote:
P.S.: Coming Soon: Boomers and Gen X, Tailbusters and Teenagers: Pfui.
 
 
 Um, just to forestall being torn to well-chewed chunks by the sharp 
 incisors of the Cline wit - and knowing that I was waxing purple and 
 puffy in some of my previous contributions to this - I would like to 
 state for the record that generational distinctions only have very 
 very general application and that one's place in cultural chronology 
 is no more or less important than one's place in cultural geography, 
 gender, race, class and smarts, among other elements of life. *Of 
 course* age has no necessary relation to, for instance, being a 
 utopian hippie, or a cynical slacker, or whatever. These are all 
 contingent generalities.
 
 I was addressing demographics in the frame of Jake's essay, but I too 
 hated the Gen-X shit when it was coming down the pipe fast and furious 
 in the early nineties. However: in retrospect, I have to say the best 
 of the commentary it generated was more accurate than I wanted to 
 admit. And I don't think it's foolish to say that the particular 
 cultural moment you grew up in, along with the economic conditions and 
 prevailing politics, is an important influence on who you become. We 
 don't question that when we talk about people who grew up in the 
 Depression and in the Jazz Age, so it seems fair to speculate about it 
 in terms of the eighties boom, the eighties-nineties recession, David 
 Letterman and grunge.
 
 Any overblown claims of explanatory power are hereby dampened down. 
 But I'd still like to hear what Cheryl thinks.
 
 Carl W.

Re: Recordable CD Players

1999-03-05 Thread Douglas Neal


At 12:26 PM 3/5/99 -0800, you wrote:

If you the thought of having to go beyond 'Plug 'n Play' doesn't frighten
you, a computer CD recorder is the way to go. Besides the difference in
price for media noted in Jon's reply, the hardware for stand alones is more
expensive as well and not nearly as versatile. Stand alones won't create
CD-ROMs, for example. I've have my Plextor 4/12 for just over a year now,
and have burned over 150 CDRs without any major problems, and I highly
recommend it. Plextor has an excellent reputation for quality and customer
service, but they are also among the priciest. If you don't mind rooting
through a lot of pointless debate, the comp.publish.cdrom.hardware is an
excellent starting place for more information.


  What is required for this, software-wise.  How much was your Plextor 4/12?

  D.

CRS (Country vs. AAA)

1999-03-05 Thread Steve Gardner


All this talk about AAA vs. Hot Country is pretty interesting.  I have a
couple personal observations on the subject.  Let me start by letting you
all know that radio completely and utterly sucks in the Raleigh area.  There
are two great college stations (WXDU and WXYC, in that order g), after
that it's all pretty wretched.  When the two college stations are playing
something I don't like I switch first to 96 Rock.  They are a new station
that probably uses the trade-term "Active Rock."  Basically they play
everything from old AC/DC and Metallica to Bare Jr and Green Day.  At least
it is interesting, and I have to admit that when some old AC/DC tune comes
on I'm crankin' the stereo up to 11.

We don't have a AAA station here, but we have 4 (or more) hot country
stations.  I listened to them pretty often for about a year and a half.
When the stuff started sounding good to me I knew my musical taste was
dying.  When ya find yourself singing along with Shania's "Still the One"
(isn't that a Pepsi song?) you know it's time to rethink your listening
activities.  Hot Country is definitely *easy* to listen to, but isn't that
the point?  Interesting though?  Hardly, at least not for me.

I would be overjoyed if we got a AAA station like WNKU, or even the ultra
big KFOG from San Francisco.  Sure, they aren't perfect but when compared to
the rest of commercial radio you could do much worse.

So, everyone quit your bitching.  At least you have a few stations that play
good music *sometimes*.

Oh, and Don said this:

I'm not sure what needs explaining.  Most AAA radio's a sterile mix of
"classic rock" (i.e., overplayed boomer music) and tepid adult pop.

That same definition could be used for Hot Countryexcept the overplayed
part.  Instead of playing old hits, they just continue to manufacture songs
that sound like last months hits.

$100 CD Player in the car was the best investment I ever made.

Cheers.
Steve
==
Steve Gardner * Sugar Hill Records Radio Promotion
[EMAIL PROTECTED] * www.sugarhillrecords.com

WXDU "Topsoil" * A Century of Country Music
[EMAIL PROTECTED] * www.topsoil.net
==

Re: Obit: Eddie Dean




On Fri, 5 Mar 1999, Jim Nelson definitely wrote:

 Uh, actually Cary Ginnell wrote that, Don.  You can take it up with him,
 if you like. g

Oops!  Sorry for the misattribution, Jim.--don

Re: Chicago Calendar

1999-03-05 Thread Bob Soron


I dunno if these count as additions or changes or both, but this week's
House of Blues ad says that Dick Dale is the 11th, not the 4th, which
means I may be able to go out on my birthday after all. And the Metro's
got some benefit going, including folks such as Langford, Escovedo,
Fulks, Mavis Staples, and some less roots-oriented stuff. I think it's
the same night that Devil in a Woodpile are headlining, but don't
remember for sure. (The DiaW show starts late, while this benefit's
early.) And that Wilco instore is also going to be broadcast on 'XRT,
for those who'd rather have trading fodder.

Bob

Re: Beantown Bound/Spurs

1999-03-05 Thread Bob Soron


At 8:16 AM -0600  on 3/5/99, marie marie wrote:

I think John was actually one of those non-dancers dancing at my last Spurs'
show.  I always complained that the men in Boston never danced. Well,
they don't appear to dance in Nashville either.

Hey, back in the day, I used to lose serious water weight out on the
dance floor. Up until the last, folks like Sleepy LaBeef could get me
out there for four or five hours. And I was hardly alone. You must've
just been going to the wrong shows.

Bob

Re: Recordable CD Players

1999-03-05 Thread Bob Soron


At 10:16 AM -0800  on 3/5/99, Shawn Devlin wrote:

  I've been thinking about picking up a home CD Recordable unit.  Does
anybody out there own one, or have you heard of a particular
brand/model that is supposed to be good?  Does the quality vary alot
between brands?  Also, is there any audible difference between getting
a home unit (stereo component) and buying one for a computer with the
intent of duping music?

You can read the huge FAQ at www.fadden.com/cdr. (If I've gotten that
wrong, someone please say something.) I don't know if it has anything
about the stereo component units, but I can't imagine there's much
audible difference between those and CDRs for your computer. (Though
that FAQ makes the point that the error correction algorithms may
ensure that it never sounds the same way twice anyway.)

I've got a Yamaha 4416 and like it quite a bit. Although it's a CDRW
unit, it seems to have trouble with some CDRW blanks. But it's
succesfully burned every normal CDR blank I've tossed into it,
including generic cheapos. (You can't play CDRWs anyway -- they're only
useful for backing up data, not for music.)

Bob

Re: Recordable CD Players

1999-03-05 Thread Brad Bechtel


If you own a Mac, I'd recommend getting a copy of Adaptec Toast (version 3.5.6 is the 
most current).  If you own a PC,  Adaptec's Easy CD Creator does the job.  Either will 
burn audio CDs; if you're doing multimedia development, you can make your own 
presentations and have them automatically play when the CD is inserted into your PC. 
http://www.adaptec.com can give you more information about their software.

I'm using a Sony doublespeed recorder from 1995 that has worked flawlessly ever since 
we bought it.  I've done this more times than I'd care to admit.  If you own a 
Macromedia product, chances are it came from this CD burner.

Further details available privately to those who really need to know.

np: Buena Vista Social Club

lack of definition -- is that so wrong?

1999-03-05 Thread Rob Russell


Since everybody always asks, upon finding out that I have a band, 
"What kind of music do you play?", I have had to think about genre 
definitions way too much for my own good. Still, I don't have a good 
answer. Here are a couple of recent incidents that reveal the inadequacy of 
prevailing terminology/attitudes:

* a girl from the bluegrass program, working with a tutor in our 
center, asks me about my band; as I start to name off bands she might 
have heard of that we might have some similarity to, I use the 
unfortunate term "alt.country." "Like Shania Twain?" she asks. I try 
to hide my disgust ... but do not succeed!

*at a gig last weekend in Bristol (the "birthplace" of country 
music) a couple of young ladies enter the club's door while we are 
playing our opening number, one of our "countries" tunes. They watch 
in amazement for about 30 seconds, shake their heads and leave. Half 
an hour later, another set of ladies, a few years older, walk through 
the bar door while we're playing one of our hardest-rocking songs; 
the watch in amazement for about 30 seconds, shake their heads and 
leave.  Disturbed at this phenomenon, I asked the doorman during the 
break, "Are we THAT ugly?" He said, "Yes, but that's not why the 
didn't come in -- the first group hated country, and the second group 
didn't want to hear any of that 'acid rock.' So that's us -- Acid 
Country!

___
Robert A. Russell
Director, Writing and Communication Center
East Tennessee State University
Box 70602
Johnson City, TN  37614
Phone:  (423) 439-8438
Fax: (423) 439-8666
[EMAIL PROTECTED]
http://www.etsu.edu/wcc

***
"Objective evidence and certitude are doubtless very fine ideals to play with
but where on this moonlit and dream-visited planet are they found?"

-- William James, 1842-1910, "The Will to Believe"

RE: Lawrence Welk vs. Spade Cooley