Re: Clip: New Faces Show
(written regarding Jon Randall): Can anyone back me up on this one (or prove me wrong): Wasn't this the "country singin' kid from KY" on MTV's "Real World" when they were in So. CA? For some reason I wanna say his name was Jon. Rave On, Paul Don't know about the MTV thing, but FWIW, he's the guy married to Lorrie Morgan, if that helps you. Tera
Badge needed!
Hey why worry about the penny-ante wristband stuff anyway. go for the big one! Seriously, if anyone can let me use their badge from about 2:15 to 3:15 p.m. Thursday, I'd be much obliged. I can pick it up and return it to the P2 party. Thanks, Linda
SXSW and me
Here's the deal. I'm shooting a commercial in Nac. tommorow, so I can check my mail (I own no Austin computer). I'll be in Austin for SXSW. I'd like to go to the parties, etc. But I don't have a clue where they are. I'd like to meet all you guys (again, probably). Someone help me out. --Matt Cook
Re: Clip: The state of country radio
-Original Message- From: [EMAIL PROTECTED] [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Monday, March 15, 1999 10:33 PM Subject: Re: Clip: The state of country radio In a message dated 3/15/99 9:40:41 PM Central Standard Time, [EMAIL PROTECTED] writes: Just happened to be station-surfing Sunday morning on the way back from the gig in Knoxville and came across Elton John's "Hold Me Closer, Tiny Dancer" rock/pop operretta -- it features, in addition to overblown strings and an overall baroque-rock arrangement, a pedal steel! I seemed to have forgotten about EJ using steel in a lot of his 70's stuff. "Tumbleweed Connection" was an amazing album. I still listen to it every once in a while. Was it alt. country? Slim Maybe alt.country/pop given some of the embellishment in arrangement g. Some beautiful stuff on that album. I also play it every now and then, btw. "Come Down In Time" with the moody oboe and harp backing is still one of my favorite ballads. I've read that John was very enamoured of the American Old West when he was a kid. He enjoyed reading cowboy and indian epics and always dreamed of visiting. It was said he was further inspired to write the songs on TC due to his promo trip to the states for "Your Song". Encouraged by that lp, I also bought "Madman Across The Water" with that "Tiny Dancer" song some have mentioned here. Not a bad album, but definitely lost interest in John, except for a few random singles every now and then heard on the radio. Perhaps if he had taken the concept of Tumbleweed Connection further... Tera
Re: SXSW and me
At 01:01 AM 3/16/1999 Matt wrote: Here's the deal. I'm shooting a commercial in Nac. tommorow, so I can check my mail (I own no Austin computer). I'll be in Austin for SXSW. I'd like to go to the parties, etc. But I don't have a clue where they are. I'd like to meet all you guys (again, probably). Someone help me out. --Matt Cook Hey Matt, We've never met, face to face anyway, and I know there's other P2ers in the same boat who regret not meeting you. Why not just make it easy on us all and show up for Cherilyn's party and get it over with? best, b.s. n.p. Foster Lloyd FASTER AND LLOUDER "The truth ain't always what we need, sometimes we need to hear a beautiful lie." -Bill Lloyd
Re: Boot recommendations?
Justin. Every time. -- 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] ---
Re: Clip: The state of country radio
This is pretty evident by the fact that instead of folding to the whims of Nashville and becoming another music publisher's puppet, she fond Mutt Lange (or should I say he found her), who in return allowed her to do things her own way. Not aware of what her lounge singing consisted of in Canada, but before she met Mutt she did a pretty decent straight ahead country CD which if I remember correctly, received critical acclaim but little commercial acceptance as it came out just as the POP boom in country was exploding. Mike Hays http://www.TwangCast.com TM RealCountry 24 X 7 Please Visit Then let us know what you think! Mike Hays www.MikeHays.RealCountry.net For the best country artist web hosting, www.RealCountry.net
Re: Clip: New Faces Show
vgs399 writes: Don't know about the MTV thing, but FWIW, he's the guy married to Lorrie Morgan, if that helps you. Yeah,he's not the Real World guy. And, concerning to whom he's married, he's a lucky, lucky man. If I was in his boots I'd have a good reason to never leave the house. --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
RE: iggy pop
Yeh, I thought so, too. Maybe I don't grasp the point of Behind The Music, but it doesn't seem to be much about music, as it is glorifying drug abuse. Hell, after watching the Motley Crue one, I found myself envying their rock n roll lifestyles. Sounds like fun. Yeh, every one's clean and sober now, able to look back and say" woo, those were wild times, man. Even my son partied." But not everyone made it: did the Iggy Pop one mention that Dave Alexander died from an overdose? Anyway, I find them pretty disappointing, mostly. Tho I was shocked at James Williamson's look today. Isn't he the one everyone hated in "Please Kill Me"? He looks like my college professor neighbor. -Original Message- From: Thomas W. Mohr [SMTP:[EMAIL PROTECTED]] VH1 is repeating "Iggy Pop: Behind the Music" tomorrow (Tuesday ) at 10 p.m. (Central). Cool show, but they spent a bit too much time on the story of Iggy Jr. -- Tom Mohr at the office: [EMAIL PROTECTED] at the home: [EMAIL PROTECTED]
RE: Clip: New Faces Show
I'm kind of surprised that folks aren't clued in to Jon Randall, since anyone who has a copy of Emmylou Harris' Live At The Ryman has heard him play and sing. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Clip: New Faces Show
In a message dated 3/16/99 4:52:46 AM Central Standard Time, [EMAIL PROTECTED] writes: Yeah,he's not the Real World guy. And, concerning to whom he's married, he's a lucky, lucky man. If I was in his boots I'd have a good reason to never leave the house. You have obviously never met Ms. Morgan. Ever wonder why Keith Whitley drank himself to death? Think about it. Slim
Re: SXSW and me
In a message dated 3/16/99 1:05:03 AM Central Standard Time, [EMAIL PROTECTED] writes: I'll be in Austin for SXSW. I'd like to go to the parties, etc. But I don't have a clue where they are. I'd like to meet all you guys (again, probably). Someone help me out. Does this remind anyone of the kid who waits until the last minute to do his school science project? You have only had a year to plan this. Slim
RE: iggy pop
Funny Iggy story that I may have told out here before. A former acquaintance was a former high class restaurant manager turned cheesy marketing guy (cheesy as in combining Pat Riley's look with a disco-suave personality). He sees Spin or some such with Iggy on the cover and says, "Hey, that's my friend Jim!" Turns out that Iggy used to date a girl from Cincinnati, and would fly down to spent the weekends with her. Chuck would run into Iggy at after- hours restaurant/bar employee parties. Iggy always introduced himself as "Jim" and Chuck had no clue that he was a famous musician. Said he was very cool, very polite. Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
RE: Clip: New Faces Show
Yeah,he's not the Real World guy. And, concerning to whom he's married, he's a lucky, lucky man. If I was in his boots I'd have a good reason to never leave the house. You have obviously never met Ms. Morgan. Ever wonder why Keith Whitley drank himself to death? Think about it. I'll think about it for as long as it deserves, which is just long enough to recall that Keith Whitley had a serious drinking problem long, long, long before he ever met Lorrie Morgan, serious enough to get fired from at least one band. You obviously never met Mr. Whitley. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: SXSW and me
maybe his dog ate his party schedule? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]] Sent: Tuesday, March 16, 1999 9:15 AM To: passenger side Subject: Re: SXSW and me In a message dated 3/16/99 1:05:03 AM Central Standard Time, [EMAIL PROTECTED] writes: I'll be in Austin for SXSW. I'd like to go to the parties, etc. But I don't have a clue where they are. I'd like to meet all you guys (again, probably). Someone help me out. Does this remind anyone of the kid who waits until the last minute to do his school science project? You have only had a year to plan this. Slim
RE: Clip: The state of country radio
Correct me if I'm wrong here (and I've been meaning to bring this up about Shania), but since when was Shania ever really "Country." From what I've read about her, she was singing pop songs in a Vegas format in some vacation lodges in Canada. It just so happens that the one person that "discovered" her was from Nashville. Her musical background before that time was pretty much "Pop" bands playing in Ontario. As Mike Hays pointed out, Twain's first album, produced by Norro Wilson and Harold Shedd (he's the guy who signed her), was pretty much straightahead country. More to the point, though, the CMF's new Encyclopedia of Country Music says that 1) she came to Nashville with a tape and hooked up with Shedd there, and 2) "by her teens she was a veteran of Canadian country TV shows," which suggests that her background wasn't solely pop. Looking at the matter in terms of the country music industry and the way that it works, Twain's career, at least through The Woman In Me, bears a considerable resemblance to that of some of the 70s Outlaws - that is to say, a struggle with "conservative" producers and label execs over her desire to pursue a new sound that could appeal beyond the "normal" country audience by bringing in pop/rock elements. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: Clip: The state of country radio
From: Mike Hays Not aware of what her lounge singing consisted of in Canada, but before she met Mutt she did a pretty decent straight ahead country CD which if I remember correctly, received critical acclaim but little commercial acceptance as it came out just as the POP boom in country was exploding. Yes, but was this the pre-Mutt Lange Shania, or post? If it was pre, then she was only allowed to contribute one or maybe two songs of her own. Her lounge singing BTW, consisted of Gloria Gainer etc. type songs. Derek
RE: Clip: The state of country radio
Terry says: As for rock influences on country, Jon's made this point before, and it's well documented, but I'd argue that there's rock influences and then there's rock influences. The sort of rock influences that's "corrupting" commercial country music these days is, for the most part, banal, done-a-million-times bar-band type junk that was cliched when the Doobies were hacking away at it in the Seventies. Take Shania [and] Garth Brooks. Viewed from a rock perspective, these folks are living and breathing cliches. Could be, but I'll bet there are plenty of rock fans who would disagree from their rock perspectives, eh? I mean, about what qualifies as rock junk and what doesn't. Not that those are arguments I'm especially invested in g. In any event, I don't know that the idea of "cliche" has the same content across different musical styles or listeners' backgrounds. A huge number of country shuffles start off with the same two-note fiddle pickup, and a huge number of mid- and up-tempo bluegrass tunes start with the same 3-note banjo pickup. Are those cliches? By most stabs at an objective definition of the term, I'd guess so, but I, at least, not only don't get tired of and bored with them, I'm usually disappointed if they're not there. Maybe this kind of stuff is only cliched if you don't like it g. I don't know a lot about rock/pop, but even I can recognize that the passage in, say, "Bye Bye Baby" that follows the bridge, where Messina is singing the first part of the chorus over a stripped-down backing that comes crashing back in for the second part of the chorus is a technique that's been used in a gazillion pop/rock songs; even so, it doesn't bother me. To my ears, it works, it sounds good, it fits the song (in a pop/rock kind of way g), and so the question of whether it's a cliche or not is just plain irrelevant. YMMV, etc., but I wonder if it can't be said that, at least in one sense, country listeners have a higher tolerance in general for recycling musical material (not meaning songs, but licks, riffs, arrangements, etc.). Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Boot recommendations?
On Mon, 15 Mar 1999, Iain Noble wrote: Justin. Every time. Ironic that it takes an Englishman to point out the obvious g. Kip -- 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] ---
RE: Clip: The state of country radio
From: Jon Weisberger More to the point, though, the CMF's new Encyclopedia of Country Music says that 1) she came to Nashville with a tape and hooked up with Shedd there, Well shame on me then for watching and believing what I see on VH1, but according to their report, she was singing away doing her lounge act while Mr Shedd just happened to be in the audience. As reported by Mr. Shedd in the segment, he approached Shania and asked her to please come back to Nashville with him. 2) "by her teens she was a veteran of Canadian country TV shows," which suggests that her background wasn't solely pop. I never meant to suggest that her background was "solely" pop (which I know it kinda came off sounding like), but according to Terry's post (which got me started), he was dissapointed in Shania for her desertion of "real country." I just don't see it that way. It's not as if she had some long struggle as an unknown country artist, then only to make it to the top and totally do a 180, thus leaving her throngs of long devoted country fans in the dust. Now if Terry was simply saying that he liked Shania better as a "real country" performer, than the pop diva she's now becoming, then I can understand that. Derek
RE: Clip: The state of country radio
[Matt Benz] Shania sez in the VH1 special that she sang whatever was in demand: she sang in rock bands, top 40 cover bands, country bands. She was a typical lounge-type performer: simply doing whatever styles were wanted at the time. As far as I can tell, she was not pre-disposed to country music, which is clear from her pop thrusts lately. She just wanted to succeed in a musical career. Which is fine. She did have at least one good country song, I think, based on that special: a clip from an early video (her playing guitar in a rustic porch setting) was kinda good.
RE: Clip: The state of country radio
[Matt Benz] Shania sez in the VH1 special... Hmm, first Derek, now Matt confesses to having tuned in. I think it's pretty clear just who the real Shania fans are here. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: Clip: The state of country radio
I was at my in-laws, lying on the couch, watching lots of satellite tv. Lots of VH1 music specials. I didn't see all of Shania's, tuned out before the "fake Native American backround" scandal. I admit I was curious. And she is good looking, no denying that. But then I also watched the Grand Funk one. So yeh, I'm shameless. M -Original Message- From: Jon Weisberger [SMTP:[EMAIL PROTECTED]] Sent: Tuesday, March 16, 1999 10:26 AM To: passenger side Subject: RE: Clip: The state of country radio [Matt Benz] Shania sez in the VH1 special... Hmm, first Derek, now Matt confesses to having tuned in. I think it's pretty clear just who the real Shania fans are here. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: SXSW and me
maybe his dog ate his party schedule? Na, his printer didn't work. But he'll have it by tomorrow, really!! --junior
Re: Austin-bound
At 11:29 AM 3/15/99 -0800, you wrote: I'll be leaving Tuesday morning for Austin and won't be back until next Monday night. If you have any P2 subscription problems/questions while I'm gone, email the fantabulous listmom Laura at [EMAIL PROTECTED] Looking forward to seein' lots of ya in Austin -- don't forget about Cherry Lou's P2 BBQ on Thursday! (And that means you, Weiss Bros.)--don This is why I never raised my hand in class. I hate having everyone stare at me like that. Yeah, we'll be there. Bring your raincoats, folks. Forcast is showers. Jeff Miles of Music mail order http://www.milesofmusic.com FREE printed Catalog: (818) 883-9975 fax: (818) 992-8302, [EMAIL PROTECTED] Alt-Country, rockabilly, bluegrass, folk, power pop and tons more.
Clip: Buddy Holly lawsuit
Buddy Holly's Survivors Sue MCA By CHRIS NEWTON Associated Press Writer LUBBOCK, Texas (AP) - Relatives of Buddy Holly sued MCA Records Monday, alleging that the company hoarded royalty payments, forged contracts and illegally produced albums without family consent. The lawsuit seeks unspecified damages but Attorney Kevin Glasheen described it as a multi-million-dollar case. ``It's bad form to steal from a dead man, but unfortunately in the music industry it happens,'' Glasheen said. ``The problem is that MCA, just like a lot of people who owe money, won't pay it until they have to.'' Los Angeles-based MCA Records, one of the nation's largest recording companies, did not return calls from The Associated Press. The lawsuit, filed in state court, charges that the contracts providing for royalties to Holly's heirs are legally questionable and should be redone. Plaintiffs are Buddy Holly's widow, Maria Holly; his brothers, Larry and Travis Holley; and his sister Pat Holley. Buddy Holly dropped the 'e' from his last name, and his wife took the new spelling. Maria Holly lives in Dallas and Larry, Travis and Pat Holley live in Lubbock. ``The so-called recording agreements relied on by MCA are void and unenforceable and in certain circumstances, outright forgeries,'' the lawsuit says in reference to a contract that appears to be signed by Maria Holly and another contract signed by a manager the family claims had been fired by Holly. The lawsuit alleges MCA conned Holly's parents into signing an agreement for rights to Holly's music, even though recording officials knew ``the parents had no authority to contract for those recordings. MCA also has ``grossly underpaid the fair market value of the royalties,'' the family alleges in the lawsuit. ``Basically, after Buddy Holly died, the record company went through a lot of manipulations with his former manager to issue a lot of recordings,'' Glasheen said. ``MCA had agreed to pay the family additional royalties, but then wanted to add additional terms to the agreement.'' Holly had several hit songs before he died in a plane crash at age 21 in 1959, including ``That'll Be the Day,'' ``Peggy Sue'' and ``Maybe Baby.''
RE: Clip: New Faces Show
Jon Weisberger wrote: I'm kind of surprised that folks aren't clued in to Jon Randall, since anyone who has a copy of Emmylou Harris' Live At The Ryman has heard him play and sing. I guess that might explain why I haven't a clue who this cat is, now doesn't it! g Paul np: Golen Palominos - Thundering Herd/Best of
Re: Iggy/Pretenders/Clash/Ameritwang
In a message dated 3/15/99 7:02:28 PM EST, [EMAIL PROTECTED] writes: Masonrod said: Whine, whine, whine. "I got to see him here." "Oooh, I wish I was there." That's why I stay in Detroit. Despite its present day music mundaneness, I got to experience so much when Detroit was still Rock City. ok, but the real question is: did you ever see the greatest rock'n'roll band ever to come screaming outta the motor city? i'm speaking of sonic's rendezvous band. i saw a couple of shows they did, including opening up for the ramones in 77, at the legendary second chance in ann arbor. maybe the best show i've ever seen, period.
RE: iggy pop
Well, that's what I figured out, eventually. I guess I'm not as interested in drug use and wife beatings as I am in music, tho. M I do believe the show is called "BEHIND the music" which would suggest that they would talk about something other than "the music"...eh? I just can't wait for the new series "Behind the Rap/Hip Hop"...ooohhh that should be chalked full of goodies! g Paul
Re: iggy pop
[EMAIL PROTECTED] writes: In a message dated 3/15/99 10:01:18 PM EST, [EMAIL PROTECTED] writes: Search Destroy - Red Hot Chili Peppers (didn't EMF do this too?) don't know about emf, but the dictators did/do a great version of this on "bloodbrothers". "Manifest Destiny," actually. Speaking of the 'Taters, though, the group has just reissued "Bloodbrothers" and the early '80s live album "Fuck 'Em If They Can't Take a Joke" on CD for the first time; "F.E.I.T.C.T.a.J." with three bonus tracks. No word on a reissue of "Manifest Destiny" yet, but a new album is due during the summer and Bostonians can cheer the group on at the Middle East on May 7th. Goin' to B.O.C. Thursday night! Woo!!! --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
Re: Clip: New Faces Show
In a message dated 3/16/99 8:21:20 AM Central Standard Time, [EMAIL PROTECTED] writes: You obviously never met Mr. Whitley. As matter of fact I did meet him once. He was a perfect gentleman, and sober as a judge. He put on a great show as well. What he did when he was back on the bus was probably much more sinister and self destructive. I know that Ms. Morgan was not the cause of his alcoholism, but she certainly was a symptom. My brother worked for RCA during one of her stints on the label. She was no sweetheart, let me tell you. He also went to elementary school with her, but that's another story. Slim
Re: SXSW and me
In a message dated 3/16/99 9:40:29 AM Central Standard Time, [EMAIL PROTECTED] writes: maybe his dog ate his party schedule? Na, his printer didn't work. But he'll have it by tomorrow, really!! Matt, were just funnin' with you. hope to see you at some of the parties. Introduce yourself. HEY! I have a great idea! Why don't the poor unwashed without badges wear those blue "HELLO my name is..." tags? Slim - hopefully washed
mo' 70s rock (was Re: iggy pop)
Moving the thread from Iggy Pop and the Dictators, [EMAIL PROTECTED] exclaimed: Goin' to B.O.C. Thursday night! Woo!!! Who exactly is in Blue Oyster Cult these days aside from Eric Bloom Buck Dharma? Anybody named Bouchard? Carl Z.
RE: Clip: New Faces Show
sounds juicy, any more details? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]] Sent: Tuesday, March 16, 1999 1:01 PM To: passenger side Subject: Re: Clip: New Faces Show In a message dated 3/16/99 8:21:20 AM Central Standard Time, [EMAIL PROTECTED] writes: You obviously never met Mr. Whitley. As matter of fact I did meet him once. He was a perfect gentleman, and sober as a judge. He put on a great show as well. What he did when he was back on the bus was probably much more sinister and self destructive. I know that Ms. Morgan was not the cause of his alcoholism, but she certainly was a symptom. My brother worked for RCA during one of her stints on the label. She was no sweetheart, let me tell you. He also went to elementary school with her, but that's another story. Slim
B.O.C Re: mo' 70s rock (was Re: iggy pop)
Carl Zimring asked: Moving the thread from Iggy Pop and the Dictators, [EMAIL PROTECTED] exclaimed: Goin' to B.O.C. Thursday night! Woo!!! Who exactly is in Blue Oyster Cult these days aside from Eric Bloom Buck Dharma? Anybody named Bouchard? Aw man, make it stop! g Now the opening notes from "Cities On Flame" are stuck in my head and won't leave.Saw B.O.C. twice back in the day, (opened for the Dolls in 1974, headlined in 1977) and my hearing's never fully recovered. Quality metal, yeah boy. yours in tyranny and mutation, b.s. racing for a twang palliative...
Re: mo' 70s rock (was Re: iggy pop)
Carl Abraham Zimring writes: Who exactly is in Blue Oyster Cult these days aside from Eric Bloom Buck Dharma? Anybody named Bouchard? Nope, last I'd heard Joe B. had gotten a music degree from Julliard (not sure what he's doing with it) and Al B. was still playing with his wife Deborah Frost in the Brain Surgeons. B.O.C. at the moment includes Bloom, Buck, original keyboardist Al Lanier, Bobby Rondinelli on drums (ex-Rainbow/Heart/Black Sabbath), and bassist Danny Miranda, whose history I'm not aware of. What the hell. Don's gone and when the cat's away Who's up for another epic discussion of '70s hard rock bands? ;-) --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
RE: B.O.C Re: mo' 70s rock (was Re: iggy pop)
Reply to: RE: B.O.C Re: mo' 70s rock (was Re: iggy pop) One of the best concerts I ever experienced: New Years Eve, 1973-74, Academy of Music, NYC. Kiss (major league debut, with the neon Kiss sign and everything) Iggy and the Stooges (including the great James Williamson) and Blue Oyster Cult. It was far out. (Trying out new words for awesome.) William F. Silvers wrote: Saw B.O.C. twice back in the day, (opened for the Dolls in 1974, headlined in 1977) and my hearing's never fully recovered. Quality metal, yeah boy.
New album proves Dylan is in Jewish phase (and country)(fwd)
Got this from the Dylan newsgroup and thought it funny in a way that postcard2 folks may find funny too... keep dancing, -ldk -- Forwarded message -- Advanced word from Sony Records proves Dylan is not only reasserting his Jewish heirtage but is also reclaiming the traditions handed down by one of his favorite singer/songwriters Hank Williams Sr. His soon-to-be released country-flavored album, appropriately titled "Gotta Shalom Somebody," contains the following tracks: 1. "I Was One of the Chosen People (Til She Chose Somebody Else)" 2. "Honky Tonk Nights on the Golan Heights" 3. "I've Got My Foot on the Glass, Where Are You?" 4. "My Rowdy Friend Elijah's Coming Over Tonight" 5. "New Bottle of Whiskey, Same Old Testament" 6. "Stand by Your Mensch" 7. "Eighteen Wheels and a Dozen Latkes" 8. "I Balanced Your Books, but You're Breakin' My Heart" 9. "My Darlin's a Schmendrick and I'm All Verklempt" 10. "That Shiksa Done Made off With My Heart Like a Goniff" 11. "The Second Time She Said 'Shalom,' I Knew It Meant Goodbye" 12. "You're the Lox My Bagel's Been Missin" 13. "You've Been Talkin' Hebrew in Your Sleep Since that Rabbi Came to Town" 14. "Mamas Don't Let Your Ungrateful Sons Grow Up to Be Cowboys (When They Could Very Easily Have Just Taken Over the Family Hardware Business that My Own Grandfather Broke His Back to Start and My Father Built Up Over Years of Effort Which Apparently Doesn't Mean Anything Now That You're Turning Your Back on Such a Gift)"
Re: mo' 70s rock
Ready, willing, AND ableto discuss 70's hard rock (not metal, in my mind anyway,thankyouverymuch). BOC's _Cultosaurus Erectus_ remains one of my favorite records to this very day. NPIMH: BOC's epic song relating to Micheal Moorcock's sci-fi epics..."Black Blade" Jerry
RE: B.O.C Re: mo' 70s rock (was Re: iggy pop)
William F. Silvers wrote: Saw B.O.C. twice back in the day, (opened for the Dolls in 1974, headlined in 1977) and my hearing's never fully recovered. Quality metal, yeah boy. Saw a dream show on Long Island in the mid-70's Foghat opened, the original Black Sabbath in the middle and BOC (honetown boys) as headliner. One of the loudest night ever. Also knew someone who lived across the street from Buck Dharma for a while. We used to get a kick out of his wife henpecking him. "OH, Donnn!" Jim, smilin'
Re: Clip: The state of country radio
Looking at the matter in terms of the country music industry and the way that it works, Twain's career, at least through The Woman In Me, bears a considerable resemblance to that of some of the 70s Outlaws - that is to say, a struggle with "conservative" producers and label execs over her desire to pursue a new sound that could appeal beyond the "normal" country audience by bringing in pop/rock elements. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/ Jon, you keep making this point, but I'd argue that you're overstating the resemblance between Twain's career (and, by necessity, her music, since that's her career) and that of the 70s outlaws. They actually could write songs, or had the good judgment to pick songs, with some staying power and grit. I'm not a soothsayer, so I can't say this for sure, but I'll bet my bottom dollar that the tunes of Kris Kristofferson and Outlaw era Willie will be around when Shania's been long forgotten. As I said before, there's rock influences and then there's rock influences, and they're not all floating around on the same, precise relativist plain. -- Terry Smith
Re: Clip: Buddy Holly lawsuit
"Basically, after Buddy Holly died, the record company went through a lot of manipulations with his former manager to issue a lot of recordings,'' Glasheen said. ``MCA had agreed to pay the family additional royalties, but then wanted to add additional terms to the agreement.'' Does anyone know if the "former manager" here is Norman Petty? Lance . . .
Re: Boot Recommendations-Austin
At 06:07 PM 3/15/99 -0800, you wrote: A couple of places (not sure if they are still around, though) Tiny's Boot Shop--East First just east of I35 Cadillac Jack's--North Lamar It's been gone awhile and Jimmy died a couple of years ago. Not sure what happened to all those boots. Allen's Boots--South Congress This is my recommendation too. Locally owned and nice folks and one of my clients. They told me some good stories about folks in town for the rodeo coming in and seeing some of the rockers in for SXSW. There are several of the big chain places as well, Cavenders and Sheplers. Junior mentioned some places on S. Lamar which might be Amelia's or Flashback. Bracing for the influx of SXSWers looking for Mexican food (Polvos on South First, Hernandez on east 6th), boots (see above), vinyl (Musicmania and Treasured Tracs and Antones and Waterloo) and bbq (Kruez in Lockhart, Rubys in town, Iron Works but it's too crowded, Salt Lick in Driftwood). What did I leave out? Jerald
RE: Clip: The state of country radio
Looking at the matter in terms of the country music industry and the way that it works, Twain's career, at least through The Woman In Me, bears a considerable resemblance to that of some of the 70s Outlaws - that is to say, a struggle with "conservative" producers and label execs over her desire to pursue a new sound that could appeal beyond the "normal" country audience by bringing in pop/rock elements. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/ Jon, you keep making this point, but I'd argue that you're overstating the resemblance between Twain's career (and, by necessity, her music, since that's her career) and that of the 70s outlaws. Let's see. Artist A has essentially mediocre success using producer-determined/arranged material, fights with his label in order to record the stuff that *he* wants to, rather than what the label has stuck him with in the past, wins fight, hits it big with crossover appeal. Artist B has essentially mediocre success using producer-determined/arranged material, fights with her label in order to record the stuff that *she* wants to, rather than what the label has stuck her with in the past, wins fight, hits it big with crossover appeal. Looks like a pretty close resemblance to me on a pretty important level. As I said before, there's rock influences and then there's rock influences, and they're not all floating around on the same, precise relativist plain. So you say, but I think it depends a lot on your degree of interest in rock. If you're not interested in classical music, and you think that incorporating classical music influences into rock makes the result less enjoyable, are you really going to care whether it's Beethoven's influence or Holst's? Are you going to find a Beethoven-influenced rock song better than a Holst-influenced one? Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
adios muchachos
Hey all, I'm gonne be signing off for a spell to deal with SXSW and an onslaught of work. Now don't go arbitrarily dissing every single rock critic on the planet while I'm gone, okay? Yeah, right. Neal Weiss np - Walter Clevenger
RE: Clip: New Faces Show
You obviously never met Mr. Whitley. As matter of fact I did meet him once. He was a perfect gentleman, and sober as a judge. He put on a great show as well. What he did when he was back on the bus was probably much more sinister and self destructive. I met Lorrie Morgan once. Seemed perfectly nice to me. I know that Ms. Morgan was not the cause of his alcoholism, but she certainly was a symptom. You know that Whitley's relationship with Morgan was a product of his alcoholism from having met him once and having heard some stories about her? That seems like a shaky diagnostic approach to me. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Clip: The state of country radio
Excerpts from internet.listserv.postcard2: 16-Mar-99 RE: Clip: The state of cou.. by "Jon Weisberger"@fuse.ne So you say, but I think it depends a lot on your degree of interest in rock. If you're not interested in classical music, and you think that incorporating classical music influences into rock makes the result less enjoyable, are you really going to care whether it's Beethoven's influence or Holst's? Are you going to find a Beethoven-influenced rock song better than a Holst-influenced one? Perhaps. I'd rather hear Debussy than Wagner in my rock. The latter leads to things like Meat Loaf. Carl Z.
RE: Clip: The state of country radio
So you say, but I think it depends a lot on your degree of interest in rock. If you're not interested in classical music, and you think that incorporating classical music influences into rock makes the result less enjoyable, are you really going to care whether it's Beethoven's influence or Holst's? Are you going to find a Beethoven-influenced rock song better than a Holst-influenced one? Perhaps. I'd rather hear Debussy than Wagner in my rock. The latter leads to things like Meat Loaf. Hmm, Carl, does this mean you're not interested in classical music? Besides, the former leads to things like BST. g Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Clip: The state of country radio
Often in these P2 discussions of radio, I'm surprised at the notion that people could actually make a change in it. I'm much more of the opinion that the music industry *manufactures* mass taste and the need for its products. Very pessimistic on that point. I know it's not a simple equation, but the music and radio companies have all the cards. Popular taste is not formed before industry dreck gets heard, it's formed *in and by* industry dreck. When did T.W. Adorno sneak on to the list? Anyway, right on Junior. Unfortunately, it's hard not to be pessimistic in this cultural climate, and to wonder whether anything meaningful can even get through to people when their tastes, as you suggest, are so thoroughly mediated by commercial interests and industry drecksometimes I wonder whether all you can hope for as a musician is to try to give people a few moments of pleasure and count your blessings if you're able to achieve at least that, however illusory it might be (as opposed to actually believing that you can encourage real "change" of any kind). Todd
Re: New album proves Dylan is in Jewish phase (and country)(fwd)
Joonyah wrote: This is hilarious, thanks for fowarding And just in time for Passover! Oi vay, hoss, Dunno if it's still there, but I once looked up Dylan sites in Yahoo and found one called "Tangled Up In Jews." It examples Jewish references in Dylan songs or some such. Dave np: Chris Whitley - Dirt Floor *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Re: Clip: The state of country radio
Excerpts from internet.listserv.postcard2: 16-Mar-99 RE: Clip: The state of coun.. by "Jon Weisberger"@fuse.ne Hmm, Carl, does this mean you're not interested in classical music? Relative to several other types of music, that would be a fair statement. I'm a casual listener at best. Excerpts from internet.listserv.postcard2: 16-Mar-99 RE: Clip: The state of coun.. by "Jon Weisberger"@fuse.ne Besides, the former leads to things like BST. g Ew. You have a point, though I'd take at least pre-David Clayton Thomas BST over Meat Loaf or Styx, or any number of arena-rock bands that took cues from Wagner any day of the week. There are traces of Debussy in some of Richard Thompson's work, btw. Would a discussion of the merits of Kenny G's and Sonny Rollins's influence on rock by non-jazz fans be fair? I'll bet there's a lurker or two who's not big on jazz but digs the Stones' "Waiting For a Friend" runs screaming from Michael Bolton's work Carl Z.
Re: Boot Recommendations-Austin
Jerald remembers the names of those two vintage shops on S Lamar... Amelia's or Flashback. Which reminds me: there's another good vintage place way up North, just off 50th (I think?), not too far from Airport Blvd. They have more boots than Amelia's or Flashback, although the selection isn't as good as Under the Sun There are a couple up there, actually, but the one I'm thinking of is particularly good for cowboy boots, while the other is more 70s kitsch. It's on a corner, next to an expresso shop. Can't remember the name though, maybe "Tremors" or "Earthquake" or something hipster like that... --junior
RE: Clip: The state of country radio
Carl says: Would a discussion of the merits of Kenny G's and Sonny Rollins's influence on rock by non-jazz fans be fair? I'll bet there's a lurker or two who's not big on jazz but digs the Stones' "Waiting For a Friend" runs screaming from Michael Bolton's work Fair, sure, why not? g But consider that, as best I can tell, anyhow, one of the raps on Kenny G is that his work is influenced by the wrong kinds of rock and pop, so a certain degree of circularity starts to creep into the discussion. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: Clip: The state of country radio
So: Perhaps. I'd rather hear Debussy than Wagner in my rock. The latter leads to things like Meat Loaf. Hmm, Carl, does this mean you're not interested in classical music? Besides, the former leads to things like BST. People!! Wagner and Debussy are yucky *romantic* music. They are NOT *classical* music. All European music isn't the same. Don't mix great composers like Mozart and Cimarosa in with trash like Wagner, sheesh g What would you think if somebody characterized Buck as Bluegrass?!?!? Boy o boy, whatta listg, --junior
Re: Clip: The state of country radio
Excerpts from internet.listserv.postcard2: 16-Mar-99 RE: Clip: The state of coun.. by "Jon Weisberger"@fuse.ne But consider that, as best I can tell, anyhow, one of the raps on Kenny G is that his work is influenced by the wrong kinds of rock and pop, so a certain degree of circularity starts to creep into the discussion. True, but you could substitute Chuck Mangione or Russ Freeman or even Dave Brubeck for Kenny G and wind up with jazz with far different sensibilities than much of Rollins or Sun Ra or Coltrane, and (to continue using fans of rock music) a lite-rock fan would be a lot more likely to prefer the former, while a heavy-rock fan might tend toward the latter, regardless of their knowledge of or affinity to jazz. Carl Z.
Re: Clip: The state of country radio
Excerpts from internet.listserv.postcard2: 16-Mar-99 RE: Clip: The state of coun.. by "Ph. Barnard"@eagle.cc.u People!! Wagner and Debussy are yucky *romantic* music. They are NOT *classical* music. All European music isn't the same. Don't mix great composers like Mozart and Cimarosa in with trash like Wagner, sheesh g What would you think if somebody characterized Buck as Bluegrass?!?!? Damned purists.g Told ya I was a casual listener at best! Though what I know of Debussy I like... Carl Z.
RE: Clip: The state of country radio
People!! Wagner and Debussy are yucky *romantic* music. They are NOT *classical* music. All European music isn't the same. Don't mix great composers like Mozart and Cimarosa in with trash like Wagner, sheesh g What would you think if somebody characterized Buck as Bluegrass?!?!? Damned purists.g Told ya I was a casual listener at best! Well, now, if I were you, Carl, I'd tell Junior that we're using "classical" here the same way we're using "jazz" and "rock" g. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Boot recommendations
With all due respect to you mad dogs and (one) Englishman, I can't believe nobody has mentioned El Paso's own Tony Lama. My first pair (black iguana) were TL's, and I still wear them 12 years later. For sheer pointy-toedness, though, you can't beat the pair of Chisholms I've got; you could kill a gnat stuck in the business end of a pastry funnel with 'em. Way uncomfortable, but I will always suffer for fashion, as the P2 partygoers at NEA will attest. ___ Mark Wyatt * [EMAIL PROTECTED] * One Riot One Ranger * Columbus, OH http://members.aol.com/oneriot/oneriot.html ** "That ain't no part of bluegrass... that ain't no part of nothin'" (Bill Monroe) **
Re: Clip: The state of country radio
I love this. Only on P2 does a discussion of the state of country radio devolve into questions about the differential effects of radically diverse sax players like Brubeck, Kenny G, Sun Ra, or Coltrane on a non-informed rock audience. Not to mention this business about Wagner --junior
SXSW rain?
Yeah, we'll be there. Bring your raincoats, folks. Forcast is showers. Really? Crap. Anyone planning on being at the BBQ -- if it's raining on Thursday at noon, call the house (number is in email invite thingy) -- I might have to move it to Saturday. kill me, cherry lou.
Re: SXSW rain?
Cherilyn diMond wrote: Yeah, we'll be there. Bring your raincoats, folks. Forcast is showers. Really? Crap. Anyone planning on being at the BBQ -- if it's raining on Thursday at noon, call the house (number is in email invite thingy) -- I might have to move it to Saturday. kill me, cherry lou. Yup, if the Weather Channel website is to be believed, showers and a high of 70 degrees are predicted for Thursday.Friday mostly cloudy, still 70. Saturday partly cloudy, still 70. Cherilyn, don't make us choose between your bash and the Saturday ND/Miles of Music thang, please? g b.s.
Walter Clevenger's New One - Forgive the X-post
-- Forwarded message -- Date: Tue, 16 Mar 1999 12:45:04 -0800 (PST) From: Jerry Curry [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [twangfest] Fwd: [loud-fans] The Razzies! On Tue, 16 Mar 1999, Ph. Barnard wrote: Oh yeah, Jerry, I was just giving Bill some guff. I *like* the Loud Family. So remind me, is that a *new* Clevenger album you're talking about? And if so, am I just behind on things or where can I get a copy? Indeed it is a new Clevenger album. I bleieve the release date has just passed. Again, it's on Permanent Press Recordings. The name of the new album is: Love Songs to Myself. I personally think it is even stronger than _Man With the X-Ray Eyes_ as Walter the band begin to find/develop their own voice. A wide variety of pop all over this album again, a bit of Lowe, some Holly, etc Wonderful material, just wonderful. I've been a big Walter Clevenger (Hi, Walter, if you still lurk on P2) fan for awhile. As a matter of fact his previous release made my Best of 1997 list. This one will likely make my Best of 1999 list. Here is a quote from his WWW site (walterclevenger.com; although you will be redirected to the current WWW site) "There's a mood of Sun-Records-shining-over-Liverpool to most of the material.The results often recall Nick Lowe and Marshall Crenshaw, two of the most gifted employers of the roots/Beatles synthesis." Mike Boehm, The Los Angeles Times And Walter...if you are lurking, please come to Oregon and play. I'd love to book you in our humble little room. Jerry
Re: Boot recommendations
On Tue, 16 Mar 1999, [EMAIL PROTECTED] (Mark Wyatt) wrote: with 'em. Way uncomfortable, but I will always suffer for fashion, as the P2 partygoers at NEA will attest. *Fashion*...hmm, is THAT what you call it? Jerry Would this be the pot calling the kettle black Mr. Fashion Emergency Curry??? g Ronni
What Is Folk Music ?
A friend handed me a piece of paper a couple of weeks ago, this is what it said - "I am currently carrying out some work relating to 'folk music'. To begin with, I am attempting to arrive at a definition of what constitutes 'folk music' or 'folk song'. I would be very interested to know what you would see as being a folk song or folk singer. If you can't think of a starting place, you could begin with a few names of songs or singers/players who you think of as being folk. What is it that makes them 'folk'?" I'm not sure if this list has covered this territory before but it seemed like a decent idea for a thread on this list. I will post my own response as soon as I have finished it. -- Goodrockin, Dave from the Funky Diner. - Knee Deep in Groove and Grits ! np. The Complete Slim and Slam
Re: Clip: The state of country radio
Jr. goes: Popular taste is not formed before industry dreck gets heard, it's formed *in and by* industry dreck. And then Todd goes: When did T.W. Adorno sneak on to the list? And so I goes: Like, too long ago? Jr. is using a real overpure Frankfurt-school reading of popular culture? And if not superceded totally the likes of Adorno need to be modified (sez me) by more recent cultural thinking on response, interpretation and appropriation? Adorno was an utter snob? He would think every bit of the music we're talking about was dreck, including, say, George Jones? (Tho that seems fitting to Jr.'s mood today considering his later "romantic music isn't classical music" nitpickery? Like, take a chill pill?) Plus, y'know, I'd like to, kinda, stand up for myself as more pessimistic than Junior? Because while thinking that people are to some degree, like, sheep herded and counted in the pens of the purveyors of dreck, I also think people can wallow dreck all on their own? Which is why the purveyors got to be the big muscular purveyors in the first place? 'Cuz no one ever went broke underestimating the taste of the [fill in nation-state here] public? Along with the logic of late capitalism, I'll grant you? But, well, shit, remember even among the dreck there are pearls? Pearls of parody at least? Y'what I mean? like, Carl W?
Personal to Chaco Daniel
Chaco, I've lost track of your mailing address. Please send it to me at [EMAIL PROTECTED] Sorry for the personal note all, b.s.
SV: Clip: The state of country radio
Junior wrote: People!! Wagner and Debussy are yucky *romantic* music. They are NOT *classical* music. All European music isn't the same. Don't mix great composers like Mozart and Cimarosa in with trash like Wagner, sheesh g What would you think if somebody characterized Buck as Bluegrass?!?!? Sorry, Junior but I have a hard timing figuring out just what you are talking about. Yucky romantic music, you say. Sure, if you want to waltz around with the salong fähigness of Mozart, you are welcome any day. This don't mean I don't appreciate Mozart. Stating Wagner as trash is a little too much. Eventhough he took up many of the worst aspects of "Die Lebens-philosophie" in his music, not to say in his writing, his music is incredible. I'll listen to Jussi Bjoerling as Calaf in Wagner's opera Tristan und Isolde any day, above much of the crap that is hyped on this list. So just when did "classical music" die and romanticism take over? With Beethoven's Piano Sonata op.111, or was it before? Was Beethoven romantic crap all along? Okay, If you feel so, let me recomend an album for you. Put on Bach's mass in H-minor (preferable with Collegium Vocale and Philippe Herreweghe). Turn it up loud, listen as they breath in, before Kyrie is heard out of the speakers. Is Bach in your classical category? And since Adorno was mentioned in this thread. I just wrote an essay about Adorno's influence on Thomas Mann in writing Dr.Faustus. The focuse was especially on his contribution to Mann's understanding of the 12-tone technique, and Adorno's presence in the "Devil's" tale in that book. If you want to read it, learn Norwegigan. Geir Nyborg Oslo,Nyborg np:Townes Van Zandt: "Kitchen album"
Re: Clip: The state of country radio
No, no, I know that, Mr.Junior. (I mean, really, with a name like "Junior", you'd have been drummed out of the Teddy-and-Walt Noble Frankfurters Clubhouse at the first meeting...) But I was somewhat, somehow serious that the management-and-creation-of-taste line, while valid, can turn into monolithic cultural conspiracy theory (a la Adorno) if not used with caution and parental warning stickers. PLEASE STEP AWAY FROM THE YELLOW LINE. Etc. (The above in reference to the statement from the plaintiff-turned-defendant, Philip aka "Junior" Barnard, aka "the twangy professor": Like, dude g, I would never look at pop culture from Adorno's perspective, so I take this as facetiousness.) In other news, went to an Epitaph preview party for Tom Waits's new album The Mule Variations last night. Hard to hear over the beer-fuelled chatter (including mine) but sounded, in a word, extraordinary. Carl W.
RE: Clip: The state of country radio
Terry says: What I'm trying to say -- the relative merit of the music (which is all a matter of taste) isn't addressed on any levels in your comparisons about how each of these artists, or group of artists, dealt with the "industry." If Shania was a duck quacking, and she'd gone through some of those fights for freedom with the Nashville establishment, that wouldn't say a damn thing about quacker's merit vis a vis Waylon, Willy, Jerry Jeff, etc. Well, sure, but the relative merit of the music isn't the only, or even necessarily the most important point at issue here. Plus which, as you say, that's all a matter of taste g. I think your comparative points are instructive, but of limited utility, when we're trying to gauge to what extent rock influences have eroded or heightened the quality of country music. It depends on the influence. Quality is subjective, but to deny the lack of differences in quality is lunacy. I'm sorry, but I just can't buy the unqualified line you're selling here. There are passionate arguments here all the time about the relative merits of one rock group or another that I couldn't care less about, and if I couldn't care less about their relative merits on their own terms, why would I care about their relative merits as influences on country music? Between you and me, I never liked a lot of that Outlaw stuff much anyhow - a song here, a song there, sure, but I never found it nearly as exciting or interesting as some other, less rock-influenced (at least to my ear) stuff that was coming out at the same time; the only Waylon Jennings album I ever bought until that Essential comp came out was the cassette version of Waylon Live, and that's because I really liked "Rainy Day Woman." So an argument that hinges on the superiority of the Outlaw kind of rock-influenced music over Twain's kind just doesn't go very far with me. As far as I'm concerned, the differences in quality (or, better, enjoyment) have to do with the less obviously rock-influenced aspects of their music. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Clip: New Faces Show
In a message dated 3/16/99 1:44:22 PM Central Standard Time, [EMAIL PROTECTED] writes: You know that Whitley's relationship with Morgan was a product of his alcoholism from having met him once and having heard some stories about her? That seems like a shaky diagnostic approach to me. Read her biography. It should be subtitled "The Enabler". I don't blame her for his death, and when I said she was a symptom I was talking about their dysfunctional relationship. Is that a trendy enough diagnosis for you? Slim
Sonic Rendezvous Band (was: Re: Iggy/Pretenders/Clash/Ameritwang)
In a message dated 3/16/99 6:00:03 PM !!!First Boot!!!, [EMAIL PROTECTED] writes: ok, but the real question is: did you ever see the greatest rock'n'roll band ever to come screaming outta the motor city? i'm speaking of sonic's rendezvous band. I started playing in my cousin's band when I was 15, an oldies band, but he was able to sneak me into a lot of cool places. Anyhoo, I saw a later incarnation (I think) around 1979, and The Romantics warmed up for them. Their debut album was just about to be released, and the red suits that they wore on the cover were made of painted vinyl, so by the end of the show, the sweat soaked the suits, and it looked like they were bleeding all over. Hey, remember Traxx out on the eastside of Detroit? A lot of cool shows there as well. I went into the place after it closed and everything was up for auction. I still have about 100 unused Ramones tix in my possession for a show there in the mid 80s. Mitch Matthews Gravel Train/Sunken Road
Re: Clip: New Faces Show
In a message dated 3/16/99 1:44:22 PM Central Standard Time, [EMAIL PROTECTED] writes: I met Lorrie Morgan once. Seemed perfectly nice to me. Are you saying they both fooled us? Slim
Re: Clip: The state of country radio
Jon quotes me here (and is kind of enough not to point out that I tangled up that last sentence and said the opposite of what I meant): I think your comparative points are instructive, but of limited utility, when we're trying to gauge to what extent rock influences have eroded or heightened the quality of country music. It depends on the influence. Quality is subjective, but to deny the lack of differences in quality is lunacy. Then he addresses that statement with this: I'm sorry, but I just can't buy the unqualified line you're selling here. There are passionate arguments here all the time about the relative merits of one rock group or another that I couldn't care less about, and if I couldn't care less about their relative merits on their own terms, why would I care about their relative merits as influences on country music? Between you and me, I never liked a lot of But isn't the history of country music more or less the history of its influences? And that being the case, doesn't that make the influences, and genres within the influences, very valid -- even crucial -- factors in assessing the music? It seems as if you're throwing all rock music into the same bag. And rock is a lot more diverse than country. Jon says he didn't like a lot of "that Outlaw stuff much anyhow - a song here, a song there, sure, but I never found it nearly as exciting or interesting as some other, less rock-influenced (at least to my ear) stuff that was coming out at the same time; the only Waylon Jennings album I ever bought until that Essential comp came out was the cassette version of Waylon Live, and that's because I really liked "Rainy Day Woman." So an argument that hinges on the superiority of the Outlaw kind of rock-influenced music over Twain's kind just doesn't go very far with me. As far as I'm concerned, the differences in quality (or, better, enjoyment) have to do with the less obviously rock-influenced aspects of their music. I agree with regard to Waylon. I liked that tune, and Ralph Mooney's memorable steel solo, better than anything else Waylon did. I was bored by a lot of the pacing and oomph, pha, pha, type bass stuff, and was always wishing he'd do more material along the lines of Rainy Day Woman. But there was a lot of Outlaw and Austin stuff at that period with great merit, including Waylon, Willie, Doug Sahm, Kris K., Asleep at the Wheel, Rusty Weir, Alvin Crow and the Pleasant Valley Boys, etc. Now that I think of it, the stuff from that time that I enjoyed the most, however, was the material that borrowed heavily from the country side. Well, maybe I should be making this argument, using punk country as my example of good rock influences I'll let my tag-team partners take over for that. -- Terry Smith
Re: SV: Clip: The state of country radio
This thread is nuts g. Heh Geir, I was mostly joking. Carl, I'm way back off that yellow line!! And Geir: while Wagner isn't my own cup of tea, more power to ya. As Jon Weisberger was just saying in another context of this same thread (!?), these taste matters are not really the basic point. I was simply alluding to a kind of basic historical/stylistic distinction in European music. Dividing what we Americans universally refer to as "classical" into some still-overlarge categories that don't lump 400 years of music into a single notion, etc. You know, Palestrina to Bach etc. in an early music to baroque phase, Mozart and Co. as classical, and post-Beethoven to the 20th century as romantic. Memo to self: use g thingies, --junior, who never would have been invited to lunch with Adorno
Re: Sonic Rendezvous Band
[EMAIL PROTECTED] writes: ok, but the real question is: did you ever see the greatest rock'n'roll band ever to come screaming outta the motor city? i'm speaking of sonic's rendezvous band. k What!?!?!? Get outta here, the greatest band ever to come screaming out of the Motor City would be the MC5. --junior
Outlaws / was state of country radio
Jon, you want to elaborate a little on your take on the Outlaws? I've never been wild about them musically, myself. It's mostly a stylistic thing, as they just don't seem to come from the places that move me in that sense (the beats, especially, didn't swing, as I think you mentioned). I was attracted to the stance and the attitude, but the music never grabbed me... --junior
RE: Clip: The state of country radio
But isn't the history of country music more or less the history of its influences? And that being the case, doesn't that make the influences, and genres within the influences, very valid -- even crucial -- factors in assessing the music? It seems as if you're throwing all rock music into the same bag. And rock is a lot more diverse than country. Well, yeah, I am, but I'm also throwing pop, blues, rb and everything else into that same bag g. No, really, as far as the history of country music goes, I think it would be more accurate to say that it's the history of how those influences were incorporated, not the history of the influences themselves. Plus which, the biggest influence, so to speak, is the past practice of country music itself. Or at least it used to be g. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: Clip: New Faces Show
I met Lorrie Morgan once. Seemed perfectly nice to me. Are you saying they both fooled us? No, I'm saying you can't judge a book by its cover. Whitley could be a nice guy, but he could also be pretty awful, and apparently the same is true of Ms. Morgan as well. It's probably true of a number of other people, too g. You know that Whitley's relationship with Morgan was a product of his alcoholism from having met him once and having heard some stories about her? That seems like a shaky diagnostic approach to me. Read her biography. I read it - in fact, I reviewed it for Country Standard Time, and I don't think Jeff ever gets rid of anything, so what I wrote is probably still up on the site somewhere. It should be subtitled "The Enabler". I don't blame her for his death, and when I said she was a symptom I was talking about their dysfunctional relationship. Is that a trendy enough diagnosis for you? I dunno, what's it mean? The book appeared to me to be a fairly clear-eyed portrayal of a marriage to a talented alcoholic, but of course neither of us is really in a position to know about the dynamics of that relationship. Bottom line for me is that Jon Randall Stewart's a talented guy, and she's a talented singer (she flat out tore up that "I've Enjoyed As Much Of This As I Can Stand," which was, BTW, written by Bill "I Get The Fever" Anderson), and either their marriage will work out or it won't; it doesn't make much difference to me either way. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Austin weather forecast
Updated at 6:15 Eastern to showers Thursday *and* Friday, still clear Saturday. b.s.
SV: SV: Clip: The state of country radio
Junior wrote: This thread is nuts g. Heh Geir, I was mostly joking. Carl, I'm way back off that yellow line!! And Geir: while Wagner isn't my own cup of tea, more power to ya. As Jon Weisberger was just saying in another context of this same thread (!?), these taste matters are not really the basic point. I was simply alluding to a kind of basic historical/stylistic distinction in European music. Dividing what we Americans universally refer to as "classical" into some still-overlarge categories that don't lump 400 years of music into a single notion, etc. You know, Palestrina to Bach etc. in an early music to baroque phase, Mozart and Co. as classical, and post-Beethoven to the 20th century as romantic. Memo to self: use g thingies, --junior, who never would have been invited to lunch with Adorno I should have known not to drunkenly jump into threads I haven't been following up. Then again, I hope it makes fun reading for those who do. Follow up, I mean. Now, I'm gonna search, search for the basic point. Geir I've found it - Vince Bell:Texas plates
To Quote Jimmy Martin, 'I'd Like to Get Me a Piece of That
TRISHA JOINS OPRY BY AP * 03/16/99 The Toronto Sun (c) Copyright 1999 The Toronto Sun Singer Trisha Yearwood got a special gift after she was inducted as the newest cast member of the Grand Ole Opry. Before a full house Saturday, Opry star Porter Wagoner introduced the Georgia-born singer as "the best I've ever heard" in "any of the fields of music." TD Yearwood, 34, sang her hit Wrong Side Of Memphis and then Sweet Dreams, a signature song of the late Patsy Cline. Then, Cline's widower, Charlie Dick, presented Yearwood with a glass-encased silver necklace that belonged to Cline. "I want to tear it out of there and put it on," said Yearwood, who made her Opry debut in 1992. She's the 71st cast member of the venerable * country music broadcast.
Derailers release date...
Oh by the way Apparently we're looking at a projected July 13 release on the Derailers. A single from the album, "Full Western Dress," will be out in June. Apparently this single memorializes Mark Wyatt's pointy boots. --junior
Roger
A RISKY BEAUTY
WILCO WALKS ARTISTIC TIGHTROPE TO PRODUCE ...
BY JOSHUA OSTROFF, OTTAWA SUN
* 03/14/99
The Ottawa Sun
(c) Copyright 1999 The Ottawa Sun. All Rights Reserved.
SUMMER TEETH
WILCO
Sun Rating:
3 1/2 out of 5
* THERE ARE few oxymorons more glaring than alternative country. Except
* maybe the term "No Depression" to describe a country music movement.
Interestingly, both these epithets were designed to describe the
sounds of Wilco (and its precursor band Uncle Tupelo) and their
nonsensical quality is even more appropriate on the group's latest
offering Summer Teeth.
Coming on the heels of their great collaboration with Billy Bragg
* (Mermaid Avenue), this country-rock album sounds like nothing coming
out
* of either country or rock, driving down more unexplored avenues than
ever before while still maintaining links to contemporaries like Son
Volt and Vic Chesnutt.
From the piano-fuelled rave-up of the opening cut Can't Stand It to
the murder balladry of Via Chicago ("I dreamed about killing you last
night/and it felt alright to me"), the record combines traditional
rural
song structures with contemporary quirkiness, e-bow guitars with
synthesizers and atmospheric textures with timeless melodies.
While the record never quite attains the artistic heights it hints
at, occasionally exhibiting creative laziness or unwieldy sonic
messiness, the self-produced Summer Teeth remains a risky beauty that
should spark wake-up calls in both Nashville and New York.
For you song writers
This Web site, at www.outofservice.com/country, has one simple yet * amusing purpose: to generate lyrics in the style of a country music song.
Tom Russell
TOM RUSSELL'S HISTORY BY DAVID VEITCH* 03/14/99 The Calgary Sun (c) Copyright 1999 The Calgary Sun. All Rights Reserved. THE MAN FROM GOD KNOWS WHERE -- Tom Russell: The death of Russell's * father inspired this ambitious, 74-minute song-cycle/folk-music opera that both traces his family history and, on a more universal level, chronicles the plight of immigrants as they try to forge a new existence in America. Guest vocalists Iris DeMent, Dolores Keane, Sondre Bratland and others give voice to Russell's ancestors. They sing about whiskey and dashed dreams; estranged families and orphan trains; ruined crops and suicide; homesickness and inconsolable loneliness; all to music that demonstrates how Celtic folk was the seedling from which American * country music grew. Generally, the album is stirring and earnest, though Dave Van Ronk adds some bawdy humour and politically incorrect insight as The Outcast, who reminds Americans "your promised land was settled by bastards, drunks and thieves." A less-travelled path through American history and, quite simply, a remarkable achievement. SUN RATING:4 (OUT OF FIVE)
Family and Religion - hhhmmmmm!!!!
Family And Religion * Earle, McCoury -- bluegrass at its best Wayne Bledsoe, News-Sentinel entertainment writer * 03/13/99 The Knoxville News-Sentinel (Copyright 1999) *There are few things more shocking than seeing bad boy Steve Earle in a three-piece suit. Walking onstage with the Del McCoury Band Friday night at the * Tennessee Theatre, Earle dressed and played the part of a bluegrass lead singer. And even Earle's countryish rocker "Copperhead Road" * was transformed into a first-rate bluegrass number. Earle opened the show backed by the Del McCoury Band, minus lead singer-guitarist Del, and plowed through a selection from the new album "The Mountain," on which the McCoury group backs up Earle. The live performances of the album's songs generally exceeded the recorded versions. Highlights included Earle's "Dixieland" and a fine new train song, "Texas Eagle." Del McCoury joined the group for the song "I Still Carry You Around," and then Earle turned the remainder of the set over the McCoury and his band. Featuring mandolinist Ronnie McCoury, banjo player Rob McCoury (both sons of Del), fiddler Jason Carter and bassist Mike Bub, the * group is a bluegrass powerhouse. Despite the set being marred slightly by loud, obnoxious comments from inebriated audience members, the group still managed to shine. When Earle returned after intermission for an intimate solo performance, his chilling tale of a death-row guard, "Ellis Unit One," finally quelled the noisemakers. They remained relatively silent when the entire band returned for an excellent closing set. It was a shame that anything should detract from a concert that featured such pristine sound. Instead of the standard microphones and monitors for each band member, the entire group gathered around one central mike.The warm natural blend of the instruments and vocals more than made up for a lost sounds. Earle and the group finished the show (helped out by a tiny, but spunky, McCoury grandson) with a cover of Townes Van Zant's "White Freightliner Blues" and Earle's own "Hillbilly Highway." *Earle's foray into bluegrass may be a temporary thing since he's already planning a new rock album. But as long as he's engaged in * it, his excursion into bluegrass should not be missed.
The Man With Two First Names
Now playing the star: Joe Henry Joel Reese * 03/12/99 Chicago Daily Herald (Copyright 1999) Joe Henry is done with the earnest singer-songwriter acoustic guitar thing. Done, finished, finito. Close the book. Henry, the guy who recorded two albums with The Jayhawks as his backup band and has long been one of music's best-kept secrets, is now ready to hit the big time - complete with dapper suit and well- coiffed hair. He'll soon appear on "The Late Show with David Letterman," "The Rosie O'Donnell Show," and the pages of Newsweek. His new album "Fuse" (Mammoth Records) was mixed by T-Bone Burnett and Daniel Lanois, and boasts cameos by Jakob Dylan and guitar wunderkind Chris Whitley. "Fuse" also has a cool multimedia segment, with a droll interview with Billy Bob Thornton (posing as Henry) and footage of Henry in concert. And all of this is good. It's a good thing when people such as Henry become popular. The prevalence of The Backstreet Boys and Matchbox 20 merely proves that too many people don't know Shania from shine-ola. But when someone deserving such as Joe Henry makes it big, it's a victory for "our side." After all, he's one of the best songwriters around, with a Raymond Carver-like ability to capture heartbreaking loneliness and restlessness with a few lines. And his whiskey-rough croon is nothing short of a treasure. So this big media blitz is good, right? Well, kind of. There's just one problem: "Fuse," Henry's big breakthrough, isn't that great (. * * 1/2). Run, runaway In a recent interview from his home in Los Angeles, Henry says he intentionally moved away from his country-rockish past. "We call that running away," Henry says with a chuckle. But, as he notes, he recorded past albums mostly live in the studio "because I didn't know how to do anything else. That served my purpose for a brief time, but musically, ultimately, I found it very limiting." His 1996 near-masterpiece, "Trampoline," was a gigantic step in a new direction. Helmet axman Page Hamilton provided the guitarwork, and the songs bristled with a newfound intensity. "By the time I was ready to make 'Trampoline,' " Henry says, "I had decided to myself: if I can't find a new way to do this, if I can't find a new musical world to inhabit, I'd just rather not." He hadn't decided what he would do if his new album didn't speak a new musical language: "I was kinda thinking maybe a UPS man," Henry says with a slight hint of his native North Carolina drawl. "Because people are always delighted to see you coming." After "Trampoline" met with universal critical acclaim, Henry has continued his progress away from the alt.country sound with "Fuse." The star treatment As for his new media presence, Henry says he doesn't mind the big marketing push he's getting from his record company. "Believe me, nobody does this by accident," he says. "There are plenty of people who do it and like to complain about it. They say, 'Hey, I just do what I do, man, I don't care if anybody digs it or not.' I don't happen to subscribe to that way of thinking. There's nothing more vain than standing up there on the mountain and pretending to be un-vain." Henry realizes that the album's glitzy marketing and slick sound may lead some to accuse him of ditching his principles. And he has no problem with that. "People have a tendency to treat an acoustic guitar like it's the basket that floated the infant Moses down the river," he says. "There's nothing pure or natural about any of this, I don't care who you are. This idea that doing things with acoustic instruments is somehow more pure and more real - I don't have any interest in that as a notion." Musically, Henry describes his new record as "decidedly fragmented. I didn't want to make it do anything that sounded like a band. I'm a big fan of the collage approach of recordmaking. I like the disembodied sensation." And therein lies the rub. "Fuse" feels too fragmented, too cobbled together. Much of it, like the lackluster track "Fat," feels like studio trickery for its own sake. On this overproduced tune, a hip-hop beat and Henry's echoed singing backs a noodling electric piano. The fact that the song has too much going on - to little resulting effect - isn't the worst sin; that's making Henry's subtly soulful voice sound like it's sung into the business end of a tuba. The jazz-inflected "Want Too Much," mixed by studio maven Daniel Lanois, has a lonely trumpet wailing behind a wah-wah guitar and a dense wave
Re: Actually, that was Hank's Vodka bottle ...
Cool museum. No Billie Jean exhibits?? Rats! --junior
A Man With His First and Last Name Reversed
ELLIS PAUL // Folk singer coming to The Wire
Barry Fox
* 03/12/99
The Harrisburg Patriot
(Copyright 1999)
Like the athlete he once was, folk-star-on-the-rise Ellis Paul
feels like he is finally in `the zone.`
For the last seven years the Boston-based singer-songwriter has
been immersed in playing live, learning the guitar and honing his
stage presence. His once-sharp edges are smoothing out and he's
getting a firm grasp on his music.
`I'm an adult now and I can tap into that,` the 32-year-old said.
`Now I know what makes a story interesting and I know what kind of
songs I want to write.`
And, the success of four albums, 200-plus shows a year, seven
Boston Music Awards and a prestigious Kerrville New Folk Award has
bred financial security and the ability to navigate his own career
course.
`I'm ecstatic,` Paul said from his rarely visited apartment. `I
can back off and get the breathing room I haven't had for the last
seven years.`
Now, even with the critical and popular success of last year's
`Translucent Soul` disc, Paul said he wants to focus on his writing
and recording skills.
Given the pile of good words for his current album, that will not
be an easy task.
`Translucent Soul's` deeply personal 11 songs examine topics
ranging from Paul's recent divorce to racism to romance in a
beautifully written, powerfully sung package that has been acclaimed
by the CMJ New Music Report as `very special.` The Newhouse News
Service called it `one of the very best, if not the best, folk albums
of 1998.`
`I'm really happy where we're at with it,` Paul said of the album.
`You plan and you hope but someone once told me, 'You pray to God,
but you still keep rowing toward shore.' That's where I am with my
career.`
Addressing an intimate subject such as the demise of his marriage
in such a public way throws open the doors to his personal life
`which is a drag in a way,` he said. `But I'm the one to blame for
it. I knew people who've been through the big break-up, divorce
thing would relate to the album.`
And, as it is for many artists, writing about the divorce was a
catharsis.
`I could feel it physically taking care of me,` Paul said.
The arts have always been a creative outlet for Paul who was one
of those kids who won all the writing awards in high school. `As a
kid I just loved art and writing,` he said. `When I got older I knew
I wanted to work for myself and be creative.`
But he was also a talented runner who earned a track scholarship
to Boston College, putting his artistic pursuits on hold. `I was an
athlete to please myself, and my father,` he said.
An injury forced him to sit down, and to pick up the guitar.
Writing came naturally `but the real challenge was putting guitar
chords together and playing guitar,` said Paul, who has never taken a
lesson.
He started playing the fertile Boston folk scene, perhaps the
country's best, listening to and learning from Shawn Colvin, John
Gorka, Susan Werner, Dar Williams, Bill Morrissey and Patty Larkin,
who are among the dozens of folkies who are from or have adopted
Beantown as home.
`Boston is a real cradle for songwriters and poetry,` Paul said.
`I don't know why the rest of the country doesn't have a scene like
* we do. The big thing is radio puts folk {music} on and there is a
weird synergy between radio, clubs and the music.`
*And in the best tradition of folk music, and his guru Woody
Guthrie, Paul takes to the road to see America up close and fill his
journals with anecdotes and sketches of the personalities he meets
and experiences collected.
`I write what I want and get out in my car and play,` he said.
`It's such a joy and I'm thankful for it everyday. I meet people,
listen to the stories that touch them, and they touch me.`
Car-Mounted Vodka Bottle
Crash renews cell phone doubts // Singer recovering, but worries about driving distraction arise Patriot News * 03/11/99 The Harrisburg Patriot (Copyright 1999) *Country music giant George Jones, it now appears, will recover from serious injuries he received Saturday when he crashed his sport-utility vehicle into a bridge abutment. The future of yet another American legend, the car-mounted cellular telephone, is still in question. At the time of the accident, Jones was using his cell phone to chat with his stepdaughter. He lost control and collided with the bridge, sustaining injuries that left him in critical condition for at least 24 hours. It has not been determined yet if using the cell phone while driving was a contributing factor to Jones' crash, but the accident does focus attention on growing concerns about the safety of phoning and driving. In fact, a 1997 study cited by The New England Journal of Medicine found that drivers using a cellular phone were four times as likely to be in a motor vehicle collision than those who did not. Even more startling was the finding that the risk of using a cell phone while driving is about on par with that of driving under the influence when the blood-alcohol level is at the legal limit. This research and the Jones accident have raised anew questions about the safety, and ultimately, the legality of using the cell phone while operating a motor vehicle. On first examination, this appears a no-brainer. The comparison with drunken driving clearly weighs in favor of prohibiting cell phone use while driving. Who wants to risk being on the highway with more than 50 million cell-phone chatters whose chances of wrecking are four times greater than if they hang up and pay attention? But the reality is not so simple. The cellular phone is here to stay -- in the briefcase, in the shopping cart and in the car. It is one in a long series of liberating modes of communications for the 20th century. What's more, cellular phones have proved their worth in reporting accidents and other highway problems to authorities. This is another problem to assign to the Bureau of Common Sense. Because data show that most accidents involving cell phone use occur within five minutes of making a call, safety experts feel that the process of dialing and initiating contact are crucial. To this degree, it is best to pull over the to the side of the road to make the call. The New England Journal of Medicine study also recommends keeping calls short, interrupting conversations when necessary and taking extra precautions at night or in inclement weather. In short, the individual is as much as factor in these developments as is the cell phone itself. Perhaps highway safety and communications experts can come to some terms in the future on reducing the risk factor, but for now it's more or less up to the person behind the wheel to keep in mind that the No. 1 task at hand is driving -- not phoning.
April issue of Gig Magazine - Pittsburgh Content
Hey, the April issue of Gig Magazine (that how-to rag for working musicians that Matt Benz swears by, or is it swears at) has Pittsburgh featured as its monthly city guide. Boy, when they mentioned those cole slaw/French fry sandwiches at Primanti Bros., my heart skipped a beat (and my stomach growled to the tune of a Hank Williams song). They had a photo of some Elvis impersonator, but not one mention of Paul Ameritwang (unless he IS the Elvis impersonator). Mitch Matthews Gravel Train (new drummer!)/Sunken Road
New Los Lobos list
From previous comments I know there are several Los Lobos fans on the list, so thought I'd pass along word that a new Los Lobos mailing list is getting started. It's probably not going to be a very high-volume list, but with the new CDs from Cesar Rosas, the Latin Playboys, and David Hildalgo/Houndog out, upcoming tours, a new Los Lobos disc in June, etc. there should be some things to talk about. To subscribe, send a message to [EMAIL PROTECTED] with subscribe loslobos [EMAIL PROTECTED] in the body. Thanks!
