Sampler Doings
In a paragraph or two, if putting together a sampler cd, from artists around the country on a given kind of music, something expensive? And do those contributing music to the sampler, pay for a piece of the cd, so I wouldn't have to put up alot of money to make it all work? Thanks, Bill
Fred Eaglesmith
Riley Daniels [EMAIL PROTECTED] wrote: Subject: Fred Eaglesmith in Chicago (snip) The club quickly quieted down when they played a ballad that sounded vaguely familiar, but I can't placeÉmaybe it's titled, "As Empty As My Heart". Fredheads - help us out, do you know this one?(snip) I thought someone else would have answered this by now. The song is "Soda Machine" from Drive-in Movie. IMHO it's a beautiful song. The last verse goes (from memory, the cd's at work): I shook (?) I kicked it, the front the side I checked to make sure that my change was right. Well, I wasn't that thirsty, but I wasn't that smart 'cause the next thing I knew it was broken in parts. And the soda machine at Charlotte Queen is as empty as my heart. I think it expresses a smoldering rage boiling to the surface perfectly. I love Fred. Karen Without music, life is a mistake--Friedrich Nietzsche
Re: Sampler Doings
Bill wrote: In a paragraph or two, if putting together a sampler cd, from artists around the country on a given kind of music, something expensive? And do those contributing music to the sampler, pay for a piece of the cd, so I wouldn't have to put up alot of money to make it all work? Bill, The way I work with compilations, is that that the artist pay for the recording of the song, and then I pay for everything else. That is, mastering, pressing of the CD, artwork, mechanical royalties, promotional stuff and more. I give some copies of the CD to the artist as thanks for the contribution. Then the artist can buy CD´s from me for a wholesale price, if they wish to do so. Hope that helps. Good luck with your compilation! Jerker Emanuelson Sound Asleep Records Sweden
RE: V-Roys
Scott and the vroys are always picking great covers -- as the Viceroys the used to do Jerry Lee Lewis' "Touching Home," and it was INCREDIBLE, as well as a great encore of "In the Pines." [Matt Benz] And Smokey Joe's Cafe, that's a good un
SXSW Report
We are having fun. Lots of fun. More later. Slim - sleep deprived
Re: SXSW Report
I'll second that. For those of us who are complete suckers for Teenage Fanclub (I'm raising my hand high and proud) remember this name: The Ice Cream Hands. Lordy. -Original Message- From: [EMAIL PROTECTED] [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Friday, March 19, 1999 9:09 AM Subject: SXSW Report We are having fun. Lots of fun. More later. Slim - sleep deprived
Re: SXSW Report
OK folks, How about some details for the SXSW deprived? Play nice, sharing is "a good thing." K. In a message dated 3/19/1999 9:22:27 AM Eastern Standard Time, [EMAIL PROTECTED] writes: I'll second that. For those of us who are complete suckers for Teenage Fanclub (I'm raising my hand high and proud) remember this name: The Ice Cream Hands. Lordy. [EMAIL PROTECTED] writes: We are having fun. Lots of fun. More later. Slim - sleep deprived
Re: The X/Brave New Waves
Dave P. wrote: For those who don't know what Paul is talking about (that's a lot of us, generally g), whew...at least it's good to know that I'm not the only one... Is it really? Interesting. I haven't been to Oxford in years (no good reason to go there, unless I have a jones to around rich, white, snob kids). That was a great record store. well, at least as of 1992... I did hear that the basement of Mac Joe's got remodeled, it's no longer the cold little punk dungeon it used to be. no more pool of "liquid" in the middle of the floor anymore? Paul
Clip: One more reason to stay home on New Year's Eve
Eagles take concert prices to limit Best seats for New Years gig will cost $1,500 REUTERS HOLLYWOOD, March 18 Call it the taking it to the limit tour. The Eagles are in talks to usher in the New Year at the Staples Center in downtown Los Angeles, with the top ticket price expected to hit $1,500. Show details are expected to be confirmed next month. THE BAND could have a payday of $10 million for the one-night stand at the 20,000-seat arena, which is still under construction but is set to open in October. The show would cap the arenas three-month grand-opening period, which will have several concerts in addition to the Lakers and Clippers basketball and Kings hockey games. After a bitter breakup following the release of their 1979 album The Long Run, Don Henley, Glenn Frey, Joe Walsh, Don Felder and Timothy B. Schmit papered over the lingering animosity to launch the successful Hell Freezes Over reunion tour in 1995. The road show topped the box office that year with a $61 million take (more than $1.2 million per night). Several acts are raising their ticket prices to abnormal heights for rumored shows to cash in on the once-in-a-lifetime opportunity to party like its 1999. Insiders said Barbra Streisands stop at the MGM Grand in Las Vegas is expected to have a top price of more than $2,500, and Jimmy Buffetts New Years Eve show at the Universal Amphitheatre in Los Angeles is expected to boast a $1,400 top price.
Re: The X/Brave New Waves
PaulAmeritwang asks after Brent Bambury and Mitch remarks on "early-morning news coverage" -- well, I don't know what time you get up, Mitch, but I don't usually consider noon "early morning." Brent is the co-host of Midday, a mostly inane CBC-TV chat and news lunchtime show; he interviews people, banters with his female co-host, and tries to look heterosexual as frequently as possible. He's fine on TV but it's a waste of a real talent - CBC should at least assign him to host an arts show of some kind. (Altho, trivia note, Brent wasn't actually the first host of BNW, which has its 15th anniversary this year; that honour goes to Augusta Lapaix, who's still working various CBC hosting jobs and running a bed-and-breakfast in Quebec.) Mitch also says: "Nightlines" was cool because the host (name?), David Wisdom ... would also allow listeners a "free hour" of music, called an "hour of power" in which you could send in a format of one hour's music for him to play Yes, I loved listening to those. The show that's replaced Nightlines on the weekends, Radiosonic, has its own version, occasionally having guest musicians etc. act as DJs (the last time I heard it they had one of the members of Combustible Edison, who played a great array of soundtrack and electronic music) -- but that isn't nearly as populist and exciting. Carl W.
TV
From RockOnTV's "Coming Soon" section: Austin City Limits (PBS) Mexican Roots Music Celebration with Los Lobos, Joe Ely, Las Camapnas de Americas, Ruben Ramos, Freddy Fender, Flaco Jimenez, Cesar Rosas, Tish Hinojosa, and many others (03/27) Dave Alvin / Loudon Wainwright (04/10) Charlie Rose (PBS) Cassandra Wilson (03/25) Conan O'Brien (NBC) Susan Tedeschi (04/07) The Latin Playboys (04/15) David Letterman (CBS) Joe Henry (03/31) Regis Kathie Lee (SYN) Emmylou Harris, Linda Ronstadt, Dolly Parton (03/25) TWM == -- Tom Mohr usually here: [EMAIL PROTECTED] sometimes here: [EMAIL PROTECTED] _ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com
SXSW Report/Houndog/blues fiddle
Jerald reported from SXSW: Back to Stubbs to catch Houndog, the David Hidalgo side project. Good greasy, bluesy sounds. I'm listening to this CD as I eat lunch, and I've got to say, it's really cool. Very bluesy, as mentioned, and very primal. And getting back to the blues fiddle thread that popped up last week, David Hidalgo plays a lot of fiddle on this record, as well as all the other instruments. All (gritty, anguished, gutbucket) vocals by Mike Halby, formerly of Canned Heat and John Mayall's Bluesbreakers. More info at http://www.mindspring.com/~krazyfish/loslobos/dog.htm Of the various Los Lobos related side projects to come out in recent months (Los Super Seven, Cesar Rosas solo album, Latin Playboys) this one is rapidly emerging as my favorite.
Interesting article on a new band from SF
This one's too long to clip, so I'm posting the current URL. The band is called Train and the article contains some interesting observations on a new band trying to make it big in today's musical business. http://www.sfweekly.com/1999/current/music1.html np: Tom Morrell and the Time Warp Tophands Go Uptown
Clip: Guitar Remains At the Heart of Texas Festival
Guitar Remains At the Heart of Texas Festival Beck, Waits, Williams at South by Southwest James Sullivan, Chronicle Staff Writer Friday, March 19, 1999 URL: http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/1999/03/19/DD36403.DTLtype=music The guitar cases were the first items off the plane Wednesday in Austin, Texas, home of the annual South by Southwest music conference, which takes place this week. The music industry may be casting about for a new sound to flog, but the guitar still rules in Texas. On Wednesday night the veteran six-string dazzler Jeff Beck showcased his new album ``Who Else?'' at La Zona Rosa, tweaking his showy instrumentals with the anxious hubbub of electronica. No one danced, of course. It was still rock 'n' roll, catering to a predominantly male audience with a collective case of slack-jaw. ``Hot damn!'' hollered one observer. The festival organizers have been working to include a wider variety of music -- this year's lineup includes showcases for hip-hop and rock en Espanol -- but songwriting remains the prime focus at SXSW. Nouveau troubadours Beth Orton, Sparklehorse and the Old 97s are playing some of this year's most highly anticipated gigs. Tomorrow's rare performance by Tom Waits, Sonoma's master of the eccentric ballad, is the conference's most coveted ticket. Yesterday, Southern-drawlin' sweetheart Lucinda Williams delivered the keynote speech at the Austin Convention Center, the hub of SXSW. Proving that the stubborn rock 'n' roll lifestyle still appeals, Williams' ``Car Wheels on a Gravel Road'' recently beat out ``The Miseducation of Lauryn Hill'' for 1998's top album in the influential Village Voice critics' poll. Her simple message, nervously accompanied by acoustic versions of some of her best songs, called for recording artists to stick to their guns. ``The whole music business has become corporate, and that's the problem,'' she said. ``I don't think the major labels are working anymore.'' The record companies are wondering the same thing. This year's panel discussions include a debate about downloading music from the Internet, one about Wall Street and the music industry and another titled ``How Will Consolidation Affect the Indie Scene?'' Other panels weren't quite so business- minded. One yesterday, called ``I Can't Help It If I'm Still in Love With You,'' celebrated the late Hank Williams' enduring influence; another, taking place today, looks at the long history of nonsense lyrics in rock 'n' roll. On the Sixth Street nightclub drag and in the outlying clubs, the atmosphere is anything but academic. On Wednesday, several Bay Area bands vied for attention from the talent buyers, artist-and-repertoire people and other industry reps on hand. Sacramento's Deathray, featuring two recently departed members of Cake, guitarist Greg Brown and bassist Victor Damiani, unveiled its Britpop fixation at the Steamboat, one of Sixth Street's more collegiate venues. Earlier in the day, the band mem bers made the rounds of Austin radio stations, playing a $5 Casio keyboard they picked up at a pawn shop ``straight from the airport,'' according to singer Dana Gumbiner. Another no-frills joint called the Buffalo Club featured two bands on Sacramento's Future Farmer record label, Jackpot and Joaquina. With a wry hillbilly attitude (they covered ``Highway to Hell'') and some impressive jazzy interplay among the band's three members, Jackpot reconfirmed itself as one of Northern California's better live bands. With little name recognition to speak of, however, its audience numbered in the dozens -- mostly University of Texas students, not Los Angeles talent scouts. A thousand bands will play in Austin before the weekend is over, many of them to crowds not much bigger than they're used to at home. ``Half of me feels happy to be here and the other half feels stupid,'' said Jackpot's bassist Sheldon Cooney, drinking a beer in a courtyard behind the club after his band's set. His outfit, a short-sleeve dress shirt and a striped thrift-shop tie, made him look like a traveling salesman. Highly appropriate, given the self-promotional frenzy of SXSW. Earlier in the evening, several blocks to the east of the commotion on Sixth Street, the San Francisco- based punky Latin soul band Los Mocosos headlined a relaxed community event on an outdoor soundstage next to a Little League game. Texas is treating Los Mocosos well right now, with Latino and alternative radio stations picking up on the band's new single, ``Brown and Proud.'' Perhaps flush with his group's mounting success, lead singer Piero el Malo (formerly with Los Angelitos) poked some good-natured fun at his hometown. San Franciscans think all Texans wear cowboy hats, he said. ``What do you expect from a bunch of tofu-eatin' hippies?''
Thanks == Re: SXSW Report
Jerald, Much appreciated!! Kate. [EMAIL PROTECTED] writes: Ok here's a few things I saw yesterday: Cherilyn's P2 BBQ - The rain held out through the afternoon so the bands played. I saw Cherilyn's roomie Scott play (Bruce Springsteen cover of I'm On Fire), The Meat Purveyors (Bruce cover of You Can Look But You Better Not Touch) and the Ex Husbands (Bruce cover of Cadillac Ranch with special "Cher-i-lyn's Ranch" lyrics at the end). The Meat Purveyors also did their great new song about Chad Hamilton called "I'm More Man Than you'll ever be, and More Woman than you'll ever get" about Chad and Cherry Lou's... uh relationship. I am hoping it will make it on the next TMP cd. The brisket and tater salad was good and the Pearl was foamy, the airplanes made regular passes over the house (they will be gone next year after the airport moves). I met a few P2ers that I knew by rep only like Meshel, Amy H. and CK. Saw Yates and Deborah, Slim, Chad H., Matt Cook, Bill Silvers, Jamie S., Jayne, and quite a few others I am forgetting right now. Went to a Sony party at Stubbs and saw a little of Old Pike, Bare Jr. I had only seen Bare Jr. do acoustic in stores before so they were a little louder and rocked the house. Went across the street to the Doolittle party to find that the Bottle Rockets weren't going to make the party but ate and watched Todd Thibaud for three good pop songs. Back to Stubbs to catch Houndog, the David Hidalgo side project. Good greasy, bluesy sounds. Wayne Hancock started his showcase outside an hour early so we got to see about thirty minutes of that. Next to Cheapo Discs as the rain starts to see Robbie Fulks. Despite sound problems Robbie was in good form, "Burn Together, Tears only Run one way",God Isn't Real", a new song that he said he just recorded with Kelly Willis called "Parallel Bars" where he sang both parts of the duet. He also brought up a songwriting friend, Dallas Wayne? to do a couple of songs. Well I better get to work, more later.
Steve Earle and Del McCoury Band-D.C.
Well folks if Steve Earl and the Del McCoury Band come anywhere close drop everything and see their show. Two of the best days and nights of music I've seen in a long time. Got to see them 2 nights at the Birchmere and a show at the Borders Bookstore in downtown DC on Thursday afternoon. From the tight band of Del McCoury's group to Steve Earle's rasspy singing they are just plain having fun. Both nights played pretty much "The Mountain" CD to Steve doing a solo set and all different arrangments of Steve and the Band. One of the highlights was that they did a Bill Monroe song "Lonesome Road Blues", and Steve said it was so hard to play in Nashville because the great Mac Wisman was sitting front row and watching the show at the Station Inn. At all three shows you had opportunities to get signitures in which they signed and chatted alittle about the shows. Great couple of days. Met one new P2er at Borders, so there are more everyday. By the way the are on Connan O'bien show tonight NBC. Stick
Clip: Flushed with Success(LONG)
Flushed with success: The record biz is making big money- so why is the music so poor? by David Serchuk -Boulder Weekly 3/18/99 Many musicians get into the music business and expect to be broke. There are reasons for this: touring is expensive, there is intense competition, and it's expensive to make albums. The difference these days is that when it comes to being broke these m usicians are not alone. They have company: record industry executives. This is perhaps best signified by January's mega-deal in which the Seagrams Company bought PolyGram and merged it with their own record company subsidiary, Universal. The new supercomp any, dubbed the Universal Music Group, now controls 23 percent of global record sales, by their own estimates. Such celebrated labels as Geffen and AM were later acquired by UMG in the deal, and AM was summarily shut down. Universal now also controls Is land Records as well as Mercury Records. Up to 3,000 employees of those companies are expected to be laid off while hundreds of bands will be cut, according to UMG. These unprecedented acquisitions and firings are signs of deep-seated trouble in an industry that has steadily undermined itself with short-sighted marketing strategies. Instead of investing in recording artists for the long haul, nervous, out-of-touch labels gamble on one-hit wonders like a dogtrack sucker who thinks the only way to riches is playing 99-to-1 longshots. And the real victims of the industry's go-for-broke approach, ultimately, are the record-buying public, who are forced to choose from o verplayed hits and weak, unpolished work from bands that have been pushed on the air before they're ready. A Titantic year Last year was a rebound year for the industry in terms of raw sales. However, while the Recording Industry Association of America's assertion that 1998 saw "very healthy growth," with sales of $13.7 billion, up 15.1 percent in dollar value from 1997, RIA A figures also show a dollar value decrease of 2.4 percent in 1997 from 1996. Seen against the backdrop of a largely stagnant market, sales growth in '98 was modest. "There was an enormous boom in the '90s in record sales, and that really hasn't sustained itself," says recording engineer Steve Albini, a respected champion of the independent record movement as an artist and engineer (Big Black, Shellac) even as he wor ks the other side of the fence as an engineer for such major label bands as Page and Plant, and Bush. He believes the reason for the less-than-overwhelming growth is simple: bad music. "People within the industry are always looking for reasons other than the dreadful music. They're saying, 'Oh, people are using the Internet, people are becoming more shut in, more and more people are invalid ...' They're always trying to find some reason why people are not buying records other than the fact that the record s are awful." The industry has remained afloat because of a few hugely popular songs, some insiders say. "I keep being reminded by the trade publications that it's a good year 'cause sales have increased," says Warner Brothers' director of publicity Rick Gershon. "Bu t essentially I think sales have increased for a very few artists. The field has narrowed." "It's getting back to the blockbuster mentality where you make all your money on the record that sells three million copies," says Geoffrey Weiss, vice president of AR for Warner Brothers. "Many of the articles I read say if you back the Titanic numbers out of the record sales last year that business was actually down." (Sales of the Titanic soundtrack and Celine Dion's album Let's Talk About Love, with the hit song from the film, "My Heart Will Go On," totaled over 16 million. Those two albums alone in creased album sales 4 percent over 1997.) Driven by hits, the market has experienced healthy growth in CD singles. In fact, CD singles in 1997 were up 54 percent over 1996. All told, CD singles sales rose 200 percent from 1995 to '97, the RIAA reported. And while sales dropped 16.1 percent in 19 98 from 1997 the RIAA reports "the market was actually stable for singles-it was the previous year that was an anomaly because of the impact of the Princess Diana tribute." The single in question is Elton John's "Candle In The Wind 1997" which was the wor ld's all-time biggest selling single, says the RIAA. That singles are carrying the industry isn't necessarily good for music buyers or musicians. With the business leaning so heavily on blockbuster hits, acts are forced to pay hundreds of thousands of dollars to produce records glossy enough for radio, sa ys Weiss. Then these acts are discarded if they fail to immediately climb the charts. You never give me your money The financial losers of the above equation are the musicians. Most bands on major labels almost never get paid any significant wages unless they have a major hit. Why? Because bands usually have to pay back their labels the vast sums of
Re: Clip: Flushed with Success(LONG)
The difference these days is that when it comes to being broke these musicians are not alone. They have company: record industry executives. While I have great sympathy for anybody who gets dumped from a job they've come to consider their livelihood, that's about the funniest thing I've read in quite a long time. I don't know who'd get a bigger laugh out of it: one friend who got dumped from a label exec job and comfortably took a whole year shopping for a new job or my guitarist whose late '60s junker is pissing transmission fluid all over the place. Maybe it's all relative . . . or something. Tom Smith
shaver
On Fri, 19 Mar 1999, John Magee wrote: np: Shaver, "Victory". Nothin' like a little sangin' about Juh-heezus before I start an evening of beer and loud guitars. Hell yes.I've always liked Mr. Shaver however this record has taken that admiration to new highs. a masterpeice.. Quippingly yours JC NP: The Essential Hank Snow
Re: shaver
np: Shaver, "Victory". Nothin' like a little sangin' about Juh-heezus before I start an evening of beer and loud guitars. You've inspired me...I'll try that out this afternoon, pre-BareJr./Black Crowes tonight. Hell yes.I've always liked Mr. Shaver however this record has taken that admiration to new highs. a masterpeice.. Do we (meaning any of you) have advance word on "Electric Shaver", the new, full-band and fully-e-lectric album? I can't help but wonder how it would sound with RS Field producing...and trying to top "Tramp" Tucker
RE: Clip: Flushed with Success(LONG)
np: Shaver, "Victory". Nothin' like a little sangin' about Juh-heezus before I start an evening of beer and loud guitars. Nothin' like making fun of other people's speech and beliefs. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: shaver
Spoke to Billy Joe at the Sutler last month, said it's due out in May. He kinda rolled his eyes as if to say "well, at least that's what they're sayin'" I've also recommended a great picture for the album cover. Check it out at this link: A HREF="http://iavbbs.com/gflinn/INDEX.HTM" http://iavbbs.com/gflinn/INDEX.HTM /A(it's the Mr Steel Beard guy for Phillips electric shavers). BJS liked it a lot! Kate. [EMAIL PROTECTED] writes: Do we (meaning any of you) have advance word on "Electric Shaver", the new, full-band and fully-e-lectric album? I can't help but wonder how it would sound with RS Field producing...and trying to top "Tramp".
RE: Clip: Flushed with Success(LONG)
What's really interesting about the article in P2 terms is the way that it suggests that the current crisis in country music is similar and related to a larger crisis in the record bidness generally. Imagine that. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Help please ! (Tom House Joseph Spence)
I'd really like to know more about Tom House. I've been listening his This white man's burden cd for a few days and i can't stop playing it. he reminds me in some way on Michael Hurley which i really like. If anyone knows more about Tom House please mail me privately. I'd like to know if he has more cds. Another hero i don't know anything about is Joseph Spence. he sounds to me like Captain Beefheart with acoustic guitar. Anyone knows more about them ? Thanx in advance ! Mail me privately ! Alex Aleksandar Lazarevic p.fah 80 11400 Mladenovac Serbia Yugoslavia [EMAIL PROTECTED] tel.+381 11 8220 554
Live Mott
OK, so there I stood in my local indie shop holding this apparently just-released live 2-disc Mott the Hoople album from the Mick Ralphs days. It has one show from 1973 or so from Philly and another from some other town. And it was about $23. Anyone heard it? It's not a boot, but I've never seen it before. Almost bought it 'cause I'm a bit of a fanatic, but on the other hand I want to make sure it's better than the live one I own on vinyl, which is over-the-top high-energy, but laced with awful lead work by Ariel Bender. Anyone? Steve Kirsch [EMAIL PROTECTED] "I've been thinking with my guts since I was 14 years old, and, frankly speaking, between you and me, I have come to the conclusion that my guts have shit for brains." -- Nick Hornby, "High Fidelity"
Re: Inflammable Material on WXDU Playlist
Mark said: "And I should add that your show was pretty damn phee-nominal, too, Steve. Although I think I would have played "My Baby Does Good Sculptures" from that Rezillos album... Good move getting the first Dead Boys record this time around, too. Makes that second LP sound like an aural turd, don't it?" We played "My Baby Does Good Sculptures" last time and so decided to play the head kicked in song this time. As a matter of fact, the only song that we repeated on this shift was "Suspect Device" by the SLF but since that's the theme song it makes sense. I gotta say I still like the second Dead Boys LP, but you are right, the first one rocks. And "Sonic Reducer" is one powerful song. Cheers. Steve
Re: V-Roys (muddy water)
Yep, it's the Seldom Scene's song. Sheesh, sure is nice to sit next to 21 years worth of recorded music. :^) I never would have guessed that it was a Seldom Scene song. When you hear the V-Roys sing (scream) it, ya don't exactly think midtempo acoustic ballad. Thanks. I can sleep now. 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: SXSW Report
I just saw Devil in a Woodpile half an hour ago at the conference site. They didn't suck. Lots of soon-to-be out of work industry hacks wandering around in a confused daze. Quite a lovely sight really. All for now. Gotta go get the Maraichi band ready for the Bad Liver showcase tonight. Toodles! ___ Mark Rubin POB 49227, Austin TX 78765 http://markrubin.com
For Gourds fans
Yep ! I found it again. There's The Gourds - I know i'm not wrong on Fleetwood Mac Patron Saints of Pop an apostilary homage. Great cover ! It makes me jump all over the house just like Pushed her down but still my fave song is When wine was cheap. Alex Aleksandar Lazarevic p.fah 80 11400 Mladenovac Serbia Yugoslavia [EMAIL PROTECTED] tel.+381 11 8220 554
Re: Clip: Flushed with Success(LONG)
In a message dated 3/19/99 3:10:32 PM Central Standard Time, [EMAIL PROTECTED] writes: np: Shaver, "Victory". Nothin' like a little sangin' about Juh-heezus before I start an evening of beer and loud guitars. Nothin' like making fun of other people's speech and beliefs. Y'all will have to excuse Jon. during SXSW he gets lonely and has nobody to argue with so he picks fights over meaningless things. How you see this as "making fun" is beyond me. No, it's not. Slim - having a good time.
Re: SXSW
Howdy. what fun! I will do a fairly comprehensive rundown later, but a couple of tidbits: Stubb's lineup of Wayne Hancock, Jeff Black, Radney foster, BR5-49, Leon Russell (with Willie Nelson) and Doug Sahm was rained out after Hancock's short performance. Also, the Fire Dept. raided the Continental Club last nigght, cleared a packed house and made everyone line up to get back in with a strict head count. Other than that, it's been a blast! Slim
Re: shaver
By far the best show I've seen at SXSW so far -- Shaver. Brilliant and I haven't felt moved like that at a show in a long time. more soon. -jim On Fri, 19 Mar 1999, Jerry Curry wrote: On Fri, 19 Mar 1999, John Magee wrote: np: Shaver, "Victory". Nothin' like a little sangin' about Juh-heezus before I start an evening of beer and loud guitars. Hell yes.I've always liked Mr. Shaver however this record has taken that admiration to new highs. a masterpeice.. Quippingly yours JC NP: The Essential Hank Snow
Re: Live Mott
Steve Kirsch writes: OK, so there I stood in my local indie shop holding this apparently just-released live 2-disc Mott the Hoople album from the Mick Ralphs days. It has one show from 1973 or so from Philly and another from some other town. And it was about $23. Anyone heard it? It's not a boot, but I've never seen it before. Almost bought it 'cause I'm a bit of a fanatic, but on the other hand I want to make sure it's better than the live one I own on vinyl, which is over-the-top high-energy, but laced with awful lead work by Ariel Bender. Anyone? This isn't that live-in-Sweden one that came out a few months back, is it? If so, a friend of mine bought that and swears by it. He also has the new import 3-disc boxed set. I've seen that at Newbury Comics a couple of times but haven't picked it up yet myself. There's a real good MtH boot that I have at home of BBC and live tracks; nearly all from the Atlantic period (read: heavy as hell). --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
Remains - Saturday
I have an extra ticket for The Lost, Rising Storm and my personal favorite Barry and the Remains for Saturday March 20th at the Paradise in Boston. Anyone interested in taking this free ticket please contact me offlist. Kat
