Re: Going, going, gone
Well I, for one, will really miss your sorry ass. Remember to duck, and that we love ya man. dan bentele == == "There is only the Twang. The Twang shall set you free." (Jeff Wall) "Us Americans didn't climb to the top of the world's food chain to eat tofu, be sensitive, or drive tiny ass foreign clown cars." (Jeff Wall, 1999)
RIAA Diamond Award
Read that the RIAA is initiating a "Diamond" award for those albums certified 10 million or more sold. Currently eligible in the country category are...you guessed it...Brooks, Twain and Kenny Rogers. I remember when the term "platinum" came out and that was a major feat for a recording artist. Setting almost impossible standards by which an artist selling only 500,000 copies may be looked upon as a "failure"? Just wondering what implications this may have on the industry. Tera
Re: Austin Friday and Saturday night
The Truckers er at me house at this very moment smokin' pot n' drinkin'
beer. This is every thing i ever started playin' in bands fer. By the way,
they didn't lose a tranny, it was merely a fan clutch ('bout $60 vs.
$600-$900) but that still ain't no excuse not to go see one of the best
fookin' rawk bands your sorry ass will ever have the pleasure of beholdin'!
Don't be no April fool! Git yer ass out'a tha house and be a witness! You
won't be disappointed!
Love n' biscuits,
Brent
-Original Message-
From: [EMAIL PROTECTED] [EMAIL PROTECTED]
To: passenger side [EMAIL PROTECTED]
Date: Thursday, April 01, 1999 10:56 PM
Subject: Austin Friday and Saturday night
Don't forget to catch the Drive-By Truckers in Austin Friday and Saturday
night.
Friday they're at the Hole in the Wall
Saturday they're at the Continental
Both nights with Jennyanykind.
Go out and support the little guys. We've got a transmission to pay for
g
Deb#s
Ooh, baby, go all the way... (non-twang)
No twang here, but I know that there are more than a few fans of power pop on P2, nonetheless. Word from the Posies list yesterday was that the Raspberries are going to be touring this summer with the original lineup (who are currently in rehearsals), along with the Knack and, on some dates, Cheap Trick. If you're a power pop fan, make a Homer-esque drooling sound at this point. --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
Re: Mary Lou Lord (was awwwww...)
So anyway, Nancy sez: I love her Shake Sugaree song. I can really relate to the line "everything's down in pawn" Shake Sugaree is the best cut on the record and also, interestingly enough, the only tune not penned by Ms Lord herself. Got No Shadow is no great record, but still I find Some Jingle Jangle Morning or Subway playing in my head on occassion. np on the radio: Offspring - Why Don't You Get A Job? ___ Get your free, private email at http://mail.excite.com/
Dale Watson Report?
Hi all, Anyone see Dale in NY? 'Fess up, all reviews appreciated. Kate
Re: Big Labels Dropping Bands
Jon Johnson wrote: Amen. A band that probably doesn't have a bad record in 'em. Yes they do. Copperolis was awful -- a plodding tuneless mess. I rarely sell records back, and that one went to the used bin in under two weeks. Just awful. But the rest of their output is stunning. Nothing has ever matched their debut, Fuzzy, as far as I'm concerned. Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Trisha and the Snuffleupagus sp?
Hey, Trisha was pretty cool on Sesame Street this morning! I think she was flirting with that new puppet, whatever it's name is Does Bobby know about this? sheesh --junior
Re: Kelly Willis calling the shots
Excerpts from internet.listserv.postcard2: 1-Apr-99 Re: Kelly Willis calling th.. by Will [EMAIL PROTECTED] The song choices are often weak. A couple of the originals are good, but I get to wishing there was a producer there to separate the wheat from the chaff. I disagree. I think she does a great job of interpreting the Nick Drake song, brought a minor Replacements tune to life, and did yet another fine Paul Kelly cover. Add in fine guitar work by Chuck Prophet John Dee Graham and _What I Deserve_ is a lock for my year-end Top 10. Carl Z.
RE: Trisha and the Snuffleupagus sp?
Hey, Trisha was pretty cool on Sesame Street this morning! I think she was flirting with that new puppet, whatever it's name is That may be, but she told Crook Chase that she had really looked forward to working with Grover. Asked which G-man she'd rather do her next duet with - Garth or Grover - her reply was "no comment." Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
BMI vs. ASCAP?
I give up trying to look at the applications and figure out which one is which. There are these songs, they are on a record, I want to collect the big $$$ when they break the Top 40, and I have no publishing affiliation... which one of these do I pick, and which forms do I fill out? Thanks, Bill Gribble
Re: BMI vs. ASCAP?
Flip a coin. I did BMI . . . -jim On 1 Apr 1999, Bill Gribble wrote: I give up trying to look at the applications and figure out which one is which. There are these songs, they are on a record, I want to collect the big $$$ when they break the Top 40, and I have no publishing affiliation... which one of these do I pick, and which forms do I fill out? Thanks, Bill Gribble
Chicago Content: Butch Hancock at FitzGerald's
Haven't seen Linda Ray's Chicago Calendar lately, so I thought I might pass this info along to the Chicago area: Tues,4/6 Special Show! A special performance by Butch Hancock plus Sam Pacetti and Chris Kaye 8:00 show /$6 Also coming to FitzGerald's in April: Peter Case with Robbie Fulks, Alejandro Escovedo with Sally Timms, Tom Russell. http://www.fitzgeraldsnightclub.com/listings.html 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
Re: BMI vs. ASCAP?
Bill Gribble wrote: I give up trying to look at the applications and figure out which one is which. There are these songs, they are on a record, I want to collect the big $$$ when they break the Top 40, and I have no publishing affiliation... which one of these do I pick, and which forms do I fill out? I seem to remember reading that it's hard to get into ASCAP unless you're a little more established, whereas BMI takes anyone. Take that with a grain of salt, tho, because I can't remember the source. Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Re: BMI vs. ASCAP?
[EMAIL PROTECTED] writes: I give up trying to look at the applications and figure out which one is which. There are these songs, they are on a record, I want to collect the big $$$ when they break the Top 40, and I have no publishing affiliation... which one of these do I pick, and which forms do I fill out? Look at Bug Publishing (they are publishers AND administrators) b4 you go decide on the big guns. Very nice organization, tres cool roster and you won't get lost in the shuffle. Kate
RE: BMI vs. ASCAP?
BMI was created in large part because ASCAP refused to deal with composers in, ah, trailer park types of music - hillbilly, race, etc. That's why so much of the country stuff you see is BMI. On the other hand, ASCAP has a program already in place whose purpose is to compensate for under-reporting of airplay of niche music; a friend of mine who's ASCAP has reported actually getting some pretty decent checks after submitting materials to this program. So at the moment, there may actually be a slight advantage in going ASCAP. All this is assuming that you don't do much co-writing with affiliated writers. In those cases, writers/publishers typically create two entities, one to register with each; that way, they can get a song handled by just one agency where there are multiple credits. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: bassist sought
hi i know, i know, im beating this into the ground, and i apologize...but im still looking for a bassist for an alt.country band. we need somone who is: - a FENDER-style bass player. no six string alembics, please. - experienced w/ americana (honky-tonk, rockabilly, etc.). - able to handle strong back up vocals. - willing to rehearse 1X per week for a while to get going. - a MINIMALIST. we love ya geddy, but not for this music. call or email. and thanx! kip martin 703.645.4421 days 540.349.2798 eves. Get Your Private, Free Email at http://www.hotmail.com
No Twang, lots of stories -- Al Kooper - Brookline Booksmith - April6th
Hi all, just got wordthe master of in-your-face cynicism, in person (Boston area): [Unable to display image] Al Kooper · Backstage Passes Backstabbing Bastards · Tues., April 6, 7pm. Kooper, Berklee College of Music professor and founding member of Blood, Sweat Tears, discusses his memoir about his forty years in the music biz. All events are free unless otherwise noted. Tickets are available for all events and may be picked up at the store, or reserved by calling Booksmith at 617-566-6660. Tickets assure a seat until five minutes before the event commences. K.
Re: Austin Friday and Saturday night
YES. GO. They we;re great when they came last time and this trip you can probably buy a copy of their new CD. I'll be there. xojns np: new backsliders -- From: [EMAIL PROTECTED] To: "passenger side" [EMAIL PROTECTED] Subject: Austin Friday and Saturday night Date: Thu, Apr 1, 1999, 10:56 PM Don't forget to catch the Drive-By Truckers in Austin Friday and Saturday night. Friday they're at the Hole in the Wall Saturday they're at the Continental Both nights with Jennyanykind. Go out and support the little guys. We've got a transmission to pay for g Deb#s
Chicago's Margasak on Steve Del
STEVE EARLE THE DEL MCCOURY BAND at the Vic, March 25 By Peter Margasak The first few times I listened to "The Mountain," the new album Steve Earle recorded with the Del McCoury Band, I couldn't stop thinking what poor use he'd made of the group he himself calls the "best bluegrass band working today." Despite Earle's declared love for bluegrass and his close identification with Texas country-rock bards like Guy Clark and Townes Van Zandt, he's always played far more rock than country from his wonderfully bombastic 1988 breakthrough album, "Copperhead Road" to his 1996 comeback anthem "Feel Alright," his music consistently reveals his love for the real fist-pumping, roof-rattling stuff. And while the best rock and the best bluegrass do share a certain intensity, Earle's never been much for subtlety; against the onslaught of overamplified modern music, on the other hand, bluegrass's acoustic subtlety has become one of its greatest strengths. Last week, when Earle performed at the Vic with McCoury's virtuosic but restrained band -- singer and guitarist Del; his sons, mandolinist Ronnie and banjoist Rob; fiddler Jason Carter; and bassist Mike Bub -- this schism occasionally became very apparent. During "Dixieland," a Pogues-ish tune from the new album, Earle let out a hearty whoop that seemed like a plea for the sort of cheap, instant kick in the ass only a rock band can deliver; he went ungratified. And when he played a handful of his best-known tunes by himself in the middle of the show, he bludgeoned the chords more than he strummed them, substituting sheer force for suitable accompaniment. But by the end of the three-hour concert, throughout which the group huddled cooperatively around a single multidirectional mike, I'd come to think of the experiment as a success for Earle, if not entirely for McCoury and his band. For the most part Earle was able to lead the ensemble from within, and the McCoury gang did trade in some of its cool virtuosity for raw energy. This isn't the first time Earle has explored more traditional music. In 1995, after serving a brief sentence for crack possession, he cut the all-acoustic "Train a Comin'" with guitarist Norman Blake, bassist Roy Huskey Jr., and mandolinist Peter Rowan -- the progressive former Bill Monroe sideman whom Earle credits as his mentor in bluegrass basics. But Earle was more or less revisiting his own troubadour roots: he may have been surrounded by accomplished pickers. but he was hardly on unfamiliar turf. On "The Mountain," penned mostly by Earle and arranged mostly by Ronnie McCoury, Earle admits that he was attempting to "write just one song that would be performed by at least one band at every bluegrass festival in the world long after I have followed Mr. Bill [Monroe] out of this world." But his songs are still driven by his impulse to rock, and at times the McCoury band seems to be blandly vamping behind him. During the all-too-brief set the group played by itself at the Vic, the music took on a luxurious buoyancy that it never quite recaptured on the more driving collaborative numbers. The phrase "high lonesome" has been applied so many times to bluegrass singing that it doesn't mean much anymore, but when Del McCoury opens his yap the definition snaps right back into focus. When his band did Bill Monroe's gospel gem "Get Down on Your Knees and Pray," long a staple of its live sets, the gorgeous four-part harmonies sent shivers down my spine. Still, when Del sang with Earle on the new album's "Carrie Brown," he tapped into something much more urgent and natural. It wasn't sublime, like "Get Down," but there was an immediate, ragged glory in McCoury's voice that I'd never heard there before. Earle didn't give as much as his counterparts but he sure seemed to enjoy playing with them. He did his darnedest to get his fans to listen to the McCourys, but by three or four tunes into their set, many of Earle's fans were talking loudly. Their attention was recaptured when Earle, solo, hauled out warhorses like "I Ain't Ever Satisfied," "Hillbilly Highway" and The Devil's Right Hand," to which they happily bellowed the words even though Bade himself looked utterly bored. I don't think Earle's about to embark on a bluegrass career, but when he was playing with the McCoury band, he gave some of his most spirited performances since his first shows out of rehab. Bob
Re: Sapnkers dates
At 9:43 PM -0500 on 4/1/99, Moran/Vargo wrote: Yeah, and they just happen to jump right over Philadelphia as well. g But two nights in Pittsburgh! And two in Chicago! They were great (if amplified) at a brief outdoor show this past summer, and I'm looking forward to seeing them in their natural habitat without electricity. I'll definitely be at Schuba's Thursday night if anyone else'll be there. Bob
Re: Kelly Willis article in Nashville Scene
At 1:59 PM -0800 on 4/1/99, Don Yates wrote: At this point, Willis has left her early rockabilly influences behind. In search of a more mature sound, she has chosen to record songs about searching for love, for identity, for a reason for being. I'll heave a Tom Ekeberg Memorial Sigh here. Bob
Re: Austin Friday and Saturday night
did they play that song "Toom Much Sex, Too Little jesus" - they played that
in my living room while I washed dishes and putting laundry away. Are you
coming down for the Austin show?
Jenni Sperandeo
Jacknife!
8711 Burnet Road, Suite A-14
Austin TX 78757
512-453-6122 phone
512-453-6502 fax
--
From: "Best Brent" [EMAIL PROTECTED]
To: "passenger side" [EMAIL PROTECTED]
Subject: Re: Austin Friday and Saturday night
Date: Fri, Apr 2, 1999, 3:03 AM
The Truckers er at me house at this very moment smokin' pot n' drinkin'
beer. This is every thing i ever started playin' in bands fer. By the way,
they didn't lose a tranny, it was merely a fan clutch ('bout $60 vs.
$600-$900) but that still ain't no excuse not to go see one of the best
fookin' rawk bands your sorry ass will ever have the pleasure of beholdin'!
Don't be no April fool! Git yer ass out'a tha house and be a witness! You
won't be disappointed!
Love n' biscuits,
Brent
-Original Message-
From: [EMAIL PROTECTED] [EMAIL PROTECTED]
To: passenger side [EMAIL PROTECTED]
Date: Thursday, April 01, 1999 10:56 PM
Subject: Austin Friday and Saturday night
Don't forget to catch the Drive-By Truckers in Austin Friday and Saturday
night.
Friday they're at the Hole in the Wall
Saturday they're at the Continental
Both nights with Jennyanykind.
Go out and support the little guys. We've got a transmission to pay for
g
Deb#s
Re: Chicago's Margasak on Steve Del
The difference between Me Margasak: Margasak: Despite Earle's declared love for bluegrass and his close identification with Texas country-rock bards like Guy Clark and Townes Van Zandt, he's always played far more rock than country from his wonderfully bombastic 1988 breakthrough album, "Copperhead Road" to his 1996 comeback anthem "Feel Alright," his music consistently reveals his love for the real fist-pumping, roof-rattling stuff. Me: Despite Earle's love for bombastic rock, and the fact that every other Earle CD is filed under "rock" instead of in the back of the store, he's maintained a close identification with Texas country bards like Guy Clark and Townes Van Zandt; from his exquisite debut album, "Guitar Town" to his acoustic comeback album "Train A-Comin'" his music consistently reveals his love for the classic twang of pure country and bluegrass. --Cheryl (I'm Not Jeff) Wall, I mean, Cline
Re: Old Time CD
this may be of interest to some of you jim n. Ray Alden [EMAIL PROTECTED] 04/02 10:58 AM Dear Friends of Old Time Music, The Chubby Dragon label is proud to announce the release of a new and significant old time music CD; "The Brandywine Mountain Music Convention." It contains over 70 minutes of superb music along with a CD-ROM section containing over 200 photographs from the years 1974-1993 and scores of stories, anecdotes and memories. It documents 20 years of a festival that grew in parallel with the development of the old time music community. Looking at the playlist below, you will see many of the legends of Old Time Music. If you attended Brandywine, you might even see or read about yourself in some of the photos or stories. To celebrate the release is making a special offer, found at the end of the playlist. "THE BRANDYWINE MOUNTAIN MUSIC CONVENTION, A Twenty Year Legacy" 1974 - The First Annual - The Galax, Virginia Sound [1] Step Back Cindy Kyle Creed and Fred Cockerham [2] Wind and RainKilby Snow [3] Undone In Sorrow Ola Belle Reed 1975 - Traditional Music Of West Virginia [4] Battle Of Shiloh HillDave Morris [5] Cluck Ole HenIra Mullins [6] George Booker Highwoods String Band 1976 - The Music of Kentucky [7] Hawkins Rag The New Lost City Ramblers [8] Little Birdie Roscoe Holcomb [9] Church In The Wildwood The A.L. Phipps Family 1977 - The Music Of French America [10] Happy Acres Two Step Simon St. Pierre [11] Clay PortelleJoe Politte [12] You Had Some, But You Ain't Gettin' No More The Balfa Brothers 1978 - The Music Of North Carolina [13] Sourwood Mountain Tommy Jarrell[14] Cricket On The HearthSmokey Valley Boys 1979 - Early Country Music Radio [15] Faded Coat Of BlueJulia Mainer [16] Big Eyed Rabbit Wade Mainer [17] Give Mother My Crown Bailes Brothers 1980 - The Women Of Old Time Music [18] Ain't Gonna Work Tomorrow Lily May Ledford [19] Sally Let Your Bangs Hang Down Rose Maddox [20] Why Don't You Pray For MeElizabeth Cotten 1981 - The Music Of Tennessee [21] Bye Bye Blues Virgil Anderson [22] Brown's Dream Roan Mountain Hilltoppers 1982 - Georgia Fiddle Bands [23] Hell Broke Loose In Georgia Lowe Stokes 1983 - The 10th Anniversary Celebration [24] Lost Train Blues Ralph Blizard [25] Walkin In My Sleep J.P and Annadeene Fraley 1984 - Music Of The Ozarks [26] Wink The Other Eye Art Galbraith [27] New Vita-Mine Grandpa Jones 1985 - Texas Music [28] Sally Goodin Junior Daugherty [29] ConatechesMariachi America [30] Texas Playboy Medley Bob Wills Band To celebrate this release, and to present it before retail dealers obtain copies, Chubby Dragon offers to you (or any old time music aficionado you forward a copy of this notice): UNTIL APRIL 25, 1999 "THE BRANDYWINE MOUNTAIN MUSIC CONVENTION"Chubby Dragon CD1006 Cost: $12 (plus $2 shipping USA) = $14 total Send a check made out to Ray Alden, (and mailed to) 124 Quaker Bridge Road Croton, NY 10520 Also Offered! If you order this CD, the same $12 price is extended to any CD listed below. If you wish to hear an audio sampling of any of these in RealAudio or WAV, see the playlist, or view pearl inlays, banjos, violin, guitars mandolins for sale, go to the Chubby Dragon, website: http://www.bestweb.net/~rgamusic/ News Update! Roy Carrier Zydeco CD: just won "Best Zydeco CD of 1998" from REAL BLUES magazine. "In Good Company": won second best Old Time New Release of 1998 above from the County Sales Annual Award Newsletter. "The World In Our Backyard": won a "HOT PLATTER" award from the Elderly catalog: also, read Hank Bradley's great review in the current Old Time Herald.) To expedite your order in advance of your letter, E-Mail me the following information, I will prepare your package. (delete the above, send only the information below) _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ "The check's in the mail!" [1] Send the BRANDYWINE CD To: NAME: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ADDRESS:_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Re: SXSW finally
I want one of those damn 7" Meat Purv records with all the Madonna songs. Where can I get one other than at one of your sinful shows at the Hole? Jerald
Swingin' Doors 4/1/99
The first hour of last night's show is once again already up on the KCMU web page, thanks to the speedy KCMU webmaster. Check it out at: http://www.kcmu.org/listen.htm You'll hear new songs from the Old 97s, the Pinetops, Dwight Yoakam, Sheri Barr Walker and others, along with some cool old stuff. Speedy West Jimmy Bryant - Lover T. Texas Tyler - Follow Thru Cisco - Crazy Ones The Backsliders - My Baby's Gone (Chip Robinson 4/12 at the Tractor) Old 97s - Let The Idiot Speak The Pinetops - Jesus Spoke Dwight Yoakam - Rapid City, South Dakota Kelly Willis - Fading Fast Souvenirs - Tired Of Missing You (4/23 at the Tractor) Steve Young - Old Memories (Mean Nothing To Me) Flatt Scruggs - Flint Hill Special Steve Earle the Del McCoury Band - Long, Lonesome Highway Blues The Del McCoury Band - Get Down On Your Knees and Pray Ricky Skaggs - Walls Of Time James Hand - If You Can't Tell The Difference Sheri Barr Walker - The Other Girl In Town Wylie the Wild West - Hello Heartache (4/3 at the Tractor, 7pm) Connie Smith - Then and Only Then Big Sandy his Fly-Rite Boys - Buddy, I Ain't Buyin' (6/11-12 at Tractor) Bob Wills his Texas Playboys - Across The Alley From The Alamo (request) Hank Penny - Talkin' About You Cliff Bruner his Texas Wanderers - Old Joe Turner Blues Ana Egge - River Under The Road (4/8 at the Tractor) The Gourds - January 6 Damnations TX - Black Widow (request) Blue Mountain - Wink Gerald Collier - A Tale To Tell (tonight at the Tractor w/ Supersuckers) Willie Nelson - I Gotta Get Drunk Gene Watson - You Could Know As Much About A Stranger Tom T. Hall - I Flew Over Our House Last Night Merle Haggard - I'll Break Out Again Tonight Mandy Barnett - Give Myself A Party Don Gibson - Sea Of Heartbreak Jim Reeves - Blue Side Of Lonesome (request) Wanda Jackson - This Gun Don't Care (4/16 at the Tractor) Dave Dudley - There Ain't No Easy Run Cynthia Gayneau - No Tears BR5-49 - You Flew The Coop (4/22 at the Showbox w/ Cesar Rosas) Biller Wakefield - Biller Barges In Jimmy Dawson - It Took An Older Woman Jerry Irby - Drivin' Nails In My Coffin Jeff White - I Wonder J.D. Crowe the New South - I Don't Know Doyle Lawson Quicksilver - She's Walking Through My Memory The Louvin Brothers - The First One To Love You The Browns - Here Today and Gone Tomorrow Hadacol - Pappy The Waco Brothers - Red Brick Wall Supersuckers - Dead In The Water (request)(tonight at Tractor w/Gerald C.) Flatirons - High Lonesome Moon Jon Randall - Cold Coffee Morning Conway Twitty - Baby's Gone Johnny Bush - I Can Feel You In His Arms Swingin' Doors can be heard Thursdays from 6-9pm on KCMU 90.3FM in Seattle. Email me if you have any questions about the music played.--don
Re: Dale Watson Report?
Kate writes: Anyone see Dale in NY? 'Fess up, all reviews appreciated. I didn't see the NY show last night but I will be opening for him tonite and hanging around til the very end so I'll drop a report here tomorrow. 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: No Twang, lots of stories -- Al Kooper 6th
[EMAIL PROTECTED] writes: The twang content would be that he produced the Shaver album "Tramp on your Street" in 1993. What a 40-year career he's had! From writing the insipid "Who Wants to Buy This Diamond Ring" for Gary Lewis the Playboys in 1965, his late '60s recordings with the Blues Project, to the inspired organ part on Dylan's "Ballad of a Thin Man". John, Is that who R.S. Field is on the CD credits? Interesting... He has a WEB page with other dates listed, you may want to check it out, he's been touring for the past 6mos. k.
Re: No Twang, lots of stories -- Al Kooper 6th
[EMAIL PROTECTED] wrote: [EMAIL PROTECTED] writes: The twang content would be that he produced the Shaver album "Tramp on your Street" in 1993. What a 40-year career he's had! From writing the insipid "Who Wants to Buy This Diamond Ring" for Gary Lewis the Playboys in 1965, his late '60s recordings with the Blues Project, to the inspired organ part on Dylan's "Ballad of a Thin Man". John, Is that who R.S. Field is on the CD credits? Interesting... He has a WEB page with other dates listed, you may want to check it out, he's been touring for the past 6mos. k. Sorry! should have checked before I fired off the email. Kooper did not produce the "Tramp" album, but he did play organ and piano on it. Thanks, -jp
Re: No Twang, lots of stories -- Al Kooper 6th
[EMAIL PROTECTED] writes: The twang content would be that he (RS Field) produced the Shaver album "Tramp on your Street" in 1993. Sorry! Kooper did not produce the "Tramp" album, As a Bobby (RS) Fields fan (Webb Wilder, Sonny Landreth) I wuz wonderin'Can anybody tell us why he's acknowledged in the notes for Del McCoury's "The Family"?
Re: Big Labels Dropping Bands
Amen. A band that probably doesn't have a bad record in 'em. They had a brilliant track on last year's "Velvet Goldmine" soundtrack called "The Whole Shebang," which came across as equal parts GLB and "Hunky Dory"-era Bowie. For my money one of the best songs to come out last year that you never heard. For that matter, the movie was certainly flawed, but the soundtrack was a blast. I'll second that. "The Whole Sheband" was a song that always perked up my ears and made my toes tap when it played on KCRW down here. it perfectly recalled the glam era without souding like a weak parody. This also reminds me that I never picked up the soundtrack. And the movie was a disappointing mess. MichaelBerick
RE: No Twang, lots of stories -- Al Kooper 6th
More importantly g, it's not "Who Wants To Buy This Diamond Ring," it's
"This Diamond Ring" ("this diamond ring doesn't shine for me anymore...").
Those guys were right up there with Dino, Desi Billy.
Jon Weisberger Kenton County, KY [EMAIL PROTECTED]
http://home.fuse.net/jonweisberger/
Re: Big Labels Dropping Bands
Michael Berick writes: I'll second that. "The Whole Sheband" was a song that always perked up my ears and made my toes tap when it played on KCRW down here. it perfectly recalled the glam era without souding like a weak parody. This also reminds me that I never picked up the soundtrack. And the movie was a disappointing mess. The era was certainly worth documenting (word is that Bowie is also working on his own film about the period) and there are parts of the movie that I thought worked very well indeed. In fact, I'll say this about it: It *looked* great. But - like "Grace of My Heart" - it was impossible to see any of the characters as anything other than carboard cutouts of the real people on whom they were based and the structure of the movie was liberally...ahem..."borrowed" from "Citizen Kane." The soundtrack is a pip, though. A hoot from start to finish, including some vintage glam tracks from the likes of Steve Harley, Roxy Music, Lou Reed, and Brian Eno, new songs that very convincingly evoked the sound of that period from Grant Lee Buffalo, Pulp, and Shudder to Think, and some re-recordings of classic glam-rock hits by Teenage Fanclub (with Donna Matthews) and others. Dig out that old feather boa and those stackheel boots and primp and preen in front of the mirror with this as your soundtrack. --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
Re: No Twang, lots of stories -- Al Kooper 6th
In a message dated 4/2/1999 12:50:34 PM Eastern Standard Time, [EMAIL PROTECTED] writes: Sorry! should have checked before I fired off the email. Kooper did not produce the "Tramp" album, but he did play organ and piano on it. whew...thought I'd lost my touch (being a HUGE Shaver fan and all..;-)) k.
Re: BMI vs. ASCAP?
At 06:23 PM 4/1/99 -0600, you wrote: I give up trying to look at the applications and figure out which one is which. There are these songs, they are on a record, I want to collect the big $$$ when they break the Top 40, and I have no publishing affiliation... which one of these do I pick, and which forms do I fill out? Thanks, Bill Gribble Well here is another one for you. SESAC recognizes air play reported from the radio stations on the Americana panel. You should contact Dennis Lord over there he is a good guy and very hip to the alternative country scene. His email address is [EMAIL PROTECTED] Hope this helps you. Tiffany Suiters
Re: Ooh, baby, go all the way... (non-twang)
Jon E. Johnson wrote: No twang here, but I know that there are more than a few fans of power pop on P2, nonetheless. Word from the Posies list yesterday was that the Raspberries are going to be touring this summer with the original lineup (who are currently in rehearsals), along with the Knack and, on some dates, Cheap Trick. If you're a power pop fan, make a Homer-esque drooling sound at this point. Knee-jerk reflex reply. g Great news Jon, thanks. With the spectre of the Stones playing here this weekend, I'm just a little dubious, but just a little. And that Knack record from last year was very good, better than the old original stuff in many ways, I'll stand on somebody's table in my crosstrainers and play air guitar to it. gAnd just by the way, I'm just now halfway through my first listen to one-time P2er Walter Clevenger's new record, (LOVE SONGS TO MYSELF, on Permanent Press) and it's terrific. This may be the pop record of the year, and it's just April 2nd. If his first record was a Nick Lowe clone, (not that there's anything wrong with that) this one gets twangier in the same vein. Think of it as the long-awaited follow up to the first Rockpile album. Great stuff. b.s. n.p. Guess what?
Re: Dale Watson Report?
In a message dated 99-04-02 12:26:42 EST, you write: Kate writes: Anyone see Dale in NY? 'Fess up, all reviews appreciated. I didn't see the NY show last night but I will be opening for him tonite and hanging around til the very end so I'll drop a report here tomorrow. Mike Hays http://www.TwangCast.com TM RealCountry 24 X 7 Please Visit Then let us know what you think! You should have a great show Mike. I went by the Rodeo last night around 9:30, the place was already packed to the gills. I couldn't even get to the front of the room to try and find my friend. I managed to snag a barstool in the back and clung to it for dear life. Unfortunately when the show started all I could do was watch it on the little tv moniter that they provide for those of us who aren't in the front room. The sound was so bad where I was, really thin and kind of going in and out, that I finnally got discouraged and left. Sounded like those up in the front were having a ball, and I did hear a few moments of Dale doing "You Ain't Woman Enough To Take My Man." Enjoy! Elena Skye
Kooper's Address, was== Re: No Twang, lots of stories -- Al Kooper6th
In a message dated 4/2/1999 1:13:50 PM Eastern Standard Time,
[EMAIL PROTECTED] writes:
More importantly g, it's not "Who Wants To Buy This Diamond Ring," it's
"This Diamond Ring" ("this diamond ring doesn't shine for me anymore...").
Those guys were right up there with Dino, Desi Billy.
OK...here's his WEB address, its definitely worth the trip, especially his
take on SXSW (seeing that he rips up everyone in town for that event, a few
yrs ago) in the diaries section:
http://www.alkooper.com/index.html
RE: BMI vs. ASCAP?
-Original Message-From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]]On Behalf Of Tiffany SuitersSent: Friday, April 02, 1999 10:37 AMTo: passenger sideSubject: Re: BMI vs. ASCAP? At 06:23 PM 4/1/99 -0600, you wrote:I give up trying to look at the applications and figure out which oneis which. There are these songs, they are on a record, I want tocollect the big $$$ when they break the Top 40, and I have nopublishing affiliation... which one of these do I pick, and whichforms do I fill out? Man, this is a no brainer. Just look at all your favorite records and see who your top ten chose g. You're going to get ripped off anyway, at least do it in good company. Nicholas
Re: BMI vs. ASCAP?
Dave Purcell wrote: I seem to remember reading that it's hard to get into ASCAP unless you're a little more established, whereas BMI takes anyone. I don't think that is true. They both take anybody with the dough to sign up. The history of the two is this: ASCAP was the original New York group, Broadway, Tin Pan Alley, etc. In the old days (40s) they had become snooty and Establishment. This is no longer in any sense true, and they now actively recruit all comers. BMI arose as a response to this elitism, formed by the Nashville and rock roll cadre, who found working with ASCAP a pain because they were looked down upon. As I recall, perhaps wrongly, BMI was also the first rights org. to collect radio airplay royalties. SESAC I know nothing about. Each of them will tell you they pay the best, most promptly, etc, but as far as I can tell there is very little, if any, difference between them, results-wise. (BTW, none of this has anything whatsoever to do with publishing. Bug Music is a publisher. BMI and ASCAP are "performing rights societies" which serve as collection agencies for performance royalties only, send them to the publishers and writers, and deduct 1% of your royalties to pay their overhead. In order to collect "mechanical royalties", or money from record sales, you either have to have a publisher, be your own publisher, or at least register yourself with the Harry Fox Agency (they have a website) in order to collect your mechanicals.) -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
more info Re: BMI vs. ASCAP?
Joe writes: (BTW, none of this has anything whatsoever to do with publishing. Bug Music is a publisher. BMI and ASCAP are "performing rights societies" which serve as collection agencies for performance royalties only, send them to the publishers and writers, and deduct 1% of your royalties to pay their overhead. In order to collect "mechanical royalties", or money from record sales, you either have to have a publisher, be your own publisher, or at least register yourself with the Harry Fox Agency (they have a website) in order to collect your mechanicals.) ...which is why BUG is so cool, they do BOTH! And, it was started as a result of Del Shannon was getting screwed "royalty" and Dan Burgoise stepped up to the plate and "found" him millions owed from all over. Including cash for Runaway! Read their story, it's a good 'un! http://www.bugmusic.com/charmart.html Here's some from an interview that originally appeared in HITS October 16, 1995: In 1975, they hatched the idea for Bug Music, aiming to take advantage of a vacuum in the publishing world, and haven't had one regret until they had to sit for an hour with... -WHAT VOID DID YOU SEE IN THE PUBLISHING BUSINESS IN 1975 THAT INSPIRED YOU TO START BUG? Dan- At that point a lot of singer/songwriters had stopped going to publishers because attorneys had come up with the concept of 'keep your own copyrights, but let us administer them here. Who needs publishers?' Meantime, publishers still provided valuable and important services, but had grown stodgy and old and were resting on their laurels, so all the new stuff was being administered by law offices, who did the paperwork but none of the creative functions. So what Bug music became was a blending of the two things - taking the creativity and energy of the publisher and combining it with the lower-based fees and allowing writers to keep their own copyrights. It became attractive and writers started telling writers. It turned out to be a good idea. Kate
Re: Clip: RIAA's 1998 Consumer Profile
Dan Lee wrote: Gender: Continuing the trend from last year, women accounted for a higher percentage of units purchased than men (51.3% vs. 48.7%). really? Does that look funny to anyone else? Well... isn't that about the difference in actual numbers between women and men in the U.S.? Whenever I'm in record stores it seems to me as if it's overwhelmingly male, at least largely so. Of course, those are usually impeccable indie joints g, but I suspect that more men are obsessive collectors, who would naturally frequent indie shops, which carry more specialized "collectors units" for higher prices, so if Dick buys one Bear Family boxed set and Jane buys ten separate CDs for the same price, then Jane's buying more units, even if they're spending the same amount of money. Come to think of it, I guess whenever I do wander through a Wal-Mart or Target or similar place it does seem to be largely women. Still I wonder about that stat Men and women meet in the middle at places like Tower, I think. Or so it always seems to me. Women over 30 accounted for the largest share of purchases, Women over 30??? Here again I thought it was always the 12-25 or so male market that bought the most records. You retail guys and gals will have to edify. I've always heard that it was teenage girls who bought the most records. This may have changed. In the olden days, it was girls who bought the most singles. Now, while I'm thinking about it... Every once in a while the fact is bandied about that country music, especially country radio, targets suburban women. But if this is so, then I must confess that I am cornfused. Because, I did a little bit of websurfing and noticed two things: 1: Two industry sites, The CMA and Gavin, said that gender-wise, the audience for country music was split about 50-50. 2: Looking at the websites for country stations -- including TNN -- I have to conclude that if country radio is really targeting women, then more women than I realized are very interested in hunting, bass fishing, NASCAR, and RollerJam. Maybe this is why Dan sees more women in Walmart than in the impeccably indie stores. I mean, it's *so* much more convenient to pick up some country CDs while shopping for fishing gear. --Cheryl Cline
Re: more info Re: BMI vs. ASCAP?
At 02:22 PM 4/2/99 , [EMAIL PROTECTED] wrote: Joe writes: (BTW, none of this has anything whatsoever to do with publishing. Bug Music is a publisher. BMI and ASCAP are "performing rights societies" which serve as collection agencies for performance royalties only, send them to the publishers and writers, and deduct 1% of your royalties to pay their overhead. In order to collect "mechanical royalties", or money from record sales, you either have to have a publisher, be your own publisher, or at least register yourself with the Harry Fox Agency (they have a website) in order to collect your mechanicals.) ...which is why BUG is so cool, they do BOTH! Well, they both publish and administer - which is to act on behalf of a publisher, following up with BMI, ASCAP, the HFA, etc. to collect royalties that these agencies have collected, and also, as the interview notes, to pitch songs and other publishing-type activities for folks who are their own publishers but don't have the inclination or ability to do those things, but Bug does not directly collect performance and mechanical royalties. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: No Twang, lots of stories -- Al Kooper 6th
On Fri, 2 Apr 1999, Jon Weisberger wrote:
More importantly g, it's not "Who Wants To Buy This Diamond Ring," it's
"This Diamond Ring" ("this diamond ring doesn't shine for me anymore...").
Those guys were right up there with Dino, Desi Billy.
Jon Weisberger Kenton County, KY [EMAIL PROTECTED]
http://home.fuse.net/jonweisberger/
RE: BMI vs. ASCAP?
Sorry if I missed it if it was posted, but could someone post the web address for Bug? I've always wondered about them and this thread has made me want to find our more about it... Thanks, --junior
Re: more info Re: BMI vs. ASCAP?
[EMAIL PROTECTED] writes: Well, they both publish and administer - which is to act on behalf of a publisher, following up with BMI, ASCAP, the HFA, etc. to collect royalties that these agencies have collected, and also, as the interview notes, to pitch songs and other publishing-type activities for folks who are their own publishers but don't have the inclination or ability to do those things, but Bug does not directly collect performance and mechanical royalties. got it! So, Bill, have we made your decision any easierg??? K.
Re: Austin Friday and Saturday night
Well, tell Patterson and crew Deb Sommer said hi! Glad it wasn't a transmission. I wondered how they got it fixed so quick. Have fun at the shows tonight. Wish I was back in Austin. Deb
Re: Clip: RIAA's 1998 Consumer Profile
Like Cheryl, I'd love to see a more comprehensive breakdown of gender demographics in the contemporary music market... Anyone know where such figures could be had? Also, Cheryl suspects: I suspect that more men are obsessive collectors, Hmmm. I thought it was an established fact that men are obsessive and women hysterical. Or was that just old Freudian dogma, I'm getting confused g... --junior
Re: BMI vs. ASCAP?
[EMAIL PROTECTED] writes: Sorry if I missed it if it was posted, but could someone post the web address for Bug? I've always wondered about them and this thread has made me want to find our more about it... Thanks, --junior Here it is: http://www.bugmusic.com/ Kate
RE: BMI vs. ASCAP?
Sorry if I missed it if it was posted, but could someone post the web address for Bug? http://www.bugmusic.com . Be forewarned that the front page leads off with a news item about Bug artists The Dixie Chicks. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: BMI vs. ASCAP?
What Joe said. This is my understanding too. You pay the fee they collect the royalties. Which is why (in the 1990's-2000's) I say flip a coin. And yes Bug is a publisher . . . -jim On Fri, 2 Apr 1999, Joe Gracey wrote: Dave Purcell wrote: I seem to remember reading that it's hard to get into ASCAP unless you're a little more established, whereas BMI takes anyone. I don't think that is true. They both take anybody with the dough to sign up. The history of the two is this: ASCAP was the original New York group, Broadway, Tin Pan Alley, etc. In the old days (40s) they had become snooty and Establishment. This is no longer in any sense true, and they now actively recruit all comers. BMI arose as a response to this elitism, formed by the Nashville and rock roll cadre, who found working with ASCAP a pain because they were looked down upon. As I recall, perhaps wrongly, BMI was also the first rights org. to collect radio airplay royalties. SESAC I know nothing about. Each of them will tell you they pay the best, most promptly, etc, but as far as I can tell there is very little, if any, difference between them, results-wise. (BTW, none of this has anything whatsoever to do with publishing. Bug Music is a publisher. BMI and ASCAP are "performing rights societies" which serve as collection agencies for performance royalties only, send them to the publishers and writers, and deduct 1% of your royalties to pay their overhead. In order to collect "mechanical royalties", or money from record sales, you either have to have a publisher, be your own publisher, or at least register yourself with the Harry Fox Agency (they have a website) in order to collect your mechanicals.) -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: Austin Friday and Saturday night
In a message dated 4/2/99 11:55:07 AM Eastern Standard Time, [EMAIL PROTECTED] writes: did they play that song "Toom Much Sex, Too Little jesus" - they played that in my living room while I washed dishes and putting laundry away. Are you coming down for the Austin show? It's on the new CD which they will be selling unless they sold all they took with them already. Damn, wish I was in Austin. Nice to see you pop up JDiva. Tell the boys Deb misses them. Deb Sommer
RE: Clip: RIAA's 1998 Consumer Profile
Like Cheryl, I'd love to see a more comprehensive breakdown of gender demographics in the contemporary music market... Anyone know where such figures could be had? Start at http://www.riaa.com ; they've got a page's worth of more detailed figures from the 1998 Consumer Profile (including prior years data) available as a .PDF file. On country music in particular, see "Hard-Core and Soft-Shell Country Fans" in the Journal of Country Music, 17:3, which is an interesting look at some 1992 Census Bureau and NORC data, written by Pete Peterson and Roger Kern. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Forward: Internet B92 Serbian radio station shuts down
Not sure if this has been reported here. Subject: FC: Internet B92 Serbian radio station shuts down Date: Fri, 02 Apr 1999 14:00:50 -0500 From: Declan McCullagh [EMAIL PROTECTED] To: [EMAIL PROTECTED] Pressrelease Radio B92 Amsterdam, April 2, 1999 Sound of B92 Banned Government officials have shut down radio B92 - silencing the last independent voice in Serbia. In the early hours of Friday morning, April 2, police officers arrived to seal the station's offices, and ordered all staff to cease work and leave the premises immediately. A court official accompanied the police. He delivered a decision from the government-controlled Council of Youth to the station's manager of 6 years - Sasa Mirkovic - that he had been dismissed. The council of youth replaced Sasa Mirkovic with Aleksandar Nikacevic, a member of Milosevic's ruling Socialist Party of Serbia, thus bringing B92 under government control. B92 has been the only source of alternative information in and from Serbia since the start of NATO airstrikes against Yugoslavia 10 days ago. Although a ban on the station's transmitter in the morning of the first day of airstrikes - Wednesday March 24 - took the station off the air, B92 has continued to broadcast news and information via the Internet and satellite. On the same day as Federal Telecommunications' officials seized the station's transmitter police officers also detained the station's chief editor - Veran Matic. He was released unharmed and without explanation eight hours later. Since the transmission ban on B92 the station has been heavily policed and has been operating under severe restrictions. The ban on B92 is the latest in a series of crackdowns on free media in the past week. The wave of media repression has resulted in the closure of a large number of members of the B92-led independent broadcasting network - ANEM, and all independent press. Since the launch of B92 news broadcasts on the web last Wednesday its site has had some 15 million visitors. Support sites such as http://helpb92.xs4all.nl report 16,000 visitors per day. Local radio stations across Europe have been re-broadcasting b92 audio signal from the Internet. B92 is the leading independent broadcaster in Yugoslavia, and established the national re-broadcasting network of 35 radio and 18 television stations - ANEM - in 1996. The station was due to celebrate its 10th anniversary this May. -- POLITECH -- the moderated mailing list of politics and technology To subscribe: send a message to [EMAIL PROTECTED] with this text: subscribe politech More information is at http://www.well.com/~declan/politech/ -- === -- Tom Mohr usually here: [EMAIL PROTECTED] sometimes here: [EMAIL PROTECTED] _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
RE: BMI vs. ASCAP?
Well, here's an interesting observation of differences between ASCAP and BMI, with the caution that it is now two years old, and things may have changed since then; I've removed names but the gist is pretty clear. After spending a better part of my Sunday morning reading the posts from the past on ASCAP, I felt compelled to write about what I consider a dilemma. X and I write songs together. When we began publishing them, ten years ago, we were asked which "society" we would like to belong to, ASCAP or BMI. Since X had already been affiliated with BMI, he chose to stay with them. I decided, as an experiment, to affiliate with ASCAP. Now, ten years later, we can compare our income from song writing. Mind you, we've had no "hits" other than bluegrass covers, and songs from our own albums. Time after time we receive "regrets, no air play" in US royalties, and a trickling of royalties from foreign countries, but over the years, we have seen a trend. Through ASCAP I make about one third more than X The reason why is because ASCAP offers an award to it's members who can attest that their material is being played on radio (such as college and public stations that aren't monitored) but they are not collecting on these songs. Each quarter I receive $115.00 award money. BMI doesn't really monitor college station either, and they don't give awards. Again, I caution that this may not be the current situation. On the other hand, it may be, and if so, it might make a difference to some folks. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Kelly Willis calling the shots
Date: Fri, 2 Apr 1999 09:48:46 -0500 (EST) From: Carl Abraham Zimring [EMAIL PROTECTED] Excerpts from internet.listserv.postcard2: 1-Apr-99 Re: Kelly Willis calling th.. by Will [EMAIL PROTECTED] The song choices are often weak. A couple of the originals are good, but I get to wishing there was a producer there to separate the wheat from the chaff. I disagree. I think she does a great job of interpreting the Nick Drake song, brought a minor Replacements tune to life, and did yet another fine Paul Kelly cover. Add in fine guitar work by Chuck Prophet John Dee Graham and _What I Deserve_ is a lock for my year-end Top 10. I am somewhere in between of these two on my evalution of the entire album but I wanted to bop out of lurker land and say that Willis' cover of "Time Has Told Me" is just incredible to my ears. As a minor Drake fan(atic), I almost always prefer his originals to others but Willis' cover blew me away and made the purchase of an otherwise so-so album worthwhile. I can imagine this cover might contend for my song of the year, but the album will not. FWIW. Bob NP: WCBN (still homesick -- and hash bash is tomorrow)
RE: Clip: RIAA's 1998 Consumer Profile
Thanks for those sources, Jon. I'm going to check them out. --junior
re: SXSW finally
Thanks guys... I think the winner is "More Record Titles About Chickens." Oy. --cherilyn.
Drake (Re: Kelly Willis calling the shots)
Soron writes: As a minor Drake fan(atic), Which reminds me, any minor or major Drake fan want to offer up a good starting point into that artist's catalog? I need to go buy yet another CD that I've never gonna have enough time to appreciate to its fullest. Sigh... Neal Weiss
Re: Drake (Re: Kelly Willis calling the shots)
On Fri, 2 Apr 1999 [EMAIL PROTECTED] wrote: Which reminds me, any minor or major Drake fan want to offer up a good starting point into that artist's catalog? I need to go buy yet another CD that I've never gonna have enough time to appreciate to its fullest. Sigh... Oh my fucking God does Nick Drake rule!! I would do the inevitable and buy the four CD box set. Personally Pink Moon and Bryter Later(sp?) are my favorites . . . but 5 Leaves Left has Cello Song (the prettiest song ever) and at least a couple of other essentials. And I am afraid I cannot listen to Kelly's cover of Nick knowing his version . . . just doesn't cut it, sorry. Just buy the box. And make sure you listen through a couple of times. The initial impressions are typically tame . . . but the payoff is one of the largest imaginable. My opinions of course . . . -jim
Re: Drake (Re: Kelly Willis calling the shots)
Neal Weiss writes: Which reminds me, any minor or major Drake fan want to offer up a good starting point into that artist's catalog? I need to go buy yet another CD that I've never gonna have enough time to appreciate to its fullest. Sigh... Yeah, there's a real nice single-disc best-of collection on Rykodisc that'll serve you in good stead. If you want one of the real albums, I'd probably start with "Five Leaves Left." --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
Re: Drake (Re: Kelly Willis calling the shots)
Speaking of, has anyone read that biography of Drake that's around these days. Being cheap, I haven't bothered to skim one of those expensive-looking hardcovers I see everywhere. But I will probably consider it when remainder / paperback time rolls around... --junior
Re: Drake (Re: Kelly Willis calling the shots)
James Roll wrote: On Fri, 2 Apr 1999 [EMAIL PROTECTED] wrote: Which reminds me, any minor or major Drake fan want to offer up a good starting point into that artist's catalog? I need to go buy yet another CD that I've never gonna have enough time to appreciate to its fullest. Sigh... Oh my fucking God does Nick Drake rule!! I would do the inevitable and buy the four CD box set. Personally Pink Moon and Bryter Later(sp?) are my favorites . . . but 5 Leaves Left has Cello Song (the prettiest song ever) and at least a couple of other essentials. And I am afraid I cannot listen to Kelly's cover of Nick knowing his version . . . just doesn't cut it, sorry. I was in Neal's boat awhile back and asked a couple of Drake fanatics (the fan abbreviation does seem inappropriate here) and they both gave me, more or less, Jim's answer, per the box set. But as Jim said, it's not gonna grab you right away and takes some aural marination, so sounds like you're just outta luck Neal. g Nah, I bought FIVE LEAVES LEFT and I like it, but the corner hasn't been turned into fanaticism yet. b.s. n.p. Roger Miller box, disc1
Re: Drake (Re: Kelly Willis calling the shots)
Ahhh . . . a chance to wax on the wonderful work of Nick Drake. None captures the twisted personal beauty of despair quite like him. You can truly hear him sinking into the end of his life on record. You can't go wrong with any of the discs. The compilation, "Way to Blue", is a great and representative sampling. The other extreme is just to buy the box set of 4 CDs . . . almost every track is great. The individual albums rank like this for me: Five Leaves Left - gorgeous stuff, a real competitor of "Astral Weeks" Bryter Layter - a more English folk-rock feel, great if you are a Fairport Convention et al. fan (some of those musicians appear) Pink Moon - wacked-out, sometimes abstract, largely solo, a great but somewhat slight record By the way, I'm fairly thumbs-down on the Kelly Willis cover. She's a little too sweet for the song. "A troubled cure/ for a troubled mind" just doesn't sit right unless sung by the spooked Mr. Drake. "Cradle of Love" is much better for her approach. JJM -Original Message- From: [EMAIL PROTECTED] [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Friday, April 02, 1999 3:38 PM Subject: Drake (Re: Kelly Willis calling the shots) Soron writes: As a minor Drake fan(atic), Which reminds me, any minor or major Drake fan want to offer up a good starting point into that artist's catalog? I need to go buy yet another CD that I've never gonna have enough time to appreciate to its fullest. Sigh... Neal Weiss
Roger Miller Box Set (was: Drake...)
Bill: n.p. Roger Miller box, disc1 Oooh! Now we're talking... How is that set? Are there relatively straight tonkers, etc. on there, before the full-blown sixties style sets in? I've seen that thing in stores but have never taken the time to check it out.
Re: Drake (Re: Kelly Willis calling the shots)
On Fri, 2 Apr 1999, William F. Silvers wrote: Nah, I bought FIVE LEAVES LEFT and I like it, but the corner hasn't been turned into fanaticism yet. I don't think I would have turned the corner ever with Five Leaves Left. Definitely either Bryter Layter (orchestrated) or Pink Moon (solo). I'm tellin' ya . . . -jim
Re: Drake (Re: Kelly Willis calling the shots)
On Fri, 2 Apr 1999, John Magee wrote: sweet for the song. "A troubled cure/ for a troubled mind" just doesn't sit right unless sung by the spooked Mr. Drake. "Time has told me you're a rare rare find a troubled cure for a troubled mind" fully agree. This is among my top two or three lines ever BTW. -jim
Re: bassist sought
Hi, Kip - I fit the bill and was considering answering your first plea, however I live in Pittsburgh, PA. How far is that from your area? If it's within a two-hour radius, it might be something to consider, especially if you're having trouble finding someone and may want a temporary player to help you get your recording done. Am attaching my resume. Let me know if you have trouble opening it. It's an MS Word doc. Erin Snyder At 08:16 AM 4/2/99 -0800, you wrote: hi i know, i know, im beating this into the ground, and i apologize...but im still looking for a bassist for an alt.country band. we need somone who is: - a FENDER-style bass player. no six string alembics, please. - experienced w/ americana (honky-tonk, rockabilly, etc.). - able to handle strong back up vocals. - willing to rehearse 1X per week for a while to get going. - a MINIMALIST. we love ya geddy, but not for this music. call or email. and thanx! kip martin 703.645.4421 days 540.349.2798 eves. Get Your Private, Free Email at http://www.hotmail.com master resume.doc
RE: Roger Miller Box Set (was: Drake...)
A few honkers, like the much discussed Lock Stock Teardrops, but not much. Has some of his classics (such as Invitation to The Blues) as cut by Miller in...um..early 70's? 1970, also for Smash. As Rich Kienzle says in the notes to The Best Of Roger Miller, Volume One: Country Tunesmith, "ironically, Miller hadn't recorded most of the early hits he wrote for others until he signed with Smash." Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
OHMYGOD!
OH, GOD! OH, GOD! I'm so sorry!! That long attachment and everythingOh, woe is me. Guess I'm getting booted to the "ignore" file. Really, a million apologies everyone. Gosh, and my first post in months yet. Ohhh...Ohhh... *moan* Erin
Re: Roger Miller Box Set (was: Drake...)
Ok, so I'm Roger Miller-less and I've been meaning to correct that -- where's the best place to start? Thanks, Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
RE: Roger Miller Box Set (was: Drake...)
Matt says: A few honkers, like the much discussed Lock Stock Teardrops, but not much. Has some of his classics (such as Invitation to The Blues) as cut by Miller in...um..early 70's? I think. But sticks to mainly to the 60's Smash years. Well fill me in here. Did Miller record much or any in the late 50s? I'm underinformed about him, but I've always assumed that he started recording about then, before developing that idiosyncratic style of his in the 60s. I mean, didn't he work as a sideman with Ray and Faron and such? With some of that generation, like Willie, I tend to *love* the relatively traditional work they did in the late 50s-early 60s before developing into their later, more individualized signature styles, etc. That's why I asked whether there were many early cuts, tonkers, etc. in the set. BTW, Miller was a *huge* favorite of my Dad's. I can still hear my Dad humming Miller tunes with delight while walking around the house or driving, etc. --junior
Re: Offlist ==Re: SXSW finally
yup, I'm having a banner day, sorry!
Re: OHMYGOD!
Don't worry, Erin. We're way too quick for the old "attachment" scam. I just deleted that one without looking g. Good to see you on the list, though. --junior
Re: OHMYGOD!
Erin, I'm just amazed that you're offering to join yet another band. For those of you who aren't aware, it is a violation of Pittsburgh's municipal code to start a twang band that does not have Erin Snyder playing bass in it. The Strangers are OK because she's an emeritus member, but I think the cops are going to bust Coal Train and the Johnsons for violating this ordinance. Anyway, welcome back to the big list, and perhaps you'll be in ten more bands due to the public nature of your post! Carl Z.
Re: Drake (Re: Kelly Willis calling the shots)
On the "me too" front, all Nick Drake is good. My favorite is the very spare _Pink Moon_, but _Way to Blue_ is an ideal introduction. Carl Z.
Re: Roger Miller Box Set (was: Drake...)
Junior asked: Bill: n.p. Roger Miller box, disc1 Oooh! Now we're talking... How is that set? Are there relatively straight tonkers, etc. on there, before the full-blown sixties style sets in? I've seen that thing in stores but have never taken the time to check it out. Matt Benz: A few honkers, like the much discussed Lock Stock Teardrops, but not much. Has some of his classics (such as Invitation to The Blues) as cut by Miller in...um..early 70's? I think. But sticks to mainly to the 60's Smash years. On Disc one, Matt's right, along with some poignant ballads that never fail to affect me. (I bought the set after hearing Mike Ireland cover "A World So Full Of Love"-always tears me up) Disc One ends with the hits that follow- "Chug-a-Lug", "Dang Me", "Do Wacka Do", etc. Disc two's the big 64-67 super mega hit period, but with some other lesser-known gems as well. Disc three is the late sixties/early 70's stuff, still top-drawer though not hits for him, finally concluding with a couple of tunes from the musical "Big River" that gave him some late-career success. I love his writing but find myself appreciating the stuff that wasn't hits even more than some of the more "fun" hit records. b.s.
Re: SXSW finally
At 11:14 AM 4/2/99 -0600, you wrote: I want one of those damn 7" Meat Purv records with all the Madonna songs. Where can I get one other than at one of your sinful shows at the Hole? It's on Bloodshot. Waterloo? Favorite mail order source? Begging on 6th and Congress? Jeff
RE: Roger Miller Box Set (was: Drake...)
Go to your local used vinyl store. Find at least Miller's first four Smash albums. They sound great and are a cool addition to anyone's collection. You can still get em cheap, too! Or, if you are partial to cd's, get the box set, or the two volume (sold sep.) set from Smash: COuntry Tunesmith and one I think called Best of. -Original Message- From: Dave Purcell [SMTP:[EMAIL PROTECTED]] Sent: Friday, April 02, 1999 4:39 PM To: passenger side Subject: Re: Roger Miller Box Set (was: Drake...) Ok, so I'm Roger Miller-less and I've been meaning to correct that -- where's the best place to start? Thanks, Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
RE: Roger Miller Box Set (was: Drake...)
Nope. He made a few recordings, but was generally unsuccessful as a recording artist until Dang Me...I think the early recordings are mostly early 60's, maybe a couple from the late late 50's, but he was a songwriter and backup musician during those years. -Original Message- From: Ph. Barnard [SMTP:[EMAIL PROTECTED]] Sent: Friday, April 02, 1999 10:36 AM To: passenger side Subject: RE: Roger Miller Box Set (was: Drake...) Matt says: Well fill me in here. Did Miller record much or any in the late 50s? I'm underinformed about him, but I've always assumed that he started recording about then, before developing that idiosyncratic style of his in the 60s. I mean, didn't he work as a sideman with Ray and Faron and such?
Re: bassist sought
Where do you live? D -- From: kip martin [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Subject: Re: bassist sought Date: Friday, April 02, 1999 10:16 AM hi i know, i know, im beating this into the ground, and i apologize...but im still looking for a bassist for an alt.country band. we need somone who is: - a FENDER-style bass player. no six string alembics, please. - experienced w/ americana (honky-tonk, rockabilly, etc.). - able to handle strong back up vocals. - willing to rehearse 1X per week for a while to get going. - a MINIMALIST. we love ya geddy, but not for this music. call or email. and thanx! kip martin 703.645.4421 days 540.349.2798 eves. Get Your Private, Free Email at http://www.hotmail.com
ASCAP, BMI, etc (long? but of course!)
Thought I'd add a few points to this discussion. I'd agree that there isn't much difference between the two societies, as far as I can tell. They do use different sampling methods to determine who gets paid what. And this can make a difference in some cases. At one time, I think BMI did a better job surveying smaller radio stations and college stations. As such, if you were in a band that got a lot of college radio play, but not much play on big stations, you might have been better served joining BMI. Subesquently, as someone else mentioned, ASCAP has responded to criticisms that it was weak in this area and has moved to do a better job, so at this point I'm not sure how much of a difference there is. Beyond this, I find BMI's web site and online data base to better than ASCAP's. BMI lists every composition registered by a member. ASCAP only lists those compositions that have come up in a survey or census. On the other hand, ASCAP has some title registration software, which simplifies and speeds the process of clearing titles (you can send the info in on a disk). BMI makes you fill out a hard copy form for each song (although I seem to remember that they may add a web based option somewhere in the future). This can be a drag, especially if you end up joining late in the curve and have to register a 40-50 song back catologue (trust me I had to do this for a band once). The hard copy forms at BMI also mean that all the info has to be rekeyed into the computer system at BMI. You know what that means? Plenty of mistakes and misattributions. Not that ASCAP is perfect in this regard either. So whichever society you join, stay on top of them. Make sure that your titles have been correctly registered and make sure to register new titles in a timely fashion. If the titles haven't been registered and you get radio plays or whatever, you may be missing out on getting paid. If you are a singer/songwriter type or the only writer in your band, there is one other tangible difference between the societies that is worth considering: BMI allows you to join as a writer and then have the publisher's share of performance monies sent directly to you, if you have no outside publisher or administrator. This is cool, especially if your thing is fairly small, because it means that you don't have to go to the trouble of setting up a separate publishing company (at least initially). This can save you some scratch. Let me explain this a bit further. Generally, the societies split every dollar they collect in half. They then send .50 directly to the writer. This is sort of built in protection for the writer. No outside publisher gets to touch this cash. Where the other .50 goes depends on whether the writer has an outside publishing or administration deal. If you are a small DIY kind of person, the odds are that you don't have one of these outside deals, so that .50 should go to you to, because you haven't assigned it away to anyone else. With ASCAP, to get that .50 you have to set up a separate publisher affiliate, even if you basically are the publisher. This can cost you money,time, and hassles. But if you don't do it, you don't get the money. With BMI there are instances where you don't have to do this and can elect to have the publisher's share sent directly to the writer, which can be nice for smalltime operators. A couple of other points: I heard from a BMI rep a couple of months ago, that BMI is hoping to move towards a computerized census system for radion play, if it can get the industry on board. This would lead to far more accurate tracking of radio plays and might mean more money for niche artists. We'll have to see how that shapes up. And one final thing, like everything else in life, don't forget about the people involved. If you build a relationship with an ASCAP or BMI rep, this may be worth more by itself than all the other stuff I mentioned above. Not everyone gets this opportunity, but if it presents itself, seek it out. The societies generally have local reps in larger markets. They can and do help people's careers. Anyway, that's about all for now. Below is a little piece I wrote a while back to put on a web site I'm still trying to get together. It's a little overview of what ASCAP and BMI do. I thought some folks might find it useful, as there seemed to be at least a little confusion about the subject of performance rights (it's definitely an easy one to be confused about). One other note, this guy is a little old now. It doesn't really address the changes to the copyright act (digital millenium and the exemption of some smaller businesses from performance license requirements) Take it easy, Jake ASCAP and BMI: What Are They? What Do They Do? By Jacob A. London, Esq., © 1996 All Rights Reserved Have you ever read the songwriting credits on a CD? Ever wondered why the acronym ASCAP or BMI follows almost every credit? Are they seals of quality? Satanic code
Re: more info Re: BMI vs. ASCAP?
[EMAIL PROTECTED] wrote: Joe writes: (BTW, none of this has anything whatsoever to do with publishing. Bug Music is a publisher. BMI and ASCAP are "performing rights societies" which serve as collection agencies for performance royalties only, send them to the publishers and writers, and deduct 1% of your royalties to pay their overhead. In order to collect "mechanical royalties", or money from record sales, you either have to have a publisher, be your own publisher, or at least register yourself with the Harry Fox Agency (they have a website) in order to collect your mechanicals.) ...which is why BUG is so cool, they do BOTH! All publishers do both. However, you still have to register your songs with BMI or ASCAP. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: ASCAP, BMI, etc (long? but of course!)
Excerpts from internet.listserv.postcard2: 2-Apr-99 ASCAP, BMI, etc (long? but .. by Jacob [EMAIL PROTECTED] At one time, I think BMI did a better job surveying smaller radio stations and college stations FWIW, BMI surveys WRCT's playlists and ASCAP does not. And Jacob, that web site you're planning sounds like a great idea. Carl Z.
Re: PLAYLIST: Coomon Thread 3/21/99
hey jen, I do give them directly to him, That why they get played! I put them in a Brown Paper Bag ! fredster
Re: PLAYLIST: Coomon Thread 3/21/99
find more like him to do shows! xojns -- From: Fred Boenig [EMAIL PROTECTED] To: "passenger side" [EMAIL PROTECTED] Subject: Re: PLAYLIST: Coomon Thread 3/21/99 Date: Fri, Apr 2, 1999, 4:39 AM hey jen, I do give them directly to him, That why they get played! I put them in a Brown Paper Bag ! fredster
RE: Roger Miller Box Set (was: Drake...)
Or, if you are partial to cd's, get the box set, or the two volume (sold
sep.) set from Smash: COuntry Tunesmith and one I think called Best of.
Best Of, Golden Hits, etc. are widely available and cheap, and, IMO, the
"duh" starting point for Miller as a performer - after all, these songs
("King Of The Road," "Dang Me," "Do Wacka Do," "You Can't Rollerskate In A
Buffalo Herd," "England Swings," etc.) are some of the most monstrously
successful ever made. Plus which, they're really good. I like the Country
Tunesmith collection pretty well, too, but it's definitely an "after" buy,
as is anything else.
Jon Weisberger Kenton County, KY [EMAIL PROTECTED]
http://home.fuse.net/jonweisberger/
Re: A couple of things
In a message dated 99-04-01 21:13:23 EST, you write: I'll tell you what, as a matter of personal preference I'll take 5 minutes of Dolly singing gospel standards with Alison Krauss and Suzanne Cox over Trio I and II put together, and you can throw in III, IV, V and VI to boot. wow sounds like quite the show. I remember reading an interview where Dolly said that when she first watched Alison sing live she almsot cried (imagine!). And Suzanne Cox, wow, all those angelic wavery voices. Is that a project in the making? Elena Skye
Re: BMI vs. ASCAP?
In a message dated 4/2/99 9:15:40 AM Central Standard Time, [EMAIL PROTECTED] writes: There are these songs, they are on a record, I want to collect the big $$$ when they break the Top 40, and I have no publishing affiliation... which one of these do I pick, and which forms do I fill out? BMI is free to join, but may pay a little less in royalties. I believe they deduct 3.6% for administrative fees. Call them at (615)401-2000 and they will send you the forms needed. tell them how many songs you want to publish, as it's one song /form. Slim
Re: Roger Miller Box Set (was: Drake...)
Ok, so I'm Roger Miller-less and I've been meaning to correct that -- where's the best place to start? Thanks, Dave Get the boxed set. From my standpoint, as a fearless warrior against all production that exceeds five guys standing (or sitting) around amplifiers (or not) -- ok, overdubbing is OK -- anyhow, from my standpoint, his material is consistently good, often great. I think the weaker stuff is his very early material, which may have been pretty basic from the production standpoint (if I remember correctly). But the songs are so strong, and his delivery likewise, that the old production thing just doesn't enter into the equation, for me at least. And some of Roger's most classic stuff, the "Dang Me" sessions, really were just four or five guys playing more or less live. This boxed set was a revelation for me, and I think I better pull it out again, just to make sure I haven't made any agregious blunders, or however you spell it. -- Terry Smith ps I just read that over, and editing's a bitch with this program, so let me rephrase it here -- Miller's arrangements never get in the way of the strong singing and songwriting. And some of those ballads grab you by your heart and just wring it floppy. egregious? aggregateious?
Wal-mart and recorxs
records, I mean. The college town where I live -- isolated in SE Ohio -- is in a tizzy because the university is poised to let Wal-Mart be an anchor store in a new retail complex on university land (OU). Anyhow, I was wondering if anyone has any insights into how Wal-Mart affects the mom and pop stores in a small town, including record, music and book stores. I know what the conventional wisdom is -- that Wal-Mart comes in like Genghis Khan (and unlike NATO, so far) and just decimates all the little guys, but Athens, Ohio is a little different, in that a lot of folks already leave town to shop elsewhere. Anyhow, any insights from you worldly folks would be appreciated. -- Terry Smith
How Easter Eggs Are Made
Happy Easter! Aleksandar EASTER.GIF
Re: Wal-mart and recorxs
At 06:17 PM 4/2/99 -0500, you wrote: records, I mean. The college town where I live -- isolated in SE Ohio -- is in a tizzy because the university is poised to let Wal-Mart be an anchor store in a new retail complex on university land (OU). Anyhow, I was wondering if anyone has any insights into how Wal-Mart affects the mom and pop stores in a small town, including record, music and book stores. I know what the conventional wisdom is -- that Wal-Mart comes in like Genghis Khan (and unlike NATO, so far) and just decimates all the little guys, but Athens, Ohio is a little different, in that a lot of folks already leave town to shop elsewhere. Anyhow, any insights from you worldly folks would be appreciated. -- Terry Smith Your town will be assimilated by the Wal Mart borg. Jeff
Re: Dale Watson Report?
GREAT show, amazing steel player, good food, lots of beer. What more could you want? Well...*snif*... Buddy Elena's Friend She Couldn't Find Rockets * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Buddy Woodward - [EMAIL PROTECTED] THE GHOST ROCKETS - "Maximum Rhythm Bluegrass" http://www.hudsonet.com/~undertow/ghostrockets * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * -Original Message- From: [EMAIL PROTECTED] [EMAIL PROTECTED] To: [EMAIL PROTECTED] [EMAIL PROTECTED] Date: Friday, April 02, 1999 8:52 AM Subject: Dale Watson Report? Hi all, Anyone see Dale in NY? 'Fess up, all reviews appreciated. Kate
Re: BMI vs. ASCAP?
[EMAIL PROTECTED] wrote: BMI is free to join, but may pay a little less in royalties. I believe they deduct 3.6% for administrative fees. 1% -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: SXSW finally
Dave writes: Meat Purveying Cherilyn wrote: c) could someone please for the love of christ send me an album title suggestion that will beat Jo's "When Chickens Cry." Please please please Can't be that many people who remember the Meatmen. I'd vote for "We're the Meat Purveyors and You Suck." Uhhh, Dave, wouldn't that be - "We're the Meat Purveyors, and You're Not My Cup 'O Tea? g Sorry. Couldn't resist. Joe X. Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Re: A couple of things
In a message dated 99-04-02 19:08:21 EST, you write: Apparently it will be rebroadcast twice tomorrow (Saturday): 10p and 1a Eastern. That's on TNN. Killer house band, too, with Jerry Douglas, Sam Bush, etc. thanks for the tip, I'll tune in at my parents (I don't have cable *sigh*). Elena Skye
Re: POSTCARD2 digest 1359
Well, I'll toss the MP's my favorite title, one the rest of the Rangers were
too pussified to use ("too negative", they thought): "Not a Part of Nothin'",
which I like so much it's been a part of my sig for years.
If we ever do an all-cowboy-tune CD, it'll just have to be called "Dogie
Style". That's *not* a misspelling...
___
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: RIAA's 1998 Consumer Profile
On Thu, 1 Apr 1999 [EMAIL PROTECTED] wrote: Gender: Continuing the trend from last year, women accounted for a higher percentage of units purchased than men (51.3% vs. 48.7%). really? Does that look funny to anyone else? Whenever I'm in record stores it seems to me as if it's overwhelmingly male, at least largely so. Of course, those are usually impeccable indie joints g, but Come to think of it, I guess whenever I do wander through a Wal-Mart or Target or similar place it does seem to be largely women. Still I wonder about that stat Probably because a lot of women have crappy taste in music... They're the ones buying the Celine Dion, Mariah Carey, etc. albums and the Titanic Soundtrack...which are all usually #1. I'd say chicks also buy most of Britney Spears and N'SYNC material. And usually they'll buy them at a discount store like Target or some place like Blockbuster Music... At the music stores I go to, which are all INDIE stores of course, I'm surrounded my a lot of "cool" alternaguys and punk guys. Hardly any chicks...
