Confirming Kelly at 1 p.m.
jeesh. Kelly Hogan will honor Dusty Springfield's birthday tomorrow, Friday, April 16 at 1 p.m. at the Chicago Cultural Center. Spellchecker, phooey! When ever will they make these things with a fragging fact checker. Linda
Re: Cool stuff on TV.....
Stuart wrote; Dan posted a bunch of upcoming TV stuff, but omitted Mandy Barnett's appearance on Letterman tonight (Wednesday). Well, that's cause Yates was so high on that record. You gotta consider the source, sometimes. dan bentele
I'm in Nashvegas
Hey, I'm here. Blown away by Neil Young - 5th row center seat -- right behind Emmylou. Geez! Interesting to see what she reacted to rather than the Fedex guy sitting next to me who did squeeze my hand a couple of times -- it was o.k. he was cool -- didn't realize i was as old as i am. he got into neil in the 80's, uh . . . Anyway, I'm in town for the festivities. Like to see others. Lunch, drinks. I'm working but still need to do those things. luv, deb sommer
RE: Two Things
What Guild guitars ? Brian May played only the guitar he built out of this big log at his dad's house. Or so I thought. OK- what a convoluted sentence. I mean to say the big log was from his childhood home, he turned said log into a guitar by means of technical wizardry beyond my comprehension and played this guitar and no other with Queen. Not that he played guitar only at his dad's house although some may think that wouldn't have been a bad idea. Nicholas
Re: I'm in Nashvegas
Deb Deb Deb, Don't you know, doll, we want to know your hair color!! Screw this "I sat behind Emmylou" nonsense... We want the behind the scenes, "where is Deb now and can she find her way back by reading the directions in reverse" scoop. BTW, KC P2ers Jack C and Bill S were way down with Robbie tonight. Great set, I think even a new song !!, they were making me dream of Twangfest... Late late late... --junior
Re: I'm in Nashvegas
In a message dated 4/16/99 4:12:53 AM Eastern Daylight Time, [EMAIL PROTECTED] writes: Deb Deb Deb, Don't you know, doll, we want to know your hair color!! Screw this "I sat behind Emmylou" nonsense... No nonsense -- if my hair would turn that beatutiful silver -- I'd go for it. I'm back to natural. Ashe blonde with highlights. I'm a cool type though I did kick some ass while I was a temporary red head. We want the behind the scenes, "where is Deb now and can she find her way back by reading the directions in reverse" scoop. Deb, can find her way around anyplace -- no map. It helps if there's a cute young driver guy. He had no clue that I was fuckin' with him on the way back. BTW, KC P2ers Jack C and Bill S were way down with Robbie tonight. Great set, I think even a new song !!, they were making me dream of Twangfest... I can't wait my first t'fest. I'm gonna do it. I've got a room and everything. Late late late... junior, I love you.
Clip: Help me, Merle
From today's Boston Globe: MUSIC Merle Haggard still calls the tune The country legend pulls no punches By Steve Morse, Globe Staff, 04/16/99 When Merle Haggard released ''Okie from Muskogee'' 30 years ago, the song made him a right-wing hero. Issued at the height of the Vietnam War protests, it won him praise from conservatives for the line ''We don't smoke marijuana in Muskogee/We don't take our trips on LSD.'' Haggard always said the hoopla was overplayed, claiming he intended the song as a kind of jest. And, today, this country legend cum rugged individualist says that conservatives - especially the anti-marijuana forces - have gone too far. ''America has sure gone to some sort of a police state in the last 10 years,'' says Haggard, who is at the Flynn Theatre in Burlington, Vt., tomorrow and Lowell Memorial Auditorium on Sunday. He hasn't played in New England since 1990, mainly because the region used to serve as a connecting stop for his tours of Canada, which he has cut out temporarily. He says he's sick of the US ''zero tolerance'' laws, which make reentering the States an indignity. ''If they find a seed of marijuana in your car or bus, they'll run it all over the news,'' says Haggard, speaking from his home in northern California. ''I've got 30 people working for me. There is liable to be a seed of marijuana, so it makes it very uninviting to go into Canada, knowing that the United States is going to harass you coming back. ''They snatched some buses from people I won't name, and buses are not cheap,'' he adds, referring to the US customs officials. ''It costs us seven or eight years of our lives to pay for these buses, and they just take 'em. Like I say, you can't personally shake people down that work for you. I'm not going to do that. You don't know who's doing what and who isn't, but [the police] come on and this `zero tolerance' thing they've got going is really amazing. They've got private enterprise building prisons now. It's scary. It's overkill.'' Maybe Haggard could do a solo acoustic ''unplugged'' tour instead. ''That's not a bad idea. Yeah, they won't have nothin' to search,'' snaps Haggard, a grizzled 61-year-old (alias ''The Hag'') who is loaded with strong opinions and enjoys being cast as a proverbial outsider. Take his feelings toward the Nashville establishment: Been there, done that. To put it mildly. ''I moved to Nashville for two years - in 1976 and '77 - and my record sales went down to about half what they had been,'' says Haggard, who emerged from the same Bakersfield, Calif., scene that spawned Buck Owens. ''So I got the hell out of there and my record sales went right back up. It was like living in the middle of a carnival. Hey, I don't mind coming to work and running the Ferris wheel once in a while, but I don't want to live right there. That's kind of the way it is down there. Your work becomes your entirety. I've never given my full entire self to this business. I give about half my time. And I'm not going to give any more than that.'' No wonder the Hag is branded a classic loner - an image the public has embraced during a career that has seen an astonishing 63 of his songs in the Top Ten of the country charts. Among his signature, baritone-rich tunes: ''Mama Tried,'' ''Workin' Man Blues,'' ''Sing Me Back Home,'' ''Tonight the Bottle Let Me Down,'' and ''Today I Started Loving You Again.'' ''I'll tell you what the public likes more than anything. It's the most rare commodity in the world - honesty. You just have to be honest with them and say, `Hey, I don't want to live in Nashville.' It's a nice city and has paid tribute to me and I owe it a lot. But I don't want to live there ... I want to make my music on the West Coast.'' Haggard is almost a Paul Bunyan figure in country lore. He was born in Bakersfield and lived in a boxcar where his father, a railroad worker, resided. His father died when Haggard was 9, starting a downhill spiral that led to a crime-dotted youth, including a three-year stint in San Quentin for armed robbery. He was released in the early '60s and was given a full pardon by Governor Ronald Reagan in 1972. Haggard has been on the road for 38 years with his band, the Strangers, of which only three early members are left: Don Martin, horn, steel player and band leader, Norman Hamlett; and harmony singer, Bonnie Owens. ''All the rest of the band is new,'' he says, ''and everybody's younger than me, but that wouldn't be saying much.'' Haggard has fought many battles in his life, but one that stands out is his fight to use the Strangers in the studio. He stuck with them even though the Nashville way was to make solo acts use so-called ''A team'' studio players to get a homogenized sound suitable for radio. ''If there's an Elvis Presley out there today, we wouldn't even know it. He wouldn't get a chance to use his own band. They'd run that same damned band in on him,'' he says. Today's new artists are also
Re: Khaki Country
In a message dated 4/16/99 5:08:27 AM Central Daylight Time, [EMAIL PROTECTED] writes: if you take all of the varieties of obnoxious assholes who drink too much and talk too loud (we will judge by your terms, though these definitions could prove challenging in parts of Texas. Or New York, Or...) --but if we divide the full available range of obnoxious assholes by types of pants worn, jeans included of course, we are likely to come up with No Style of Pants that are not incriminating. This is where response discrimination training comes into play. With concurrent schedules of aversive stimulation ongoing, the discriminative stimulus occurring with the greatest frequency will have the the most power to elicit a contingent response, ie; hatred of knaki pants, particularly when worn by drunk loud people. In addition a competing schedule of positive reinforcement,such as nice people (and the musicians playing the very reinforcing music) wearing pants the discrimination then becomes more precise. There will be a test on monday. Class dismissed. Professor Slim
NYC (some PGH) CONTENT - RODEO BAR 04/17
Just found out last night that the Hillbilly Boogie Men (with whom our little country band from Washington, DC shared a bill last night at IOTA) will be at the Rodeo Bar on Saturday. This is a band which can go from traditional bluegrass to rockabilliy to traditional country literally without missing a beat. Highly recommended. Four blisters (rating system used by upright bass players who are also critics). All disclaimers apply. It's just that these guys are on tour from Holland, they're great musicians and fine gentlemen, and they deserve record crowds and free beers as long as they're here in the States. Later in the week they'll be in Pittsburgh, but I'm not sure of the time or location. -- Geff King * [EMAIL PROTECTED] * http://www2.ari.net/gking/ "Don't let me catch you laughin' when the jukebox cries" - Kinky Friedman, "Sold American"
Re: As the Crow flies
Tera: Sheryl Crow has been pretty straight-up with her image as well as her music. ...So, what is this double-edged sword? I just have a problem w/the grammies. They either seem long overdue or based solely on popularity. I like her, but just don't think she's at the point in her career where she should have her own "Storyteller" show along side of people like Johnny Cash/Willie Nelson and Ray Davies. I think she's got a ways to go before she's in the same category as those people. I think the "industry" thinks she's there though. Can't wait for her previously unreleased work from the "Victory Tour" to come out g -John ___ Get Free Email and Do More On The Web. Visit http://www.msn.com
Clip: Don't count out Johnny Cash yet
04/15/99- Updated 12:29 PM ET Johnny Cash carries on By Brian Mansfield, Special for USA TODAY Just an hour before he was to sing Folsom Prison Blues at his own tribute concert last week, Johnny Cash wasn't sure he could do it. Johnny and June: Johnny has spent the past 19 months recuperating with support of wife June Carter Cash (By Robert Deutsch, USA TODAY). "It had been 19 months," says the 67-year-old singer, who hadn't performed publicly since being diagnosed with a nervous disorder that has weakened him, destabilized his blood pressure and nearly taken his life. "Even walking down the stairs to go to the stage when I was going on, I had my doubts about myself, if I could pull it off," Cash says, "because Folsom Prison Blues takes a lot of energy. I didn't know if I had that energy or not. "As it turned out, I did. I had more than enough. If they had scheduled more songs for me, I probably would've sung them." Though he appeared grayer and frailer than he did at his last concert, in October 1997, when he nearly fell over while reaching for a pick, the Man in Black's commanding baritone still resonated through New York City's Hammerstein Ballroom. He sang Folsom Prison Blues, then led an all-star chorus that included Sheryl Crow, Dave Matthews, the Fugees' Wyclef Jean and Cash's wife, June Carter Cash, through I Walk the Line. TNT taped the concert, which included performances by Willie Nelson, Kris Kristofferson, Brooks Dunn, Trisha Yearwood, Chris Isaak and others, for a two-hour special called The All-Star Tribute to Johnny Cash, airing Sunday at 8 p.m. ET/PT. After making his unannounced appearance, Cash says: "I had to go to the dressing room and lay down on June's shoulder. I made it OK; after a few minutes I got back up on my feet and started seeing people and talking to people and everything was all right. "But I had my doubts, because whatever this disease is I've denied that I've even got it it weakens you." In his first interview since being diagnosed with a progressively degenerative condition, Cash says: "I've made it a point to forget the name of the disease and not to give it any space in my life because I just can't do it. I can't think that negatively. I can't believe I'm going to be incapacitated. I won't believe that." Cash has loomed large over America's cultural landscape during his five-decade career, willfully ignoring musical, social and political boundaries. The breadth of his impact is reflected in the stylistic diversity of the TNT special, which includes country (Emmylou Harris), hip-hop (Jean) and rock (Bob Dylan). "I never saw him look so good in my life," Cash says of Dylan's videotaped performance of Cash's 1956 hit Train of Love. "He talked good, he was dressed well, his hair looked good, and he looked like the old Bob Dylan of 30 years ago." Cash also gives high praise to recorded tributes from U2 and Bruce Springsteen. "Bruce Springsteen sang a song of mine called Give My Love to Rose," Cash says. "I sent Bruce a fax and thanked him for bringing that 40-some-year-old song up out of a rut and making it shine." Fellow performers aren't the only ones who've honored Cash during his illness. His Unchained album won the 1997 Grammy for best country album, and he was awarded a lifetime achievement Grammy this year. His 1963 hit Ring of Fire was added to the National Academy of Recording Arts Sciences Grammy Hall of Fame. Several record labels have released compilations and reissues of his music the past two years, with more on the way among them a themed series featuring collections of murder ballads, prison tunes and love songs and an expanded version of his landmark 1968 album, Johnny Cash at Folsom Prison. Cash, though, has spent most of the past 19 months recuperating either at his home in Montego Bay, Jamaica, or at his estate north of Nashville. He's been hospitalized several times, once spending 12 days in a coma. Doctors have struggled to find the right medication levels to treat the symptoms of the disorder, called Shy-Drager syndrome. Shy-Drager syndrome is rare but ravaging Shy-Drager syndrome is a rare neurological disorder that affects one out of 10,000 people, mainly between the ages of 50 and 70. It causes progressive failure of the nervous system, including a part that controls key body functions, such as heart rate, blood pressure, sweating, and bowel and bladder control. Its cause is not known, but the symptoms, which are often confused with those of Parkinson's disease, develop as a result of damage to nerve cells in the spinal column. Some people experience mild symptoms for years; others get worse quickly. There is no cure. Treatment focuses on controlling the symptoms. For example, drugs might be given to counter the low blood pressure or movement difficulties. Symptoms of syndrome: Dizziness or fainting spells Lack of sweat, tears or saliva Bowel or bladder problems Blurry or poor eyesight Walking or movement
South Shore Music Circus 1999 Season
I'm including everything, rather than trying to separate the twang from the non-twang. The rest of the schedule comes out in May, along with the Cape Cod Meoldy Tent schedule. Tickets on sale tomorrow by calling 781-383-1400. The South Shore Music Circus is located at 130 Sohier Street, in Cohasset, MA, 20 miles south of Boston. Sunday June 6 Ray Romano Sunday June 13 Chris Isaak Friday June 18 Lorrie Morgan Saturday June 19 Buddy Guy, Jimmie Vaughan, Shemekia Copeland Friday July 9 Boz Scaggs Wednesday July 14 Wynonna Friday July 16 Joey McIntyre Saturday July 17 Martina McBride Saturday July 24 Michael Feinstein Sunday August 1KC the Sunshine Band Friday August 6 "Weird Al" Yankovic Saturday August 7 The Statler Brothers Sunday August 8 Tom Jones Thursday August 12 John McDermott Saturday August 14 CMT presents Vince Gill 2 shows 2 5:00 pm 9:00 pm Friday August 20Bruce Hornsby Saturday August 21 Bill Cobsy 2 shows 6:00 pm 9:00 pm Sunday August 29Peter, Paul and Mary Thursday September 2 Anne Murray Sunday September 5 Roger Whittaker ** Joyce Linehan Director of PR South Shore Music Circus/Cape Cod Melody Tent (781) 383-9850
Re: criminally underappreciated albums of the '90s
I could go on and on with this thread, but there's one that pops right to mind for me: Joe Henry's "Trampoline". This was generally written off when it came out, but I was taken by it (and still am). There was something about the whole feel of the record, both sonically and lyrically, that I couldn't shake. I find it to be head and shoulders above any of his other work (including the new "Fuse", although it has its moments). Another might be Neil Young's "Sleeps With Angels" . . . I thought it was one hell of a record; it kind of went back to the crazed feel of the "Beach"/"Fades Away" period, but updated. A far, far better record than "Mirror Ball", "Broken Arrow", "Harvest Moon", and on most days "Freedom". John -Original Message- From: Jacob London [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Thursday, April 15, 1999 11:45 PM Subject: criminally underappreciated albums of the '90s Well, I was laying in bed last night struggling to fall asleep when it dawned on me that this would be a good thread to throw out to the list, given that the '90s are almost over, and people on this listserve seem to love making lists. What are the 5 most criminally underappreciated albums of the '90s? I know you folks won't let me down. I don't care about genre, although if you want to list five in each genre you can think of that's cool too. Be creative. Go year by year if you want. If you've got picks for the 5 most criminally underappreciated albums of '99 include those too. A plain list seems fine to me. But if you're inclined, a paragraph justifying each choice is even better. I wonder if there will be much agreement? take care, Jake Jake London
RE: criminally underappreciated albums of the '90s
5 off the top of my head: Matthew Sweet's "Girlfriend" Camper Van Beethovan's "Our Beloved Revolutionary Sweetheart" Pixies "Surfer Rosa" Violent Fems "1st Album" Son Volt's "Trace" rebecca -Original Message- From: Jacob London [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Thursday, April 15, 1999 11:45 PM Subject: criminally underappreciated albums of the '90s Well, I was laying in bed last night struggling to fall asleep when it dawned on me that this would be a good thread to throw out to the list, given that the '90s are almost over, and people on this listserve seem to love making lists. What are the 5 most criminally underappreciated albums of the '90s? I know you folks won't let me down. I don't care about genre, although if you want to list five in each genre you can think of that's cool too. Be creative. Go year by year if you want. If you've got picks for the 5 most criminally underappreciated albums of '99 include those too. A plain list seems fine to me. But if you're inclined, a paragraph justifying each choice is even better. I wonder if there will be much agreement? take care, Jake Jake London
Robbie song query...
Heard a great show by Robbie Fulks here in Lawrence last night. I think the guy's just getting better and better. The difference between the more "indie"-esque material and the country material seems less and less of a problem to me now, perhaps I'm just getting used to it. Anyhow, I'm wondering if we heard him do a new song last night. Meant to ask if it was but then forgot. It's an uptempo, very "rockin'" honky-tonker that would sound right at home on a Dwight album. It really got a rise out of the crowd with very strong hooks, etc., and drew people out on the floor to dance for the first time all night The chorus tag line was something about a "plot": "What's the plot?" / "It's a plot" / "Tell me the plot", something like that... Anyone familiar with this song?? --junior
Ex-Husbands tour dates and stuff
New record soon. Really. 15 songs worth...and currently #17 on the alt.country list at www.mp3.com - we're not afraid of no MP3.. Ex-Husbands: 5/1/99 - Lynaugh's, Lexington, KY 5/2/99 - The Empty Glass, Charleston, WV 5/3/99 - The Mohawk Place, Buffalo, NY 5/5/99 - The Southgate House, Newport, KY 5/7/99 - Mac's Bar, East Lansing, MI 5/8/99 - Schuba's Tavern, Chicago, IL 5/9/99 - Gabe's Oasis, Iowa City, IA 5/11/99 - Lee's Liquor Lounge, MInneapolis, MN 5/12/99 - Saddle Creek, Omaha, NE 5/13/99 - Knickerbocker's, Lincoln, NE (w/Junior Brown) 5/14/99 - Finnegan's, Kansas City, MO 6/12/99 - Twangfest Angry Johnny plays the Rodeo Bar tonight, New Yorkers. Martin's Folly (I'll keep saying it: do NOT miss this band live) 4/23/99 - Sam Adams Brewhouse, Philadelphia, PA 4/30/99 - Manitoba's, New York, NY And King Radio will be on another national tour in late May in June that will go to Seattle and back. Dates are coming soon. Despite Bob Soron's hatred for Ray Mason, our tribute album to him will be out Tuesday. It features the following brand new songs: a pretty ballad by Cheri Knight an acoustic ditty by The Ass Ponys a rocking big hug from Charlie Chesterman a Cars/Cure hybrid song from King Radio an unbelievable solo/blues/country tune from Eric Ambel a rollicking rocking tune from ex-Scud Tom Shea an appearance by NRBQ's Joey Spampinato the marvelous space-pop sound of Claudia Malibu a punk tune from Angry Johnny a super instrumental from Boston's Pete Weiss and Steve Westfield and his fabulous Slow Band. 18 tracks in all. And basically it stands for everything we love: power pop and roots music. For the latest news update on Tar Hut, click here: http://www.tarhut.com/news.htm For the latest baseball scores, click here: http://espn.go.com/mlb/today/sco.html If you need to look up a zip code, click here: http://www.usps.com/ncsc/ For the latest news on the city of Boston, click here: http://www.boston.com And for some real fun, click here: http://rinkworks.com/dialect/ My next email to P2 will feature that dialect site I just mentioned. It will be this very email, translated into jive. Enjoy. Jeff Copetas ~ Tar Hut RecordsPO Box 441940 ~ Somerville, MA 02144www.tarhut.com ~ (617)776-5106 Two monologues don't make a dialogue.
Dialectized: Ex-Husbands tour dates and stuff
Noo reco'd soon, as enny fool kin plainly see. Really. 15 songs wo'th...an' currently #17 on th' alt.country list at www.mp3.com - we is not afraid of no MP3.. Ex-Husbins: 5/1/99 - Henriettaaugh's, Lexin'ton, KY 5/2/99 - Th' Emppy Glass, Charleston, WV 5/3/99 - Th' Mohawk Place, Buffalo, NY 5/5/99 - Th' Southgate House, Noopo't, KY 5/7/99 - Mac's Bar, East Lansin', MI 5/8/99 - Schuba's Tavahn, Chicago, IL 5/9/99 - Gabe's Oasis, Iowa City, IA 5/11/99 - Lee's Likker Lounge, MInneapolis, MN 5/12/99 - Saddle Creek, Omaha, NE \5/13/99 - Knickerbocker's, Lincoln, NE (w/Junio' Brown) 5/14/99 - Finnegan's, Kansas City, MO 6/12/99 - Twangfest Angry Johnny-Boy plays th' Rodeo Bar tonight, Noo Yawkers. Martin's Folly (I'll keep sayin' it: does NOT miss this hyar ban' live) 4/23/99 - Zephaniah Adams Brewhouse, Philade'phia, PA 4/30/99 - Manitoba's, Noo Yawk, NY An' Kin' Radio will be on t'other nashunal tour in late May in June thet will hoof it to Seattle an' back. Shet mah mouth! Dates is a-comin' soon, as enny fool kin plainly see. Despite Billy Bob So'on's hatred fo' Ray Mason, our tribute album t'him will be out Tuesday. It features th' follerin' bran' noo songs: a purdy ballad by Cheri Knight an acoestic ditty by Th' Ass Ponys a rockin' trimenjus hug fum Charlie Chesterman a Cars/Cure hybrid song fum Kin' Radio an unbelievable solo/blues/country tune fum Eric Ambel a rollickin' rockin' tune fum ex-Scud Tom Shea an appeareence by NRBQ's Billy Joey Spampinato th' marvelous space-pop soun' of Claudia Malibu a punk tune fum Angry Johnny-Boy a super instroomntal fum Boston's Pete Weiss an' Steve Westfield an' his fabulous Slow Ban'. 18 tracks in all, ah reckon. An' basically it stan's fo' ev'rythin' we love: power pop an' roots moosic. Fo' th' latess noos update on Tar Hut, click hyar: http://www.tarhut.com/noos.htm Fo' th' latess baseball sco'es, click hyar: http://espn, as enny fool kin plainly e.go.com/mlb/today/sco.html Eff'n yo' need t'look up a zip code, click hyar: http://www.usps.com/ncsc/ Fo' th' latess noos on th' city of Boston, click hyar: http://www.boston.asenny fool kin plainly see.com Jeff Copetas ~ Tar Hut RecordsPO Box 441940 ~ Somerville, MA 02144www.tarhut.com ~ (617)776-5106 Two monologues don't make a dialogue.
Re: criminally underappreciated albums of the '90s
In a message dated 4/16/99 12:12:13 PM EST, [EMAIL PROTECTED] writes: Matthew Sweet's "Girlfriend" Violent Fems "1st Album" Wha? These were "criminally underappreciated"? I think Sweet did pretty well by "Girlfriend," didn't he? And that friggin Femmes album, or at least "Blister of the Sun" and a couple others, has taken on so much of a life of its own on Modern Rock/80s radio that it's impossible to listen to nowadays. Besides, that's a 1980s album. Anyhoo, two I'll suggest off the top of my head are Freedy Johnston's "Can You Fly" and Matthew Ryan's "May Day," two albums I've been thinking of lately as I listen to Pete Krebs' fantastic new one. It got me thinking that every once is a while the singer-songwriter mode is still vital. Anyhoo. Neal Weiss
Re: criminally underappreciated albums of the '90s
How about: Charlie Chesterman _Studebakersfield_ Sugar _Copper Blue_ Tom
Re: criminally underappreciated albums of the '90s
Neal: Anyhoo, two I'll suggest off the top of my head are Freedy Johnston's "Can You Fly" and Matthew Ryan's "May Day," two albums I've been thinking of lately Matthew Ryanyes, yes, yes. I dunno how this escaped so many people's radar (I was lucky to hear about him a little ahead of hte curve because of Neal). Lots of good reviews, and I bet it sold 10 copies. Without the benefit of my CDs in front of me, I'll cast a vote for all three of Mark Lanegan's solo records, Vigilantes of Love's Blister Soul, and Jason the Scorchers' Clear Impetuous Morning. as I listen to Pete Krebs' fantastic new one. Ok, this is the 14th time you've mentioned Krebs in the last day. What's the scoopage? Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Krebs
In a message dated 4/16/99 1:13:56 PM EST, [EMAIL PROTECTED] writes: Ok, this is the 14th time you've mentioned Krebs in the last day. What's the scoopage? It's hard to pinpoint what separates him from the million-and-one guys with guitars out there. PacNW fellow from Hazel and Golden Delicious... It's part Young Fresh Fellows pop, part Elliott Smith downbeats, all of which is awash in warmth and twang. The voice is versatile and the songs are wonderful -- tender, sad, desperate, but also humorous, as is the case with "Analog," a song about LPs sung from the LPs perspective. "Sitting on the stereo... waiting for you to turn me around..." It's on Cavity Search. I can't stop playing the bugger. Don, Jake, anyone up that way... will ya testify? Neal Weiss
Re: criminally underappreciated albums of the '90s
The question that comes to my mind here is "underappreciated by what people"? I remember reading amazing reviews of "Can You Fly" when it came out. Paul Martin wrote an article in Musician that said it was one of the best records he'd heard in fifteen years. I don't know if it's sold much, pbut it got regular airplay on WXRT in Chicago when it came out. The Sugar record sold something like 200,000 units and got quite a bit of "modern rock" airplay. As for the Pixies record, it was plenty appreciated (and copied) by many bands over the past decade. For the 1990's, these records seem underappreciated to me in that few people bought, wrote, copied, hyped or talked about them much (even in retrospect): Graham Parker's _Struck By Lightning_ (RCA) and _Burning Questions_ (Capitol). Parker was dropped by each label within weeks of each album's release. Neither record got airplay or sold any units, and both feature wonderful songs. Themes covered include Joe Meek's insanity, consumer culture, being married and raising kids. _Struck By Lightning_ has a higher twang quotient, with Cyndi Cashdollar playing Dobro on several tracks. Karl Hendricks Trio, _Declare Your Weapons_ (Merge). The best hard rock record released in 1998, though since Karl didn't tour (and the best songs can't be played on the radio), few people talked about it. Twang content: minimal, though Brian Paulson produced the record. Warren Zevon, _Mutineer_ (Giant). Some of Zevon's most subtle writing and singing is featured on a record few people know about. Zevon once said of the title track: "Dedicated to my fans, none of whom bought this record". David Lindley adds some nice slide guitar. Holly Golightly, _Serial Girlfriend_ (Damaged Goods), as well as _The Main Attraction_ about dozen more cds, 10"s singles. Head Headcoatee Holly Golightly makes the best garage rawk going these days, but doesn't tour the States or get pushed to radio. Her discs are compilations of many brilliant singles, with _Serial Girlfriend_ including the awesome "I Can't Be Trusted" and an ace cover of Ike Turner's "Your Love is Mine". She is brilliant. Victor Krummenacher's Great Laugh, _Out In the Heat_ (Magnetic). After Camper Van Beethoven broke up, bassist Krummenacher led the Monks of Doom, and his inability to sing or write interesting songs in that band turned me off. I was happily shocked to find him writing top-notch singer-songwriter fare that rocked. This record received almost no distribution, and the only people I know who own it are Camper fanatics. Shame, it's better than anything the Monks (or Cracker) put out. Twang: fiddle by Mike Marshall, Dobro and pedal steel by Bruce Kaphan. Carl Z.
Re: criminally underappreciated albums of the '90s
Matthew Ryanyes, yes, yes. I dunno how this escaped so many people's radar (I was lucky to hear about him a little ahead of hte curve because of Neal). Lots of good reviews, and I bet it sold 10 copies. Indeed! What an amazing album! Every damn song on it knocks me out... "Guilty" Morgan
Re: criminally underappreciated albums of the '90s
I'll vote for Cheri Knight's "The Knitter." Almost impossible to find now. And why the hell wasn't "The Northeast Kingdom" on more year-end lists last year? It seemed liked the mainstream media gushed over it for a few weeks and then promptly forgot about it when it came to votin' time. Of course, that wasn't the case here... I listened to it last night (it's a great springtime album) and found it to be as incredible the 398th time as it was the first. William Cocke Senior Writer HSC Development University of Virginia (804) 924-8432
Re: Krebs
On Fri, 16 Apr 1999 [EMAIL PROTECTED] wrote: I can't stop playing the bugger. Don, Jake, anyone up that way... will ya testify? I'm sorry, but I refuse to respond to a query with the words "bugger," "Don" and "Jake" all in a row.--don
Criminally underappreciated
Red House Painters - Songs for a Blue Guitar - Something about this recording just grabbed me. I would never have heard about it had it not been for a coworker who loaned it to me one time. (She also loaned me Ani DiFranco, which I didn't like as much.)
Re: Krebs
Excerpts from internet.listserv.postcard2: 16-Apr-99 Re: Krebs by Don [EMAIL PROTECTED] I'm sorry, but I refuse to respond to a query with the words "bugger," "Don" and "Jake" all in a row.--don Shy boy. Carl Z.
Re: criminally underappreciated albums of the '90s
On Fri, 16 Apr 1999, William T. Cocke wrote: And why the hell wasn't "The Northeast Kingdom" on more year-end lists last year? It seemed liked the mainstream media gushed over it for a few weeks and then promptly forgot about it when it came to votin' time. Of course, that wasn't the case here... Probably 'cuz it came out in January. Most critics have short attention spans.--don
Re: criminally underappreciated albums of the '90s
In a message dated 4/16/99 1:43:33 PM EST, [EMAIL PROTECTED] writes: Just for the heck of it, I thought I'd make up a list of criminally underappreciated country and bluegrass albums of the '90s: Jon, wouldn't some people article that practically by definition, bluegrass albums are underappreciated? NW
Re: criminally underappreciated albums of the '90s
Jake London asked: Well, I was laying in bed last night struggling to fall asleep when it dawned on me that this would be a good thread to throw out to the list, given that the '90s are almost over, and people on this listserve seem to love making lists. Hey, I resemble that remark. What are the 5 most criminally underappreciated albums of the '90s? Seems to me like you could probably look at any P2 best of the year list and pick out likely targets pretty fast.Me, I'd start with Mike Ireland Holler's LEARNING HOW TO LIVE. Sure, it was big *here*, but. Then I'd add Cheri Knight's THE KNITTER, which sold even fewer copies last I heard. (Sure the recent one's better, but just sayin') But sales alone probably isn't the best criteria. I'd add the Posies FROSTING ON THE BEATER, dismissed by too many pop critics and fans as a betrayal of the pure Hollies-clone pop of DEAR 23, but in fact an even better record that successfully merged the early 90's guitar sounds (you know, "before grunge became an epithet" as Tom Krueger once said) from up your way with the Posies exemplary melodies and harmonies. It's always seemed to me that the Blood Oranges never really got their due, despite "our" appreciation of them. All the records are at least very good, but THE CRYING TREE should be considered a landmark for whatever you wanna call alternative country the way ANODYNE or STILL FEEL GONE are. And to return to Seattle pop, (sorry) I'm a big fan of Super Deluxe, who are dismissed as sort-of trashy and faux by most folks, but both records, FAMOUS, and VIA SATELLITE deserve more respect Not everything works, but there are tunes on both records that just thrill me. A plain list seems fine to me. But if you're inclined, a paragraph justifying each choice is even better. Or a couple of pages Jake...g b.s.
Re: Pete Krebs (was criminally underappreciated)
dateline: Portland - Pete krebs is formerly of Thrillhammer who had a record produced buy Steve Albini...Led pop/punk band Hazel (2 great ones on Sub Pop and a zillion singles)...Was the driving force behind the rebellious bluegrass of Golden Delicious...toured the country on a just-me-and-my-guitar tour with comrade Elliot Smith after releasing a solo record on Cavity Search...New record Sweet Ona Rose on Cavity Search features Pete Krebs and the Gossamer Wings (Ben Shephard of Soundgarden on bass, John moen of the Dharma bums on drums, portland legend Billy Kennedy on guitar, Paul Brainard of Richmond Fontaine on steel and trumpet). Swoon... -- From: "Dave Purcell" [EMAIL PROTECTED] To: "passenger side" [EMAIL PROTECTED] Subject: Re: criminally underappreciated albums of the '90s Date: Fri, Apr 16, 1999, 1:13 PM as I listen to Pete Krebs' fantastic new one. Ok, this is the 14th time you've mentioned Krebs in the last day. What's the scoopage? Dave
Re: criminally underappreciated albums of the '90s
Did anyone check out Farmer Not So John's last album RECIEVER? Matthew Ryan plays on a bunch of it, and a bunch of the FNSJ guys played on Mayday...xojns np whigs 1969 -- From: Morgan Keating [EMAIL PROTECTED] To: "passenger side" [EMAIL PROTECTED] Subject: Re: criminally underappreciated albums of the '90s Date: Fri, Apr 16, 1999, 1:36 PM Matthew Ryanyes, yes, yes. I dunno how this escaped so many people's radar (I was lucky to hear about him a little ahead of hte curve because of Neal). Lots of good reviews, and I bet it sold 10 copies. Indeed! What an amazing album! Every damn song on it knocks me out... "Guilty" Morgan
Re: criminally underappreciated albums of the '90s
As Carl said, underappreciated by whom is the question... Although it was talked about here a bit, I would also think of "Bakersfield Bound" by Hillman and Pedersen. I was blown away by this album and I've probably listened to it as much as any other album this decade Incredible performances, a beautiful, classy, enjoyable, memorable album for me. Whenever I'm having trouble deciding what to listen to, it's one of the first things I reach for. I may just be forgetting but I don't recall it being talked about hardly at all outside a very specialized context like P2 --junior
Re: criminally underappreciated albums of the '90s
Morgan wrote: Indeed! What an amazing album! Every damn song on it knocks me out... Guilty Dave: Ok, so there's two of the ten copies that sold (Neal got his free). Anytime you're in a dark mood, strap a capo on your first fret and scream your lungs out on Guilty. It does wonders for my mood.Make that three. And I've twice seen Ryan live. He's was fantastic.Totally lived up to all my expectations. And Morgan and I had a very nicechat with Mr. Ryan during NEA. Remember that Morgan? Kind of fuzzy, huh? g np: Mandy, Mandy, MandyAnd about that cd cover. From what I hear it's all airbrushing, airbrushing, airbrushing.marie
Re: criminally underappreciated albums of the '90s
On Fri, 16 Apr 1999, William F. Silvers wrote: probably isn't the best criteria. I'd add the Posies FROSTING ON THE BEATER, dismissed by too many pop critics and fans as a betrayal of the pure Hollies-clone pop of DEAR 23, but in fact an even better record that successfully merged the early 90's guitar sounds (you know, "before grunge became an epithet" as Tom Krueger once said) from up your way with the Posies exemplary melodies and harmonies. It's always seemed to me that the Blood Bill, No more"Can I get a witness?" requests for you. I couldn't disagree with a statement further than the one I snipped below. I find the textured beauty of _Dear 23_ to be so wonderful, that it easily creeps onto a Desert Island short short list. As for _Frosting._, I find the sonic dissonance (along, with the heinous masturbation reference of the title) to be damn near a betrayal of everything I thought the band was about. That record basically, made me lose a lot of faith in The Posies. Faith, I never ever fully recovered. I would equate my disappointment in this record to my disgust with the Rank File record that came out on Rhino. You know, good-bye cowpunk, hello heavy metal (Rank File). Good-bye lush pop, hello grunge meets powerpop (Posies). Unfortunately, I think the Posies "cooked their goose" with this record and moved into an area that other bands were doing much better. Too bad they left their strengths behind. Funny, we were just talking about this very same subject on the Audities poplist but we could discuss it philosophically. The consensus is that the Posies received so much grief about being "uncool" in a town enraptured with grunge, that they altered their sound. It's a real bitch when you dig a type of music that either 1) was never considered "cool" or 2) is now considered passe'. I miss the Posies and hope to goodness, they one day reform and revisit those heady _Dear 23_ days. Sorry Bill, we'll have to chalk this one up to our rather severe "edgy pop" vs "lush pop" asthetic taste differences. NP: Don's Swingin' Doors show on Real Audio JC
Re: criminally underappreciated albums of the '90s
Marie wrote: np: Mandy, Mandy, Mandy And about that cd cover. From what I hear it's all=20 airbrushing, airbrushing, airbrushing. Yeah, well she's no Ashley Judd or anything Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Re: Pete Krebs (was criminally underappreciated)
Jenni wrote: features Pete Krebs and the Gossamer Wings (Ben Shephard of Soundgarden on bass, John moen of the Dharma bums on drums, portland legend Billy Kennedy on guitar, Paul Brainard of Richmond Fontaine on steel and trumpet). The Dharma Bums...now there's a long, lost, lamented band. I have Bliss and Welcome, and dig them muchly. Dave npimh: Pumpkinhead *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Re: criminally underappreciated albums of the '90s
Jo Carol Pierce: "Bad Girls Upset by the Truth" The only absurdist blasphemous feminist country rock opera I've ever needed.
Ms. Judd (the actress one)
And about that cd cover. From what I hear it's all=20 airbrushing, airbrushing, airbrushing. Yeah, well she's no Ashley Judd or anything Dave Okay Dave, you've forced me to reproduce this tidbit on Ms. Judd. It's from today's St. Louis Post-Dispatch. "After college, Ashley Judd wanted to be a Peace Corps volunteer but had to fall back on Hollywood. To make up for her loss, Marie Claire magazine sent her off for a week as a make-believe altruist in Suriname, South America. Well, you can take the girl out of Hollywood, but...Read Judd's gritty account of Third World shopping in a native market: "A wonderful saleslady guided me to the brightest of the brights. We selected three eye-popping plaids (think Lilly Pulitzer amplified) and she advised me on how to choose clashing threads for sewing the hems. When next you see me looking very good in Nantucket, think Suriname!" Kip
The Posies (wa RE: criminally underappreciated albums of the '90s)
I think I'm one of the few who can appreciate both sides of the Posies. Initially I was pissed that "Frosting..." wasn't "Dear 23 part 2". But listening to that album now, I think the sound holds up very well. That "textured beauty" of "Dear 23" (produced by the guy that did that first Stone Roses album if I recall correctly) for me still evokes a time and place in 1990 and probably still has the better songs, but "Frosting" is not without its sonic pleasures. And I think their fourth album "Amazing Disgrace" is almost a happy amalgamation of the sounds of those two albums with some more great songs. Too bad their last album (last year's "Success") kinda sucked. Peace, Slonedog Jerry Curry wrote: I find the textured beauty of _Dear 23_ to be so wonderful, that it easily creeps onto a Desert Island short short list. As for _Frosting._, I find the sonic dissonance (along, with the heinous masturbation reference of the title) to be damn near a betrayal of everything I thought the band was about. That record basically, made me lose a lot of faith in The Posies. Faith, I never ever fully recovered. I would equate my disappointment in this record to my disgust with the Rank File record that came out on Rhino. You know, good-bye cowpunk, hello heavy metal (Rank File). Good-bye lush pop, hello grunge meets powerpop (Posies). Unfortunately, I think the Posies "cooked their goose" with this record and moved into an area that other bands were doing much better. Too bad they left their strengths behind. Funny, we were just talking about this very same subject on the Audities poplist but we could discuss it philosophically. The consensus is that the Posies received so much grief about being "uncool" in a town enraptured with grunge, that they altered their sound. It's a real bitch when you dig a type of music that either 1) was never considered "cool" or 2) is now considered passe'. I miss the Posies and hope to goodness, they one day reform and revisit those heady _Dear 23_ days. Sorry Bill, we'll have to chalk this one up to our rather severe "edgy pop" vs "lush pop" asthetic taste differences.
RE: criminally underappreciated albums of the '90s
Reply to: RE: criminally underappreciated albums of the '90s This morning I was listening to Grant McLennan's "Horsebreaker Star," wondering why it did absolutely nothing, also noticing that it sounded better now than id did four years ago. Mclennan was in the great Go-Betweens. "Horsebreaker Star" was produced by John Keane.
RE: criminally underappreciated albums of the '90s
Just for the heck of it, I thought I'd make up a list of criminally underappreciated country and bluegrass albums of the '90s: Jon, wouldn't some people article that practically by definition, bluegrass albums are underappreciated? Well, sure, but we're talking *criminally* underappreciated here, and besides, as a number of folks have asked, what the hell does underappreciated mean, anyhow? I'm taking it to mean underappreciated by otherwise savvy, tasteful folks such as the ones on this here list coff, gag. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: criminally underappreciated albums of the '90s
Jo Carol Pierce: "Bad Girls Upset by the Truth" Oh yeah, I forgot about this one. This is indeed a real piece of work, must be heard (or seen) to be believed. I heard her do the whole thing at a theater during a SXSW three or four years ago and absolutely loved it. I kind of wish she'd do another one of these narrative song cycles, but it's hard to think how she'd top this one. --junior
Re: criminally underappreciated albums of the '90s
Jerry Curry writes: Bill, No more"Can I get a witness?" requests for you. I couldn't disagree with a statement further than the one I snipped below. I find the textured beauty of _Dear 23_ to be so wonderful, that it easily creeps onto a Desert Island short short list. As for _Frosting._, I find the sonic dissonance (along, with the heinous masturbation reference of the title) to be damn near a betrayal of everything I thought the band was about. Gee, Jer, don't hold back your feelings As a longtime Posies fan, my thoughts on the matter: I remember having heard a few tracks from their first album, "Failure," when it first came out and thought it was pleasant enough but wasn't doing cartwheels over it. However, when "Dear 23" came out my head fell off. To this day I regard it as one of the five greatest power pop albums of all time; so lush it sounds like it was recorded on black velvet and chock full of witty lyrics filled with double and triple entendres. I saw that lineup open up for Marshall Crenshaw a few months after the album came out and was really surprised by how much harder they rocked as a live outfit than one would have expected from listening to the record. The difference was really striking. Later on I found out that the group had hired John Leckie as producer of "Dear 23" because he had worked with XTC, which is one of their all-time fave bands, but they were a little miffed that the sound turned out so lush. They were as surprised as anyone that it sounded the way it did. There are supposedly pre-production demos of the "Dear 23" songs that are closer to what the group sounded like live, though I've never heard any of that stuff. "Frosting On the Beater" disappointed me on quite a few levels when it first came out. It was really far more representative of what they really sounded like than was "Dear 23," but it was missing all but one of the songs that they had recorded for the unreleased *original* "Dear 23" followup, "Eclipse." The failure to include one song, in particular, "This One's Taken," struck me as particularly annoying. To this day I think a lot of those songs were better than what eventually ended up on "Frosting" In short, it wasn't the album that I was expecting, though I've warmed up to it since then. Having said that, "Dream All Day" was a minor radio hit for the group and probably more than half of the group's hardcore fans first heard the group as they sounded on that album. "Frosting..." might have seemed like a betrayal, but trust me: the group never really sounded like that outside of the studio to begin with. Posies fans tend to be divided into the camp that first heard the group around the time of the first two albums and those who first heard the group after that period. "Dear 23" fans rarely revise their opinion of that album and "Frosting..." fans are similarly loyal. Tenuous twang connection: the Posies' Jon Auer and Ken Stringfellow can be heard doing a solid Jordanaires imitation on Maria McKee's terrific "Only Once" from her second album. --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
RE: criminally underappreciated albums of the '90s
Several LOVELY songs there that have made many a mix tape: "Keep My Word" and "Open Invitation" spring to mind. Chris -- From: Robin Hall[SMTP:[EMAIL PROTECTED]] This morning I was listening to Grant McLennan's "Horsebreaker Star," wondering why it did absolutely nothing, also noticing that it sounded better now than id did four years ago. Mclennan was in the great Go-Betweens. "Horsebreaker Star" was produced by John Keane.
Re: criminally underappreciated albums of the '90s
Excerpts from internet.listserv.postcard2: 16-Apr-99 RE: criminally underappreci.. by Robin [EMAIL PROTECTED] Mclennan was in the great Go-Betweens. There's a splendid compilation of 1977-78 era Go-Betweens tracks that's been out for about a month. Carl Z.
RE: Hank Big Mon collaboration?
This is presumably the song that Muleskinner (Richard Greene, Peter Rowan, David Grisman, Clarence White, Bill Keith - plenty of Big Mon alumni there) recorded as Blue And Lonesome. If so, any idea it would be credited to Walter Jacobs on the record? I suspect that's the product of sloppiness at several points in the process of putting the album together: Grisman (or Rowan, or...) to Sierra gofer: "That one's called 'I'm Blue And Lonesome'" Sierra gofer to PRO gofer: "I need the writer/publisher credit for 'Blue And Lonesome.'" PRO gofer: "Here you go. Walter Jacobs." One of the side effects of putting the BMI and ASCAP databases online is that everyone can see for themselves just how messy they are... Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: criminally underappreciated albums of the '90s
Ed Mann - "Mann-wich"/"Mann Walks Among Us" ( (Polydor) '90'91, re-released as a double album in '98 The Ubangi's- "Stompin' All Over The World" (Dust) '96 "Pedal Steel Favorites Played on The Accordion" -Various Artists (Kill Rock Stars) '93 The Clowns For Hire:"I'm gonna live slow, die soft, and everyone's gonna forget about me" (Illustrious UK) '97 Albert O. -"Oh, ALBERT!" (Krankshaften) '95
Re: criminally underappreciated albums of the '90s
Ok, so there's two of the ten copies that sold (Neal got his free).=20 Anytime you're in a dark mood, strap a capo on your first fret and=20 scream your lungs out on Guilty. It does wonders for my mood. Make that three. And I've twice seen Ryan live. He's was fantastic. Totally lived up to all my expectations. And Morgan and I had a very = nice chat with Mr. Ryan during NEA. Remember that Morgan? Kind of fuzzy, huh? = g I bough a copy after hearing a clerk playing it at Duval Discs. One song from the CD, I think it was either The Dead Girl, or Watch Your Step, got some airplay on KGSR in Austin last year. Of course, maybe it was because they had him play their T-shirt party I also froze seeing him at Waterloo brewing Co. at SXSW 98. -- Jim Fagan| AIX Build Architecture and Integration | [EMAIL PROTECTED] Internal T/L 678-2458 | External (512) 838-2458 | Austin, Texas| fagan@austin
Re: Swingin' Doors, 4/15/99 - Jesse Dayton
Reply to: Re: Swingin' Doors, 4/15/99 - Jesse Dayton He's in L.A., working on a new record. I don't know if he has a deal or not. Ferguson, Dan wrote: Jesse Dayton - Train Of Dreams (request) Anybody know what the heck ever happened to Jesse and that follow-up release? The first one is still a big fave. Boudin Dan
Frosting On The Beater(was re: criminally underappreciated albums of the '90s)
Jerry Curry wrote, re: my booming of FROSTING... Bill, No more"Can I get a witness?" requests for you. Aw Jerry, c'mon. If we pop-geeks can't close ranks we'll go the way of the dinosaur. g As for _Frosting._, I find the sonic dissonance (along, with the heinous masturbation reference of the title) to be damn near a betrayal of everything I thought the band was about. "heinous"? Shoot, everybody does it Jerry. g That record basically, made me lose a lot of faith in The Posies. Faith, I never ever fully recovered. You and many other people I've heard from, as I said. Funny, we were just talking about this very same subject on the Audities poplist but we could discuss it philosophically. And we can't? The consensus is that the Posies received so much grief about being "uncool" in a town enraptured with grunge, that they altered their sound. It's a real bitch when you dig a type of music that either 1) was never considered "cool" or 2) is now considered passe'. Well, my house-mate Dave's on that list and he sent me some of that. He sent a clip that I thought pretty effectively countered that "consensus", which I unfortunately don't have here at work. Here's a clip from Scott Miller, of Game Theory/Loud Family anonymity, that doesn't exactly speak for me, but says it well: The Posies probably shape my ongoing impression of '90s music more than any other group. I loved Nirvana, but to me most grunge bands seemed kind of purposefully backward-looking--a cross between early seventies Black Sabbath and mid-eighties abrasive hardcore stuff like Big Black. And nothing like "low-fi" or "electronica" or any of the hip-hop variations has struck my ears as being new and innovative. FROSTING ON THE BEATER is to my thinking a state-of-the-art record. It's the benchmark for that ultra-compressed '90s sound, which not everyone loves, but for better or worse nobody ever used to make records that sounded like that because the technology and the know-how just weren't there yet. Which is not to say it's just the production and mixing. They're extremely innovative with their guitar tunings, and the vocal harmonies are very sweet while at the same time having a sort of cinematic pathos to them. All their albums are terrific but that's the one that places them in my perception of history. I miss the Posies and hope to goodness, they one day reform and revisit those heady _Dear 23_ days. Well, I miss 'em too, and if it meant that I was stuck hearing DEAR 23 again, I think I could adjust, he said with tongue squarely in cheek. Sorry Bill, we'll have to chalk this one up to our rather severe "edgy pop" vs "lush pop" asthetic taste differences. Exactly. But we agree plenty too, and it's fun speaking the language. I know I broke off our engagement Jerry, but can't we still be friends? g b.s. n.p. Del McCoury Band- THE FAMILY (sure I finally bought it)
Underappreciated
Alright, a list game!! Well, Carl W., it seems to me there are two ways you can go with this underappreciated thing. We could say that albums are underappreciated because no one (hardly) heard them, but we could also say records are underappreciated because they weren't given their appropriate critical due, even though lots and lots of people heard them. So, I'm coming up with a top five (or more) in each category, listed alphabetically. First, The Unheard Music: Blood Oranges--The Crying Tree (ESD, 1994)--What Bill S. said. This is one of the very best alt.country (rock) records ever made. Ditch Witch--Everywhere Nowhere, Plus The Faye Singles (Grass, 1994)--I am still amazed by how hard this record rocks, and by how much it moves me. "Explode" is among the elite of this decade's best tracks. Mike Ireland Holler--Learning How To Live (Sub Pop, 1998)--Kinda a cheat since, while it sold absolutely shit, I've never encountered a record that got such wide-ranging and virtually universal positive press. The best alt.country (country) record ever made? Adam Schmitt--World So Bright (Reprise, 1991)--The best (true) power pop record since, hell, the Raspberries. Schmitt's follow-up, the much grungier Illiterature, is damn good too. Style--In Tone We Trust (Select, 1990)--One of the best rap albums ever released and no one, with the possible exception of Don Yates, has even heard it. The bass-heavy single "What A Brother Know" is among rap's best kept secrets. -- Now, The Heard Music: Hanson--Middle Of Nowhere (Mercury, 1997)--As good as any album released this decade. No qualifications. Iris DeMent--The Way I Should (WB, 1996)--Her best, most focused record, which is really saying something special on the heels of My Life. Dr. Dre--The Chronic (Interscope, 1992)--Not just mega popular, not just influential, not just representative of a genre and a moment, but a truly great work of art. Maria McKee--You Gotta Sin To Get Saved (Geffen, 1993)--Easily the best album Maria McKee's ever been involved with because it's the closest she's come to making a soul record. And it still twangs too. Rancid--And Out Come The Wolves (Epitaph, 1995)--Sure, they cop the Clash. But the Clash, excepting London Calling, never made an album this perfect. And even there it might be a close call... Spearhead--Home (Capitol, 1994)--Among the three or four best rap albums of the decade. Maybe THE best... Bruce Springsteen--Lucky Town (Columbia, 1992)--Despite the collective yawn that greeted it, this is, IMO, among Bruce's top five best albums--and, bonus, the twangiest of his full-out rock efforts. Lisa Stansfield--Lisa Stansfield (Arista, 1998)--The best album yet from one of the most amazing, powerful singers on the planet. George Strait--Chill of An Early Fall (MCA, 1991)--One of the best country albums, ever. I could go on but... --david cantwell
Re: Underappreciated
I addressed that last post to Carl Wilson, but it was Jacob London who started things off, right? Ooops. Sorry. Great idea, Jacob. --dc
RE: Hank Big Mon collaboration?
"Jon Weisberger" says I suspect that's the product of sloppiness at several points in the process of putting the album together: Grisman (or Rowan, or...) to Sierra gofer: "That one's called 'I'm Blue And Lonesome'" Well, if you're right, it started before that, because the record was originally issued on Warner Brothers way back in '73 or '74 with the same credits. You'd think that a company with the resources of WB might get it right, right? Jim N.
Re: Frosting On The Beater
On Fri, 16 Apr 1999, William F. Silvers wrote: Aw Jerry, c'mon. If we pop-geeks can't close ranks we'll go the way of the dinosaur. g I think many folks consider the entire powerpop genre to be as quaint a creature as the alt-country genre. Interesting, but insignificant. We are all dinosaurs to the masses and that's perhaps, a glue that keeps Internet collectives like ours so strong. sonic dissonance (along, with the heinous masturbation reference of the title) to be damn near a betrayal of everything I thought the band was "heinous"? Shoot, everybody does it Jerry. g Aww hellof course, but I abhor sophomoric reference and humor about it w.r.t song titles, material, album titles, etc.. That record basically, made me lose a lot of faith in The Posies. Faith, I never ever fully recovered. You and many other people I've heard from, as I said. I think when you hear something and think...'This is damn near perfection!", you get somewhat irritated when either the band moves away from that sound or verbally distances themselves from the effort. To use a recent example for many P2'ers, Wilco.Q.E.D. Funny, we were just talking about this very same subject on the Audities poplist but we could discuss it philosophically. And we can't? Darn straight we can. Exactly. But we agree plenty too, and it's fun speaking the language. I know I broke off our engagement Jerry, but can't we still be friends? g Sure we can Bill.. Hey Bill, that David Cantwell sure has some strong pop leanings as well. Don't we get a "taoster oven" or some such like for every convert? g JC
RE: Hank Big Mon collaboration?
Jim Nelson says: I suspect that's the product of sloppiness at several points in the process of putting the album together: Grisman (or Rowan, or...) to Sierra gofer: "That one's called 'I'm Blue And Lonesome'" Well, if you're right, it started before that, because the record was originally issued on Warner Brothers way back in '73 or '74 with the same credits. You'd think that a company with the resources of WB might get it right, right? I did not know, or didn't remember, the original issuer, but IMO that it was a major makes this theory even more likely, because it's even less likely that an early-70s vintage WB flunky would know a Bill Monroe tune from a Little Walter one g. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Frosting On The Beater(was re: criminally underappreciated albumsof the '90s)
On Fri, 16 Apr 1999, William F. Silvers forwarded this: Here's a clip from Scott Miller, of Game Theory/Loud Family anonymity, that doesn't exactly speak for me, but says it well: The Posies probably shape my ongoing impression of '90s music more than any other group. I loved Nirvana, but to me most grunge bands seemed kind of purposefully backward-looking--a cross between early seventies Black Sabbath and mid-eighties abrasive hardcore stuff like Big Black. And nothing like "low-fi" or "electronica" or any of the hip-hop variations has struck my ears as being new and innovative. OK, that does it. Power pop has to be one of the most retrogressive rock styles imaginable. Most power pop bands pale in comparison to the old bands they obviously emulate and most often rip-off, the Beatles, Big Star, etc. It doesn't surprise me that popheads like Scott Miller can't find anything new or innovative in hip hop, or in much anything else it seems besides his own little musical world. What's most hilarious is that *real* pop music left him in the dust decades ago. That's 'cuz -- unlike power poppers -- most folks have no problem appreciating modern black music. Jeez, talk about an insular musical universe -- most popheads act like black music doesn't even exist, or if it does, it's certainly not as "new and innovative" as their pasty-white Beatles imitations. Whatta buncha self-deluded nonsense. Hell, at least the Beatles knew that pop also encompassed black music (one important point that passes most power poppers by). And compared to the ultra-lilywhiteness of the power pop world, country music looks almost culturally adventurous with its bluesy borrowings. As for the Posies, we always thought they were a buncha wussies up here in the NW, even when they pretended to "rock."--don
Re: Criminally underappreciated
Jumping in, I got 3: Chris Wall: Tainted Angel -I don't care what anybody says, I think Chris is the best damn songwriter in the world and I'll stand up on Steve Earle's coffetable in my cowboy boots and say that. (Dylan's too) I still don't understand why he's not a millionaire by now. Kacy Crowley: Anchorless -I just plain like this one. Glad it was re-released but nobody I know but me likes it. Dale Watson: Blessed or Damned -I think all of Dale's have been underappreciated. He's got a great following, but album sales don't show it. cory _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
Country Music Foundation
Hey all ... I'm trying to contact the Country Music Foundation about their music catalog, but no luck. Anyone have an e-mail address or phone number? If you can, please contact me offlist. Maybe brother Weisberger can help in this regard ... Thanks, Ron Warnick NP: June Carter Cash, "Press On"
RE: Frosting On The Beater(was re: criminally underappreciated albums of the '90s)
Wow.. Best rant I read in a long time, Don. That's it, open up a can a whupass all over those popheads!
Re: criminally underappreciated albums
To the list already begun, I'd add: Slaid Cleaves, "No Angel Knows" Spoon, "Telephono" and the even better EP "Soft Effects" Bettie Serveert, "Palomine" Toni Price, "Hey" The Volebeats, "The Sky and Ocean" and Brad, "Interiors" Those are all pretty much late 90s, and I guess that is what is on my mind really. I consider Mick Jagger's "Wandering Spirit" also underappreciated because, and pretty much only because, of the fantastic song "Evening Gown." I was very excited to see the Alejandro Escovedo Orchestra play the song and hear Alejandro introduce it as one of his favorite songs...started thinking maybe it wasn't underappreciated cause they played the hell out of it. To weigh in on the Posies in a sort of fluff manner. I always find it interesting that the one album that each of the girls I have dated since 1990 have owned has been "Dear 23." Considering my fondness for the album (for the record I am also a fan of Frosting) I am not really surprised that the women I find attractive all like it, but always thought it was kind of an interesting album to be the ONLY one each had in common. I found Don's rant interesting if only his assertion that those in the NW "always thought the Posies were 'wussies' because, having never been to Seattle I relied on the 15 or 20 transplanted Wasingtonians who now make their homes in Texas who have always told me that the Posies were more appreciated than some of the other local acts who enjoyed greater national success. I always veiwed that with skepticism...just as I think Scott Miller's assertions should be viewed with skepticism. Just because one musician involved with Power Pop is off base about other genres of music doesn't necessarily imply all of of us who appreciate power pop are. Chad Cosper ** Chad Cosper Dept. of English Univ. of North Carolina at Greensboro 336-275-8576 http://www.uncg.edu/~cscosper
criminally underappreciated albums of the 90s
Well, great to see so much response on this thread. Hope a few more folks still speak to this issue. I can't believe Yates hasn't weighed in yet. I'm guessing he's still scouring his data base and compiling a top 5 list for each of the many genres about which he has encyclopedic knowledge. I purposely kepy my query open ended, but I guess I tend to go with the people who say that a record that for a record to be criminally underappreciated it had to sell less the 50,000 copies (and better still less than 8000). So anyway, here are a couple that I really liked. No twang I'm afraid. Northwesterners may not find these so obscure, but everyone else may: 1. Tarbabies: "Death Trip". The swan song from probably the best band ever to come out of Madison, Wi. That mythical hybrid of James Blood Ulmer and the Minutemen that everyone should have in their life. If you don't own this one and the three SST releases (recorded by Butch Vig--this is the shit he made his indy rock rep on along with Killdozer), you are missing out. Funky Funky FUnky. 2. Love Battery: Straight Freak Ticket. This record defines criminally underappreciated for me. It is a great psychedelic pop record. It's the only one on a major label. If you like Television style noir, check out "Nehru Jacket." This is a beautiful record. Ron Nine can write a pop song. 3. The Gits: "Frenching the Bully," "Enter the Conquering Chicken," Kings and Queens" IMHO, the Gits were the best punk rock band of the '90s (although the New Bomb Turks are close). Aside from maybe Exene Cervenka, there is no other female singer in punk rock who could hold a candle to Mia Zappata. She truly was the Janis Joplin of Punk rock, a singer perfect for the genre and yet so powerful that she transcends the genre's limitations. Unfortunately, this band was short lived. Mia was tragically murdered about five years ago right as the band was on the verge of breaking through to the next level (just think, it could have been them instead of Green Day). All three records are good. Frenching is probably the most fully formed. Chicken was finished after Mia died, so they had to use her scratch vocals. Nevertheless, it's a great work. Kings and Queens was released after Chicken. But it was actually the first demos the band recorded in 1987 live to 2-track. Nevertheless, it's all there and in some ways it's the best of the bunch. 4. The Meices. "Tastes Like Chicken." A real good Replacements style work out. Take a look if you haven't had a chance. Well, that'll have to do for now jake Jake London
Krebs
Neil asks, what about Pete Krebs. What can I say, I was a Hazel fan. First saw him solo on a bill with my little bro down at NXNW 4-5 years ago. I played a show on a bill with him in 1996 at the old club Moe. His thing keep growing on me. Like what I've heard of the record. PST is cool song. Like "Mr Smalltown (I think that's what it's called ) also. Only seen him once with the band. Mix wasn't great that night. I'll be back again though. Much more familiar with Marc Olsen. That guy is the unsung hero of the Seattle scene. His old band Sage was great live. I like their first album better than the second one. His first solo record is cool, but it really doesn't do justice to what he's into now. His band has really jelled in the last year or so. Fender Rhodes player adds a lot. I haven't heard the new record, but I'm looking forward to it. He's one of my favorite guitars players, period. jake Jake London
Re: Country Music Foundation
The CMF isn't online yet. But you can reach 'em by phone at 615-256-1639. Jim N. [EMAIL PROTECTED] 04/16 3:48 PM Hey all ... I'm trying to contact the Country Music Foundation about their music catalog, but no luck. Anyone have an e-mail address or phone number? If you can, please contact me offlist. Maybe brother Weisberger can help in this regard ... Thanks, Ron Warnick NP: June Carter Cash, "Press On"
Re: ICMC Update
an update on the ICMC just in... "James E. Akenson" [EMAIL PROTECTED] 04/16 3:38 16TH ANNUAL INTERNATIONAL COUNTRY MUSIC CONFERENCE 4-5 JUNE 1999 NASHVILLE, TENNESSEE BELMONT UNIVERSITY http://www.tntech.edu/www/acad/ci/icmc.html The 16th annual International Country Music Conference (ICMC) will be held Friday and Saturday 4-5 June 1999 in The Massey Business Center at Belmont University in Nashville, Tennessee. Belmont University is located at the south end of Music Row. The Demonbreun Street exit off Interstate 40 brings one to the beginning of Music Row featuring the Country Music Foundation and Museum, BMI, ASCAP, and numerous tourist shops. ICMC broadly defines Country Music to include variants from Precommercial, Old Time Country, Cajun, Cowboy, Western Swing, and the Nashville Sound to BLUEGRASS, Honky Tonk, Country Rock, New Traditionalist, Hot New Country, and Alternative Country. ICMC is truly international with papers having been presented by scholars from Canada, the Czech Republic, Denmark, and Japan. Thursday evening, 3 June 1999 will provide an opportunity for attendees to gather and socialize informally and to hear a nationally recognized authority on country music. Friday and Saturday, 4-5 June 1999 will provide a wide variety of presentations dealing with the history and contemporary status of country music. ICMC will also feature an intriguing panel discussion on Alternative Country. The Friday, 4 June 1999 luncheon will feature the 1999 the Belmont University Country Music Book Of-The-Year Award. The Saturday, 5 June 1999 luncheon speaker will be Dr. Jimmie Rogers discussing aspects of the academic study of country music. Dr. Rogers will speak about *Near Death or Near Life: It All Depends On How Hot It Is Where You Are.} Presentations scheduled for the 1999 ICMC include: Dr. James Akenson. Tennessee Technological University. Cookeville, Tennessee. Teaching The Geography of Music Row. Dr. Don Cusic. Belmont University. Nashville, Tennessee. Chicago Country. Ms. Amy Corin. UCLA. The History of Country Music In Southern California: Issues, Resources, and Method. Dr. Wayne Daniel. Georgia State University. Atlanta, Georgia. Pretty as a Picture: La musique "country" e* tait en Vogue Dr. David Eason. Middle Tennessee State University. Murfreesboro, Tennessee. Defining Country Music: The Meaning of Tradition in Recent Studies Dr. Louis Kyriakudos. University of Southern Mississippi, Gulf Park. The Grand Ole Opry and the Emergence of the Urban South, 1925-1940. Ms. Jocelyn Neal. Eastman School of Music. Rochester, New York. Jimmie Rodgers' Blue Yodels: Which Chords Go Where? Dr. Ted Olson. Union College.Barbourville, Kentucky. Stand By Your God: Sacred Recordings By Major Country Music Singers, 1945 to The Present.} Dr. William K. McNeil. Ozark Folk Center. Mountain View, Arkansas. *A Lost Fiddler Found: Fiddlin* Sam Long of the Ozarks.} Dr. Nolan Porterfield. Bowling Green, KY. The Tangled Tale of the Dubious Documents: Jimmie Rodgers and Masonry. Dr. Richard Peterson. Vanderbilt. University. Nashville, Tennessee. "Alt.country: The Next Big Thing or the Next Bluegrass" Mr. Ronnie Pugh. Country Music Foundation and Library. Nashville, Tennessee. There*s A Little Bit of Everything in Texas: The Musical Roots of Ernest Tubb. Mr. Thomas Carl Townsend. Indiana University. Bloomington, Indiana. Rhythmic Assymmetry in the Music of the Carter Family. Ms. Deanna Tribe. Ohio State University Extension, South District. Jackson, Ohio. Cornbread and Buttermilk: Rural Foodways in Country Song Lyrics. Ms. Kristine McCusker. Indiana University. Bloomington, Indiana. A Voice Like a Locomotive Whistle and a Heart of Gold: Female Imagery on Barn Dance Stages, 1930-1950. Dr. Ivan Tribe. University of Rio Grande. Rio Grande, Ohio. Topical Ballads of the 1958 Kentucky School Bus Accident. Dr.Charles K. Wolfe. Middle Tennessee State University. Murfreesboro, Tennessee. Early Country Field Recording Sessions: Beyond the Legends. Nashville is served by major airlines. Interstates 24, 40, and 65 pass through Nashville. The Holiday Inn Vanderbilt (1-800-HOLIDAY) on West End Avenue and two Hampton Inns (1-800-HAMPTON) on West End Avenue are conveniently located to Belmont University. Less expensive motels include Shoney's Inn (800-222- or 615-255-9977) which is at the I-40 Demonbreun Street exit right at Music Row. Other less expensive choices include The Clubhouse Inn ( 800-258-2466/615- 244-0150), a LaQuinta (615-259-2130/800-531-5900), and a Days Inn on West End Avenue. A complete range of motels (Days Inn, Super 8, etc) are found in Nashville and may be contacted through their respective 1-800 reservation numbers. Preregistration will be $60 (U.S), $40 for non-waged persons. On-site regisration will be $10 higher. Please send a $60 (U.S) check made payable to ICMC by FRIDAY, 21 MAY 1999 TO: James E. Akenson. Box 5042. Tennessee Technological University. Cookeville,
Brad Jones (was RE: criminally underappreciated albums)
Okay, here's a criminally underappreciated album for ya: Brad Jones "Gilt Flake" I first heard this record way back in 1991 when a friend lent me a copy of it (okay, I'll namedrop. It was Tommy Womack's wife, Beth). I always regretted that I didn't make a copy of it back then. So I was pleasantly surprised when I found out that the record had been formally released on CD by some small label a couple of years ago (along with a couple of newly-recorded tracks, which also turned up on his buddy Ross Rice's album that he co-produced on E-Squared). For those of you who have any interest in mad-pop geniuses who create masterpieces in their basements, check this one out if you can find a copy. With records from the aforementioned Womack and Rice and Steve Forbert under his belt, he also has turned into a terrific producer. And he has done excellent work as a sideman for folks like Jill Sobule and Matthew Sweet. Still, "Gilt Flake" is simply some of the best pop music of the last decade. Anybody know if this guy has another "Gilt Flake" in him or if he has any other projects on the horizon? Peace, Slonedog
Re: criminally underappreciated albums of the '90s
Here we go. Something for everyone to ignore: The Muffs--S/T--1993 fIREHOSE--Flyin' the Flannel--1991 Urban Dance Squad--Life 'n' Perspectives of a Genuine Crossover--1991 Uncle Joe's Big 'Ol Driver--Chick Rock--1995 Treepeople--Just Kidding--1993 Nirvana--Nevermind--1991 (just kidding) Silkworm--Libertine (1994) and Firewater (1996) Overwhelming Colorfast--Two Words--1994 Fastbacks--Answer the Phone, Dummy--1994 Motocaster--Loaded--1994 Maria McKee--You Gotta Sin To Get Saved--1993 Nuisance--Confusion Hill--1991 Nova Mob--The Last Days of Pompeii--1991 Mudhoney--Every Good Boy Deserves Fudge--1991 Lance . . .
Re: The perfect single (was Re: Weller's Prime)
At 12:59 AM 4/16/99 -0400, you wrote: I don't know how this thread evolved really...but why does every writer of note always tag "I Want You Back" as such a great song? Is it because it really IS a great song or is it because...what? Speaking only for myself, Tera, I never made any claims for I Want You Back being a great song. I did say I thought it was a great single, which is a different, though not unrelated, thing altogether. From the second that piano slides in at the opening, everything about the record--the RECORD--works to emotional and rhythmic perfection: the bass (often doubled, I think, by the piano), the strings, the funky guitar, the drums that explode like gunshots at the beginning of each chorus, the brothers call and response--the whole arrangement and production--plus Michael's miraculous vocal, especially his phrasing, but also the shift from Michael to Jermaine...man, it's all just incredible. And the song? You know, it's pretty darn good, too. Not great, maybe, not al by itself, but then with great singles, it's often the singer, or the overall sound, in tandem with the song that takes everything to another level. --david cantwell PS: Great list, btw, Tera, espeically all the Aretha and Living For The City PPS: Great righteous tirade, Donald!
St. Louis article
Attention, those who plan to attend Twangfest III, there's a nice article in today's NY Times: http://www.nytimes.com/yr/mo/day/news/arts/stlouis-excursion.html jim who's still unsure about attending vs. returning to NXNE (the yearly dilemma)...
RE: criminally underappreciated albums of the '90s
Tell me more!! Are these performed by various Kill Rock Stars-like bands? Or is it just the title I find so appealing. - Michele From the underappreciated list of Matt Benz- "Pedal Steel Favorites Played on The Accordion" -Various Artists (Kill Rock Stars) '93 -Original Message- From: Matt Benz [mailto:[EMAIL PROTECTED]] Sent: Friday, April 16, 1999 1:04 PM To: passenger side Subject: RE: criminally underappreciated albums of the '90s Ed Mann - "Mann-wich"/"Mann Walks Among Us" ( (Polydor) '90'91, re-released as a double album in '98 The Ubangi's- "Stompin' All Over The World" (Dust) '96 "Pedal Steel Favorites Played on The Accordion" -Various Artists (Kill Rock Stars) '93 The Clowns For Hire:"I'm gonna live slow, die soft, and everyone's gonna forget about me" (Illustrious UK) '97 Albert O. -"Oh, ALBERT!" (Krankshaften) '95
Re: Criminally underappreciated
Here's ten in no certain order. Syd Straw - War and Peace Seconds Flat - Seconds Flat The Feelies - Time For A Witness Gear Daddies - Can't Have Nothin' Nice Bob Neuwirth - Look Up The Rainmakers - Flirting With The Universe The Hangdogs - Same Old Story The Jody Grind - Lefty's Deciever Chickasaw Mudd Puppies - 8 Track Stomp Scott Kempner - Tenement Angels And two from '89 Young Fresh Fellows - This One's For The Ladies Don Dixon - EEE Flippo
Re: criminally underappreciated albums of the 90s (The Meices/powerpop)
4. The Meices. "Tastes Like Chicken." A real good Replacements style work out. Take a look if you haven't had a chance. Jake I put Uncle Joe's on my list in lieu of their partners-in-crime, The Meices, but this was definitely one of my favorite rock 'n' roll albums from that period. In fact, seeing UJBOD and The Meices at Moe's--after the release of their respective albums--will always be one of the high voltage moments of my concert-going life. Mmmm . . . voltage . . . And I have to agree with Daddy Don about power poop. In general, I find the genre to be nothing more than boring rock 'n' roll. And I, for one, have no interest in hearing rock 'n' roll WITHOUT the edge because that's the whole point. Where I would slightly disagree with Yates' assertion, however, is in these band's ignorance of black music (although putting a little ass in their bass couldn't hurt). Not that I endorse a lack of R or B, but my ultimate problem with power pop isn't the pop--it's the lack of power. If you're gonna bother having the damn genre in the first place, then at some point, it would seem that power would have fit into the equation. Let the lips flame. Lance . . .
Re: Frosting On The Beater(was re: criminally underappreciated albums of the '90s)
Don Yates wrote: On Fri, 16 Apr 1999, William F. Silvers forwarded this: Here's a clip from Scott Miller, of Game Theory/Loud Family anonymity, that doesn't exactly speak for me, but says it well: Boy, I guess maybe I shoulda stood back just_a_bit further from this maybe? g And nothing like "low-fi" or "electronica" or any of the hip-hop variations has struck my ears as being new and innovative. I *knew* this sentence was a red flag. I didn't edit it out from my clip, though.I'd love to see you and Scott Miller debate it. Coupla pretty smart guys. But I don't hold this sentence up as my feelings on the matter. The guy's wrong. OK, that does it. Power pop has to be one of the most retrogressive rock styles imaginable. Most power pop bands pale in comparison to the old bands they obviously emulate and most often rip-off, the Beatles, Big Star, etc. Well, there's always a lot more mediocre or worse purveyors of whatever form than interesting ones."Retrogressive" or "rip-off" are value-loaded expressions, and it seems you don't place much value on this genre. I mean, aren't (to name just a few) Paul Burch or Wayne Hancock or Dale Watson or the Derailers (or most any bluegrass artist true to that genre) "retrogressive" or "rip-offs" by the same token? It doesn't surprise me that popheads like Scott Miller can't find anything new or innovative in hip hop, or in much anything else it seems besides his own little musical world. What's most hilarious is that *real* pop music left him in the dust decades ago. That's 'cuz -- unlike power poppers -- most folks have no problem appreciating modern black music. Jeez, talk about an insular musical universe -- most popheads act like black music doesn't even exist, or if it does, it's certainly not as "new and innovative" as their pasty-white Beatles imitations. Whatta buncha self-deluded nonsense. Hell, at least the Beatles knew that pop also encompassed black music (one important point that passes most power poppers by). No doubt, the genre is insular. I guess I don't see how that's necessarily a bad thing. I think folks play, or listen to, what pleases them aesthetically. Dismissing musical forms because they don't appeal much to you is a natural, if unadventurous, part of the process. And isn't that what you're doing with "power pop"? But yeah, Miller's been at it for 15-some years, two "different" bands, making records distinguishable from one another more to fans than anybody else. g His statement is pretty ignorant. Whether that's intentional or not I have no idea. As for the Posies, we always thought they were a buncha wussies up here in the NW, even when they pretended to "rock."--don Well, Marie, er, Don g, Mister "Midwest Pussy Boys", (a badge we're now wearing proudly, damn it!) I think the "power pop" genre in general, and the Posies in particular with their sweet, dreamy at times harmonies, invite this sort of macho bluster.And on the other hand folks like Jerry can't forgive 'em for cranking up and abandoning the "wussier" stuff. "Pretended to rock". Oh, whatever...g b.s. n.p. Dan Kibler CAPSULE
Re: Sparklehorse
With everyone here talking about Sparklehorse, I thought I'd let the Richmond, VA surrounding areas contingent know that there's an in-store at Plan 9 on Friday the 23rd at 7pm. No band, though, just Mark Linkous. Webcast, too, for the others - http://www.hollywoodandvine.com and http://www.plan9music.com will have it. np: Spade Cooley. Wow.
RantPowerpop/Rant
I'm sorry, I'm not going to take Don's slag lying down. "Powerpop" has to be one of the most retrogressive music forms, excuse me? First of all, the Scott Miller quote reflects the views and tastes of a single solitary powerpopper. Nice of you to extend his thoughts and apply it throughout the entire genre. I also believe Miller is couching his opinion, not in terms of creative originality, but in terms of sonic originality (i.e. production). One would have to admit, that there is an awfully wide variation in the production of pop powerpop music. Thus generating terrific arguments over say, the dramatic differences between one Posies album to the next. Before I get into the ethnic *purity* arguement, let me address the same-old, tired-ass, application of the "wimp" label to powerpop bands. That's the kind of Bullshit that makes most popgeeks feel some kind of inferiority complex. Sorry, I don't think you need a bone shattering bass riff or a steel guitar nor spandex or pointy-edged guitars to make something less wimpy. What the fuck is "wimpy" or "wussieness" in music anyway? Sweet overlayed harmonies and over produced guitars, with a artificially sopranic vocals along with fluffy lyrics. Ok, that's a subset of powerpop, but only a subset. And, I wouldn't call that wussie or wimpy, or less manly, or less substantive than any country recording. Hmm, like there isn't a multitude of light fluffy, self-pitying lyrics in country. See, I can sterotype as well, Don. Ha! I think it's incredibly hypocritical to accuse powerpop of being ethnocentric or "lilly white" while coming from a country and alt-country perspective. Now, DonI know you have a deep appreciation of many types of music. However, there no way on earth anyone could argue that country country-inlfuenced music (excluding country soul) is more lily white than powerpop. I would harbor a strong guess thet there are more folks of non-white ethnicities playing powerpop than are playing country or alt-country. The arguement that powerpop is retrogressive is laughingly ludicrous. Yeah, it all goes back to the Beatles or the Beach Boys. Sure.. Sorry Don, I hate to tell you but this bitty genre of music is pushing a lot more envelopes of sound engineering, lyricism, than country will ever will. C'mon, how many discussions posts have we seen here decrying the homogeneity of the country genre? You aren't going to see that in the totally non-commercial, wide-ranging area of powerpop. Country music as adventerous because it has black roots. Man, those roots are pretty old and pretty fixed. You my friend, are grapsing at philosophical and argumentative straws. Gotta run off. Skiing this weekend and I know my emotional retort can be shot full of holes, so have at it. Jerry
Los Aztex
Saw them on an Austin schedule just posted here - do they have any recordings at all?
Re: RantPowerpop/Rant
God, it sure is fun baiting Curry.g--don n.p. The Raspberries - "Go All The Way"
Re: RantPowerpop/Rant
Here's a Raspberry to you Don..thbthtbht.;P Have a good weekend, ya'll. Jerry On Fri, 16 Apr 1999, Don Yates wrote: God, it sure is fun baiting Curry.g--don
Re: Underappreciated
In a message dated 4/16/99 3:15:46 PM Central Daylight Time, [EMAIL PROTECTED] writes: Spearhead--Home (Capitol, 1994)--Among the three or four best rap albums of the decade. Maybe THE best... hey I'm down with that one. Much better than his second "Chocolate Supa Highway". yo Slim
Re: Frosting On The Beater(was re: criminally underappreciated albums of the '90s)
On Fri, 16 Apr 1999, William F. Silvers wrote: Well, there's always a lot more mediocre or worse purveyors of whatever form than interesting ones."Retrogressive" or "rip-off" are value-loaded expressions, and it seems you don't place much value on this genre. I mean, aren't (to name just a few) Paul Burch or Wayne Hancock or Dale Watson or the Derailers (or most any bluegrass artist true to that genre) "retrogressive" or "rip-offs" by the same token? Well sure, but Miller was the one using "new and innovative" when he praised the Posies (the *Posies*, f'r chrissakes!) and slammed an entire genre of music -- one where you'll find plenty of examples of records that are a helluva lot more "new and innovative" than anything the backward-looking Posies ever did. I was mainly objecting to his ridiculous dismissal of hip hop as not "new and innovative" and thought I'd turn the tables on his silly argument. Besides, how in the hell could I have something against retro stuff -- I'm the guy in love with Mandy Barnett.g--don
Re: RantPowerpop/Rant
OK, I can't resist: On Fri, 16 Apr 1999, Jerry Curry wrote: I also believe Miller is couching his opinion, not in terms of creative originality, but in terms of sonic originality (i.e. production). One would have to admit, that there is an awfully wide variation in the production of pop powerpop music. Thus generating terrific arguments over say, the dramatic differences between one Posies album to the next. Perhaps, but certainly no more so than the awfully wide variation between, say, Afrika Bambaata's "Planet Rock," LL Cool J's "Rock The Bells," Run DMC's "Sucker MCs," Public Enemy's "Rebel Without A Pause," and De La Soul's "Plug Tunin'," just to name five early examples of the "awfully wide variation" of hip hop production. Before I get into the ethnic *purity* arguement, let me address the same-old, tired-ass, application of the "wimp" label to powerpop bands. That's the kind of Bullshit that makes most popgeeks feel some kind of inferiority complex. But they are inferior, aren't they?g--don
Re: RantPowerpop/Rant
Don replied to Jerry: Before I get into the ethnic *purity* arguement, let me address the same-old, tired-ass, application of the "wimp" label to powerpop bands. That's the kind of Bullshit that makes most popgeeks feel some kind of inferiority complex. But they are inferior, aren't they?g--don Oh. Watch him beg off his June payback Jerry, claiming his s/o can't make it. b.s.
The Boudin Barndance Playlist: 4/15/99
The Boudin Barndance - 4/15/99 Dan Ferguson WRIU-FM, 90.3 Kingston, RI Thursdays 6-9 pm A bunch of live show previews this evening including Geoff Muldaur at the Common Fence, Kelly Willis and Bruce Robison at Johnny D's, and Bare Jr. at the Met Cafe for which weez did a ticket giveaway. The Bourbonaires' (who were in-studio guests last week and play Providence Friday night) new wax showed up and it's a beauty from the cover art to the label to of course the two tunes. Other new things gettin' first-time Boudin Barndance spins this evening were releases from Alejandro Escovedo, Chris Smither, Clarence "Gatemouth" Brown, Wilco, and reissues including Johnny Cash, Lawrence "Black" Ardoin, and the new Norton thing of Big Star stuff. Butt-shaker of the night A no-brainer, Hebert Fontenot the Super Country Cajuns with "A Coon-ass from Ville Platte." Now, onto zee goods Buck Owens, et al/ Buckaroo / Box Set / Rhino (intro) Stanley Bros - Let Me Walk By Your Side / Angel Band (Mercury) Terry Allen - Salivation / Salivation (Sugar Hill) Porter Wagoner - I'll Meet You In Church / Bluegrass Story (RCA) Hank Williams - Six More Miles / Original Singles Collection (Polydor) Hot Club of Cowtown - End of the Line / Swingin Stampede (HighTone) Andy Schroder Western Band - Prairie Dog Ramble / Diggin' Texas Swing (Krazy Kat) Geoff Muldaur - Someday Baby / The Secret Handshake (HighTone) Geoff Muldaur - This World Is Not My Home / The Secret Handshake (HighTone) Geoff Muldaur - Alberta / The Secret Handshake (HighTone) Geoff Muldaur - I Can't See Your Face / The Secret Handshake (HighTone) Vince Bell - Have Not, Will Travel / Texas Plates (Paladin) Lucy Kaplansky - One Good Reason / Ten Year Night (Red House) Chris Smither - Steel Guitar / Drive You Home Again (HighTone) Clarence "Gatemouth" Brown - When My Blue Moon Turns to Gold / Blackjack (Sugar Hill) Johnny Cash - Girl From the Canyon / Johnny 99 (KOCH) Alejandro Escovedo - California Blues / Bourbonitis Blues (Bloodshot) Kelly Willis - Take Me Down / What I Deserve (Rykodisc) Kelly Willis - What I Deserve / What I Deserve (Rykodisc) Bruce Robison - When I Loved You / Wrapped (Lucky Dog) Kelly Willis - Heavens Just a Sin Away / (MCA) Kelly Willis - Little Honey / Thelma Louise Soundtrack (MCA) Bobby Bare - Daddy What If / Essential (RCA) Bare Jr. - Boo-Tay / Boo-Tay (Immortal) Bare Jr. - Nothin' Better to Do / Boo-Tay (Immortal) Bare Jr. - Tobacco Spit / Boo-Tay (Immortal) Bare Jr. - Patty McBride / Boo-Tay (Immortal) Eric Ambel - Three Feet Under / Loud Lonesome (ESD) Pete Krebs - Johnny Come Lately / Sweet Ona Rose (Cavity Search) Wilco - Nothing'sever.. / Summerteeth (Reprise) Volebeats - Rubber Soul / Up North (Safe House) Old Joe Clarks - Rising Fences / Metal Shed Blues (#Past) Big Star - Don't Lie to Me / Nobody Can Dance (Norton) Hebert Fontenot, et al - Coonass from Ville Platte / 7" (Jador) Boozoo Chavis - Ay Cayenne / Who Stole My Monkey? (Rounder) Lawrence "Black" Ardoin - Haunted House / Traditional Creole (Arhoolie) Kershaw Bros - It's Too Late / Cajun Country Rockers (Bear Family) Janis Martin - Bang Bang / Western Dance Vol. 2 The Bourbonaires - That Tease / 7" (Howlin') Biller Wakefield - Siamese Strings / The Flaming Guitars of (HMG) Hardrock Gunter - After Hours Guitar / Country Guitar (Nashville) Wynona Carr - How Many Times / Jump Jack Jump (Specialty) Andre Williams - Please Pass the Biscuits Please / Mr Rhythm (Eagle) Sadies - Seventy-six / Precious Moments (Bloodshot) Burton Mooney / Corn Pickin' / Legends of Country Guitar / Rhino (outro) Enjoy. Boudin Dan N.P. - Sir Douglas Quintet
RE: Kiss Kiss Hug Hug
...then you can make fun of my hair... Us follicly-challenged folks generally stay away from that. Besides, John, I'm the one who makes fun of your hair. Do try to keep your p2 nemeses straight. g --Amy Now if I could only remember what YOU look like... g
Re: Swingin' Doors, 4/15/99
Damn, Don, you're playing so much James Hand that I'm worried you'll be sick of his voice by the time the new album hits your mailbox.
Re: criminally underappreciated albums of the '90s
Time for the f*lkie to chime in with some nominations in this category. First, a second to a couple of great underappreciated albums already mentioned by others: Slaid Cleaves, No Angel Knows (my favorite 97 release!) Syd Straw, War and Peace And some others that didn't get their due: Mickey Newbury, Nights When I Am Sane (1994) Jack Williams, Highway From Back Home (1994) Lori Carson, Where It Goes (1995) Kris McKay, Things That Show (1996) Chris Buhalis, Kenai Dreams (1998) and those are just the ones that I thought were somewhat P2 friendly. The list is a lot longer in the acoustic/folk genre where so many outstanding artists just don't find an audience.
Remember, its Denver
Hey there, So I'm headed to Denver for a smattering of days during May and if I recall, there isnt squat for a music scene there. Any suggestions? Later... CK trying to remember if that's where Deb wound up *shudder* ___ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO [654-5866]
Re: criminally underappreciated albums of the '90s
Hey there, Rebecca off the top of her head... Violent Fems "1st Album" How is that under appreciated? Its been played on college and 'alternative' and even mainstream radio pretty much since it came out. It still pops up in rotation on Q101 and XRT in chicago. Later... CK ___ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO [654-5866]
Re: Country Music Foundation
If I recall correctly, they dont have email, but you can get to the through the Hall of Fame - just call Nashville Information. (615 555 1212) I could be completely wrong. Later... CK On Fri, 16 Apr 1999 16:48:22 EDT [EMAIL PROTECTED] writes: Hey all ... I'm trying to contact the Country Music Foundation about their music catalog, but no luck. Anyone have an e-mail address or phone number? If you can, please contact me offlist. Maybe brother Weisberger can help in this regard ... Thanks, Ron Warnick NP: June Carter Cash, "Press On" ___ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO [654-5866]
Criminally Underappreciated Albums
Hey there, Well, there's a couple folks have already mentioned Blood Oranges - Crying Tree Mike Ireland - Learning How to Live I'll add Everything Frank Zappa ever released The La's - The La's - fantastic liverpool Beatles-esque pop that vanished. Partially because the band members were bigger assholes than Oasis. The Wonderstuff - Never Loved Elvis - OK more UK pop stuff. Size of a Cow was a fantasic single and they get bonus points for backing up Vic Reeves on a cover of Dizzy. Clem Snide - You Were a Diamond - It just came out a few months ago, its amazing, no one is even reviewing it. Fig Dish - That's What Love Songs Often Do - Some Chicago writer rightly compared their lyrics to Sinatra songs, but played over punk / pop riffs. Rocket From the Crypt - RFTC - This is the new punk. The Offspring is on MTV, they are not. Nuff Sed. Later... CK ___ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO [654-5866]
Re: Swingin' Doors, 4/15/99
Damn, Don, you're playing so much James Hand that I'm worried you'll be sick of his voice by the time the new album hits your mailbox. Maybe for Don, but for me, this guy is so authentic, can't wait for the new one. Got a copy of the Trailerpark Troubadors this week, some serious fun and great tunes, some shtick and lots of quality in this recording. Anyone else get this? 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: Swingin' Doors, 4/15/99
Damn, Don, you're playing so much James Hand that I'm worried you'll be sick of his voice by the time the new album hits your mailbox. From what I saw of him at the Broken Spoken during SXSW, he'd be hard to get tired of! Now what was that town in Texas he'd spent all his time never leaving? It wasn't Paris...no--it was TOKYO, Texas! Well, he may just put the place on the map. Real deal there. Barry
Re: Criminally Underappreciated Albums
6 more for the list... 1) vulgar boatmen - you and your sister ... yeah i know it was 1989... but it was 12/89 i think, thats close enough to 1990. 2) the schramms - walk to delphi 3) lonesome val - lonesome val 4) fellow travelers - just a visitor 5) michael hall - quarter to three 6) vulgar boatmen - please panic rob westcott www.themaryjanes.com
Re: weird Muzak experiences
Geff King said: On the Muzak thread - perhaps Mike Woods will weigh in on this one, as rumour has it he actually used to *work* for the Evil Ones... It's true. I'd have chimed in earlier, but I'm in digest mode these days. I had a summer job with the Washington DC Muzak franchise back about 1970. I was the Credit Manager. This is a big title for someone who calls up the folks who are behind in the payments. I'll tell you how things worked back then, but it's probably changed by now. There was a room with a bank of about six tape machines with 15 inch reels. These started and stopped automatically. I'm not sure how they were controlled -- this was long before there was a computer on every desk. For fifteen minutes one tape would roll -- this was the "office" program. Then it would stop and another would roll -- the "factory" program. Muzak's theory was that it was most effective as an efficiency tool if it was on for fifteen, off for fifteen. There were different song selections for clerical and industrial applications. Most of our customers, though, were restaurants and office building lobbies, and they wanted background music all the time. The music was broadcast over one of the local radio stations, using a sideband or subcarrier or something technical like that. Every customer had a radio receiver. They were billed so much for the receiver, so much for each amplifier, and so much for each speaker. The account cards for each customer indicated the equipment they had, the price for each piece, the total monthly billing, and the amount that went to ASCAP and BMI. The bigger portion went to ASCAP. We used account cards and typewriters then -- computers were beyond the grasp of small business. Every week we'd receive a shipment of tapes with this week's program. We'd use a set of tapes for a week and then ship them to the next franchisee. We got a typewritten list of the program, with scheduled times, with the tapes. That made possible some office games of "Name that Tune." Sometimes customers would call in asking to know what song had just played. I worked in the tape room and had my own private volume control. I'd scan the day's program every morning looking for the two or three good cuts they had so I'd know when to turn up the jams and have a boogie moment. I remember I liked their version of "Vehicle," and there were a few others that rocked pretty well. A few. Their engineers as a policy trimmed out a lot of the low frequencies, so there was no way to have the bass punch you in the gut. And that's just about everything I know about Muzak! -- Mike Woods
Hillbilly Boogiemen
I just want to say a few words about these guys. They're from Holland, and currently on a three-week tour of the states. They opened for Honky Tonk Confidential at IOTA in Arlington, VA on Thursday night and did a hell of a fine show. They bounce back and forth from bluegrass to CW to rockabilly, and do pretty well at all of them. Their favorites seem to be Jimmy Martin, Ray Price, and Webb Pierce. They stayed at our house Wednesday and Thursday nights, and proved themselves to be fine young gentlemen. They speak good English, and give all the credit for that to American TV. They're on their way to New York City to play the Rodeo Bar on Saturday night. Then they turn west toward Columbus, OH, then to Michigan I think, then southwards again towards Austin where they started from. If they come to your town, go see them, they're great. Tell them I sent you. -- Mike Woods
Re: Remember, its Denver
In a message dated 4/16/99 9:11:27 PM Eastern Daylight Time, [EMAIL PROTECTED] writes: CK trying to remember if that's where Deb wound up *shudder* no actually Deb didn't wind up but she's in nashville this weekend. athens will remain home DAS
Re: criminally underappreciated albums of the '90s
My vote for this category is Lonesome Bob's release. Easily one of my favorite records of all time. I've bought the cd or taped if for many of my friends. Even those not into any of this crazy alt-country/roots stuff really dig it. What's not to like? Some people around these parts claim there are no good songwriters anymore. Well, I think ole' Lonesome is a great songwriter. Speaking of ole' Lonesome, I caught him, Kevin Gordon (that should get the Smilin' one frowning. g), and Phil Lee do a writers in the round thing at a tiny little cafe tonight. The first part of the set was acoustic. Both Lonesome and Kevin did all new songs. Lonesome's new songs are stellar. Kevin's songs were damn fine as well. Lee might have had some good songs, but I couldn't get past his obnoxious and irritating manner to notice. All three did about 4 or 5 older songs with a full band. Luckily, Lonesome and Kevin went on first, so we didn't have to sit through Lee. I think Gordon has one of the most soulful voices going. I could listen to him for days. And Lonesome just plain rips it up live. What a great night of music. One of the reasons I love living in Nashville. Look at me agreeing with a folkie! Strange, but true. John Kinnamon mentioned: Slaid Cleaves, No Angel Knows Lori Carson, Where It Goes I listened to both these artists a lot last summer/early fall. I haven't run into many people who own these cds (even on these lists). They are definately worth seeking out. marie
RE: autoclip: Sparklehorse/Varnaline
What about Terry Allen? Well, maybe not the part about Ronald Reagan. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]] Sent: Friday, April 16, 1999 4:15 AM To: passenger side Subject: Re: autoclip: Sparklehorse/Varnaline More broadly, though, I look at surveys and see how the vast majority of North Americans believe they have a personal relationship with Jesus and still admire Ronald Reagan - and no offense to any P2er who does, at least not right now - but what shocks me is that I don't know anybody who answers to those descriptions.
