RE: Remember, its Denver
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]]On Behalf Of harris_w Sent: Sunday, April 18, 1999 1:17 PM To: passenger side Subject: RE: Remember, its Denver While I agree with Alex that Boulder is pretty cool, lived ther for 6 years, Man, I don't know where in Boulder you people were because there was nothing cool there for the year + I lived there (well actually I lived in Nederland which is even worse) except possibly the public library. In fact, I'd venture to say Boulder was one of the most obnoxious places I'd ever lived near. Denver has a great and I mean great Salvation Army. There's also a good Vietnamese restaurant called New Saigon there. Nicholas
Johhny Cash rerun date
From Emmylou Online: * * NEED MORE CASH? * * The Johnny Cash Tribute show is set to air again on Thursday, April 22, at 10:00 p.m. on TNT.
Re: Remember, its Denver
I lived in Denver when I was a little kid -- near downtown on Grape Street -- and, man, it was a cooler than hell place to live at that time (1958-62). Great Mexican food, "Our Gang" style gang wars with the kids down the alley, plenty of lick em aide, fireworks galore if your older brothers would agree to ride their bikes to the "city limits," and the biggest sandbox in the world, across the street at the Herrera's. -- Terry Smith ps watched the Johnny Cash tribute last night; once again realized what a great man and musician Cash was and is. Couldn't make heads nor tails of Dylan's mailed-in performance, though I appreciated the gesture. pps switched to CMT late Saturday, and discovered an hour-long program they have where the videos are all alt.country and/or Southern-style rock, with country influences. eg Emmy Lou and Buddy Miller on "Love Hurts," the Georgia Satellites, Billy Burnette, etc. What a find.
Re: Underappreciated (long)
Oooohhh, Steve Kirsch comes thru heavily with: --Squirrel Bait--self-titled--a blast of Husker Du-isms with vocals so throaty they make Mats-era Westerberg sound like Pavarotti... ungodly powerful YES! Long live Louisville rock, baby. --Danny Dusty--"The Lost Weekend" --I'm a big mid-80s Green On Red fan and this is my favorite GOR-related album...a drunken, sloppy, wonderful GOR/Steve Wynn/Long Ryders/Rain Parade collaboration on 7 GOR-ish originals plus a Dylan tune. YES! Long live 80s roots rock sort-of-supergroups (ditto for Gutterball)! --Eleventh Dream Day--"Beet" --I've inflicted my opinion of this on the list too many times :)...Velvets meets Crazy Horse meets X...Just buy it if you can find it. Gimme a witness, Dave. YES!! One of my fave records of all time. "I'll testify.skronk skronk skronk...guitar frenzy" --Mission of Burma-"Vs."--aggressive, guitar-heavy, chaotic, full of joyfully-yelled vocals...available with extra tracks from Ryko. Seminal American post-punk. -- Volcano Suns--"The Bright Orange Years"--a more melodic, song-oriented version of Mission of Burma headed by Burma's drummer, Peter Prescott --Naked Raygun--"All Rise" --my favorite non-SST punk album from the 80s. Guaranteed to elevate testosterone levels and start spontaneous moshing... YES! YES! YES! Mission of Burma changed my life. Along with Naked Raygun, I'd throw in that first Pegboy record. Phew, I need to take a shower. Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Re: Era of Perfect Singles
Great thread, Barry. I've always been mystified by the fact that my musical taste was shaped, in large part, by a complete stranger via 45s. When I was very young, one of my Dad's good friends distributed 45s to the jukeboxes around town. Before I can really even remember, I, apparently, used to play the hell out of my older siblings' records and this guy thought it was cute that such a little kid dug music so much. So he gave my Dad piles of extra singles and I used to play them all over and over again. Two of the ones I remember liking early on -- and I still have them at home -- are Glen Campbell's version of Wichita Lineman and CCR's Travelin' Band (w/ Who'll Stop The Rain on the flipside). Going back thru that stuff now, I'm amazed at the diversity -- Brenda Lee, Elvis, Tommy Dorsey, Marvin Gaye, and gimmicky stuff like Chopsticks, Rag Mop and The Ballad of Snoopy the Red Baron. Mainly, I remember digging Travelin' Band like nothing else. Like Joe describes with Like A Rolling Stone, the beginning kicks in like thunder and you're off for a 3-minute thrill ride. And I suppose Fogerty screaming "waah" before the guitar solos appealed to the three-year-old me as well. Another cool singles memory is of being in the seventh or eighth grade and having my pal Ernie come by with singles by some weird new guy named Prince (When You Were Mine and Controversy, I think). Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Flyin Shoes online
Pretty bad publicist - think I garbled my first attempt so having another shot at the ol' barn door! FLYIN' SHOES A QUARTERLY JOURNAL OF SONGWRITING AND LITERATURE SPRING 1999 Issue 1 online now at ... http://www.bodley.ox.ac.uk/users/sdb/flyinshoes/fscover.htm shaun belcher former lurker who de-lurked when the going got toughg still here in spirit though!
Man in Black show...
I thoiught Marty Stuart came off surprisingly well. Especially on Behshazarr, etc. It was also classy on his part of play Clarence White's tele for the show! g -junior
Re: Man in Black show...
whew, pardon the Monday morning attempts to type --jr.
RE: Era of Perfect Singles
Ah yes: A battered van careens westward bound; headaches abound, sleeping bag over my head to escape the smoke and the insistent chatter from the front seats, driver punching the radio tuner again and again as 90's crap-rock, depressing, moronic and slack-jawed beats relentlessly,overwhelming the dial, the bluegrass station having faded. Suddenly, a bright crackle of jangly guitars, and in the millisecond before dumbass changes the station, my brain scans the riff, the sound of a million songs, I just know it's one I want to hear, then the vocal, and me and the other old guy bark: "Hey the Rasberries, don't change the station". One of them perfect singles "I Wanna Be With You" and for the next 2 minutes and fifty seconds, that old van, dangerously on its last legs, with plates from another car and no registration, (as the PA cops discovered and 3/4's of the band! but that's another story) was a good place to be, and the sleeping bag came off the head and I lived a little...
Sparklehorse in Philly 4/18
Last time I saw Sparklehorse (May '96) I wanted to wring Mark Linkous' neck for being a moody, disinterested little shit. He was pissy that night 'cause very few people showed up, so the ones who did were treated to a lackluster encore-less performance about which I bitched so much on list that it started a big discussion (on P2 I think) about why bands do encores anyway. :) No need for lengthy discussions this time. They were brilliant. We were treated to a mix of stuff from both albums--a little heavier on Vivadixie than Good Morning Spider. Perhaps my **only** complaint this time is that they could have played longer. But what they did play was nevertheless one of the best shows I've seen in a while. The rockers were even bigger, louder and more mindblowing than on the albums and the quiet songs were beautiful. Jonathan Segal, ex-CVB multi-instrumentalist, was a great addition on fiddle, guitar and xylophone (!). Highlights for me were Happy Man, Rainmaker, Hammering the Cramps, Sunshine and Saturday, but there wasn't a dud in the bunch. They even looked like they were having **fun**. Imagine that. :) Mr. Linkous has redeemed himself for his past sins in Philly. I'd say, "Make sure you catch these guys on tour," but that was the last night of the tour, or so they said. Oh yeah... I liked opener Varnaline a **lot** better than on "Sweet Life"--the only album of theirs I have. Live they sounded like a strange amalgam of Galaxie 500 and early Bob Mould playing at Grant Lee Buffalo's house, which is not a bad place to be. I'm tempted to buy their first album. Steve Kirsch [EMAIL PROTECTED]
Re: Ghost Riders
So Miss Stephanie and I come home from doing a show with Mike Ireland and Dan Bresh. We tune into the Cash Tribute. Brooks and Dunn are introduced as the greatest duo in Country music. We laugh and laugh. Tom Moran The Deliberate Strangers' Old Home Place http://members.tripod.com/~Deliberate_Strangers/index.html
Re: Single Most Influential 20th Century Pop Musician
Excerpts from internet.listserv.postcard2: 19-Apr-99 Re: Single Most Influential.. by "Terry A. Smith"@seorf.O The Beatles, appears to have been skipped over, perhaps, dare I speculate, because it's such an obvious choice? If we're talking about rock, in my subjective, fallible, hazy-assed estimation, the Beatles have no rival. -- At the risk of rehashing an argument I made a year ago, the Beatles' influence on modern recording techniques in a variety of genres cannot be overestimated. Which is not to say they are the century's most influential artist, but they're in the picture. Carl Z.
Border Radio for 18APR99
Border Radio, WXDU Duke University April 18, 1999 Border Radio - Hot Rod Lincoln - Blastered Never Go Back - The Beat Farmers - Tales of the New West Where's Waldo - Big Bad Johns - I Will Be Good Don't Think Twice - Mike Ness - Cheating at Solitaire Little Heaven - Cesar Rosas - Soul Disguise Farther Along - Johnny Cash - Just As I Am Good Enough - Billers Wakefield - The Hot Guitars of... Baby Back - The Blue Rags - Eat at Joe's Gangsta Lean - The Gourds - Ghosts of Hallelujah Livin' on the Road - Camp Black Dog - Rock Roll Summer Camp 98 ATF - Sixty Acres - Banjos and Sunshine Mardi Gras Mule - Red Star Belgrade - The Fractured Hymnal Forever Came Today - The Backsliders - Southern Lines Lucky Moon - Jon Dee Graham - Summerland Pacific Standard Time - Pete Krebs and the Gossamer Wings - Sweet Ona Rose playing together on Thursday Tobacco Spit - Bare Jr. - Boo-tay Miss Operator - The V-roys - All About Town
Re: Single Most Influential 20th Century Pop Musician
get to you, you might not be long for this list. This is just a typical day in the life of P2. And just wait til we rehash one of those recipe threads or my particular favorite: the greatest pitcher ever, which, of course, would Sandy Koufax, the Bob Dylan of his profession. Neal Weiss Hmmm, and let me guess who's the best base-stealer ever. Maury Wills, c'mon down. In all this palaver over greatest influences, etc., I guess I confess surprise that what, to me, is an obvious choice for at least the top five, The Beatles, appears to have been skipped over, perhaps, dare I speculate, because it's such an obvious choice? If we're talking about rock, in my subjective, fallible, hazy-assed estimation, the Beatles have no rival. -- Terry Smith ps my local library just got stocked up on a bunch of classic pop and soul, 50s era, plus a copy of Johnny Cash, Live at Folsom and San Quentin. Jackie Wilson, Lloyd Price, Frankie Lymon and the Teenagers, all sorts of stuff to explore.
PLAYLIST: Fear Whiskey 4/19/99
This is the Fear Whiskey playlist for this week's show. Fear Whiskey can be heard every Monday from 7-10pm ET on 88.3fm in Pittsburgh and on AudioActive, Winamp and pretty much every mp3-based program via http://www.wrct.org. Past playlists are available at http://www.andrew.cmu.edu/~cz28.fear.html. This week's show featured the music of the late Skip Spence, with and without Moby Grape. ARTISTSONG roy montgomery/chris heaphyclouding over moby grape skip's song moby grape omaha skip spenceweighted down (the prison song) moby grape you can do anything moby grape rounder skip spencelittle hands friends of dean martinez inner sanctum 16 horsepower harm's way lanterna silent hill aphex twin ambient works, vol. ii, track one labradford new listening tom waits big in japan dirty threethe restless waves peter jefferieson an unknown beach pinetop seven quit these hills idadream date eleventh dream day orange moon run on anything you say chills pink frost son volt holocaust television prove it yo la tengosomebody's baby silkworm three beatings steve wynn 500 girl mornings mekons i have been to heaven and back holly golightlyyour love is mine victor krummenachertear stained road warren zevon seminole bingo alejandro escovedo slip alvin youngblood hart illinois blues old 97sjagged richard bucknera goodbye rye jim o'rourke ghost ship in a storm scott4 miss goddess nr.2 daniel pearson 1,000 days of shame bill withers grandma's hands chris cacavas anonymous roky erickson never say goodbye husker du now that you know me moby grape seeing
Re: Single Most Influential 20th Century Pop Musician
Dylan, Cash, Crosby, Elvis, whatever. Why don't we all just admit that without the Ramones our lives would have no meaning? Lance . . .
Ghost Riders
You knew that was what I meant, right? g It was "Don't take your guns" that U2 didn't do much for. Linda, who probably wouldn't make these kinds of mistakes if she waited 24 hours to push the send button. . .but probably would make other kinds of mistakes instead.
Re: Man in Black show...
In a message dated 4/19/99 7:44:06 AM Central Daylight Time, [EMAIL PROTECTED] writes: I thoiught Marty Stuart came off surprisingly well. Especially on Behshazarr, etc. Contrariwise, I think he completely trashed what would have been a sterling performance by the Fairfield Four that I would have loved to have seen instead. I also found Brooks' n' Dunn's inability to coordinate at all with the backing band on "Don't Take Your Guns" annoying as hell. Amazingly, I loved Sheryl Crowe and even more so,Chris Isaak. He did the best job I thought of putting that fragging orchestra behind him and delivering the song like it meant something. Well, Willy Nelson is, of course, just wonderful. I didn't think U2 did much to improve their choice, in fact I've forgotten it. Inevitably, the man himself walked off with his show, although June Carter and Emmylou came close to doing it themselves, I thought. Linda
Re: Single Most Influential 20th Century Pop Musician
Lance, I'd say everything you wrote about Parker is dead on (I'd better--I'm from KC where we just dedicated a huge Easter Island looking bust of the Bird), but only IF we limit the discussion to jazz. If we look to the whole of 20th century pop, however, which is what I was doing, then Armstrong is the man. Satchmo was the foundation not just of modern jazz, as you say, but of modern popular music. And the edifice? I guess that'd have to be Elvis. --david cantwell At 05:38 PM 4/19/99 -0500, you wrote: It's hard to argue AGAINST Armstrong, but I think Charlie Parker put Louis' massive instrumental contributions into something of a musical perspective. Not only was Bird--like Hendrix later on--the most imaginative and "electric" player of his era, but unlike Armstrong, there has never been a time since when his ideas have fallen out of favor. Bird's reconception and reorganization of Armstrong's formal solo made even Louis' monumental earlier efforts seem a bit dated (which was admittedly unfair). Bird made complex harmonic and melodic ideas swing, and he made oddly accented and angular rhythmic reinventions seem natural. Plus, and most importantly I think, there was very rarely a sense that even his most "out there" ideas weren't still the blues. Once Bird appeared on the scene, musicians emulated his playing and not, directly anyway, Armstrong's. (Unfortunately, too many players also emulated his junkie lifestyle for ANY insight into his muse). Charlie Mingus once said something to the effect that if horn-playing was gunslinging there'd be a whole lot of dead copycats. The same, of course, could be said about Armstrong, which is why it's impossible to argue AGAINST him. However, the influence of Bird on even contemporary players is still huge compared to Armstrong (which is, once again, unfair to Satch). If Armstrong was the foundation upon which modern jazz was built, Parker was the edifice itself. Personally, I don't think either man should be slighted at the other's expense, but the role of Bird from the early '40's onward is a tough chunk of history to look past.
Re: Der Bingle
At 06:08 PM 4/19/99 -0400, you wrote: why choose Bing over Frank then?? Just wondering how your logic works . . This is a good question, James--and I also appreciate that you at least assume I have a logic to work g. I wouldn't necessarily say that Bing's influence has stretched further into the future than Frank's but I'd argue that BC's initial contributions, which of course allowed for Frank's later elaborations, were more significant. Bing created new ways of singing that, first off, allowed the singer to swing (and here Bing's vocals were influenced by Satchmo's playing, of course) and second, that were conversational and intimate, two things that had not really existed, in the era of Jolsen and Cantor, before the old groaner's innovations. Sinatra greatly refined those techniques, to be sure, but he didn't come up with entirely new ones, as Bing had. Also, I'd argue that Bing's musical influence reached outside the pop music of his day, which went until I was a kid don't forget. For one example, without Crosby's style of singing it's hard to imagine the Tommy Duncan, Gene Autry, Red Foley, Jim Reeves, George Morgan or Eddy Arnold that we all (?) love so dearly. Similarly, Bing also had a great influence on musical theater. Sinatra's specific influence didn't cross boundaries so much, not even to the stage where again he just continued what Bing had started, and when it did it was perhaps more in swagger than anything else. I don't know if that makes a case or not, but that's the, uh, "logic." You know, I think I'd nominate ol' Cros' as THE performer of the century, even before Elvis. What I mean by that is that, for one thing, he was the one who first most widely employed the concept of a public persona that became identifiable with the man--that in fact made it hard to distinguish between the man and the entertainer (see writers Gary Giddens and Will Freidwald for elaborations on this point). He was also one of the first to go multi-media as a hugely successful film/radio star. Our entire century of celebrity has, in the decades since, been built upon these two strategies, all the way from, uh, Sinatra and Elvis on up to Madonna and Tupac. --david cantwell
Re: Ray's tenor harmony man....
http://www.pond.com/~vanallen/raynvan.html has a nice picture of Ray and Van together. np: Dobrology, Bop to Broadway on Slide Guitar, by Stephen Miller. Nice job of some unusual cover tunes by a Canadian resophonic guitarist.
Re: Single Most Influential 20th Century Pop Musician
In a message dated 4/19/99 3:52:06 PM Central Daylight Time, [EMAIL PROTECTED] writes: And just wait til we rehash one of those recipe threads or my particular favorite: the greatest pitcher ever, which, of course, would Sandy Koufax, the Bob Dylan of his profession. Greg Maddox. Where you been the last few years, LA? Slim - tommyhawk choppin'
Re: Remember, its Denver
Cash eclipses Dylan .. and every politically charged rapper (and any other outspoken musician), and every artist who defied their own musical definition and followed his or her own muse, quite likely owes a debt to the Zim. Funny. Wycliffe (sp?) sings at Cash tribute. Dylan sits in Wycliffe videos. Koufax is God. Wait. That makes him Eric Clapton. Nevermind. np Chris Cacavas - Tonight's The Night
Re: Playlist 15 April 1999 - PBS-FM, Melbourne, Australia
In a message dated 4/19/99 6:06:55 PM Central Daylight Time, [EMAIL PROTECTED] writes: Slim Chance the Convicts - Acting Like me Again (Twang Peaks) I have a bunch of relatives who live in Melbourne, and one of them was driving around when this came on the radio. He said he almost ran off the road it was such a surprise. Thanks, Sophie. The Convicts world tour will start as soon as I finish my dissertation. Slim
Bob Harris Country BBC Radio 2 - Thursday 15th April 1999
BOB HARRIS COUNTRY WEEK 15 15.04.99 99MA6249MLO CD MY LOVE LITTLE TEXAS CD BIG TIME WARNER BROS=9=45276-2 CD OUR LITTLE TOWN CICADAS (RODNEY CROWELL) CD CICADAS WARNER BROS 9=46498-2 CD STAND BESIDE ME JO DEE MESSINA CD I'M ALRIGHT CURB/HIT=CURCD=054 CD ALMOST HOME MARY CHAPIN CARPENTER CD PARTY DOLL (SAMPLER) COLUMBIA=CSK=41999 PROMOTIONAL ALBUM, NOT YET AVAILABLE CD GRAVEYARD SHIFT STEVE EARLE/DEL McCOURY CD THE MOUNTAIN GRAPEVINE=GRACD=252 CD SILVER DEW ON THE BLUEGRASS TONIGHT HOT CLUB COWTOWN CD SWINGIN' STAMPEDEHIGHTONE=HCD=8094 CD SUGAR MOON BOB WILLS CD THE ESSENTIAL BOB WILLS COLUMBIA/LEGACY=CK=48958 CD WHEN YOU SAY NOTHING AT ALL ALISON KRAUSS CD NOW THAT I'VE FOUND YOU - A COLLECTION ROUNDER=CD=0325 CD IF I NEEDED YOU LYLE LOVETT CD STEP INSIDE THIS HOUSE CURB=MCAD2=118331 CD PANCHO LEFTY EMMYLOU HARRIS CD LUXURY LINER WARNER BROS=7599-27338-2 0 CD T FOR TEXAS BOXCAR WILLIE CD THE BEST OF BOXCAR WILLIEBOX=2=1993 CD LET ME LET GO FAITH HILL CD SINGLE WARNER BROS=WB=W=473=CDDJ CD A SOFT PLACE TO FALLALISON MOORER CD THE HORSE WHISPERER MCA NASHVILLE=MCAD=70025 CD START THE CAR TRAVIS TRITT CD NO MORE LOOKING OVER MY SHOULDER WARNER BROS=9362=47097=2 -- Bob Paterson http://www.ursasoft.com/bob Bob Harris Country BBC Radio 2 (Researcher) CMR DJ (Thursday nights 10-12)
Playlist 15 April 1999 - PBS-FM, Melbourne, Australia
Hi all! It's good to be back after my US adventures - listening to great music, imbibing many micro-brews and confirming that Postcarders and P2-ers are, indeed, the best people alive - thank you to all the nice folks who looked after me so beautifully - Seth, Stacey, Jim, Robert, Paul, and of course Steve! Last week's show was kinda short because Tony Joe White came in for a live-to-air - of course, I didn't complain!!! In the 90-odd minutes remaining, I played some of the purchases that are responsible for my looming credit card debt - more next week. cheers, Sophie The Gourds - Gangsta Lean (Ghosts of Hallelujah) " - LGO (Stadium Blitzer) Bare Jr - Nothin' Better to Do (Boo-Tay) Hadacol - Better than This (Better Than This) Bottle Rockets - I Wanna Go Home (The Brooklyn Side) James Intveld - My Heart is Achin' for You (James Intveld) Slim Chance the Convicts - Acting Like me Again (Twang Peaks) Kim Lenz her Jaguars - Up to my Old Tricks Again (Kim Lenz) Neko Case the Sadies - My '63 (Bloodshot 7") Damnations TX - Spit Tears (Half Mad Moon) Whiskeytown - Highway 145 (Bloodshot 7") Backsliders - Lexington Avenue (From Raleigh, NC) Robert Becker - Fairliner (new album) " - Vertigo (To a Friend Unknown) Kelly Willis - Take Me Down (What I Deserve) Charlie Robison - Waiting for the Mail (Life of the Party) Pete Krebs Gossamer Wings - Patiently (Sweet Ona Rose) Willard Grant Conspiracy - The Work Song (Mojave) Edith Frost - Light (Telescopic) - new Australian releases - Lisa Miller - Safe as Houses (single) Jeff Williams - Stranger to Your Love (Clearspace) Jeremy Hanley - My One Desire (Devotee) === _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
RE: You Am I (was Re: Underappreciated (long))
Hey you guys - that's great to hear you dig You Am I that much. I'm a mate of a couple of the blokes in the band (Tim, the lead singer and Rusty the drummer) and yr right they are a kick arse rock and roll band. It's funny that Hourly Daily is out of print over there - it still sells quite well here in Australia. I'll pass on yr comments to Tim. Junior Walker -- From: William F. Silvers[SMTP:[EMAIL PROTECTED]] Reply To: [EMAIL PROTECTED] Sent: Tuesday, 20 April 1999 4:01 To: passenger side Subject: You Am I (was Re: Underappreciated (long)) Chris Hill wrote re Steve Kirsch's note: --You Am I--"Hi Fi Way"--the second album by these Aussies, where they turn down the Stooges, turn up The Jam and get spectacular results. Next to Afghan Whigs Curve, THE best concert I saw last year. The lead singer has a charisma that controls a crowd like none I've seen, and the band's energy is palpable. I kick myself for the number of their Seattle shows I've missed, and vow it'll never happen again. Amazing show. I tend to prefer the third album, _Hourly, Daily_ and the 4th, _#4 Record_, to their rawer first two. I picked up HI FI WAY a couple of years ago and it didn't do much for me- I resold it. Late last year I stumbled over a copy of You Am I's most recent #4 RECORD, and it's great. It would certainly been one of my top 10 pop records last year if I'd heard it longer. HOURLY, DAILY's out of print, but I managed to locate a copy on ther net and I'm hoping it'll be in today's mail. Roomie Dave went out and bought a copy of HI FI WAY, and while it's not the equal of the new record, it's much better than I remembered. b.s. n.p. Mandy Barnett I'VE GOT A RIGHT TO CRY
Re: Single Most Influential 20th Century Pop Musician
As for the MOST influential, however, the way to look at it, seems to me, isn't to identify the influences upon an act (in the way Oliver paved the way for Armstrong) but to find out how far, and how broadly, into the future a person's influence reaches. In Oliver's case it's not much further than Louis, is it? In Louis' case, though, it's all the way through Miles and on up--and well beyond jazz into the entire culture. David Cantwell It's hard to argue AGAINST Armstrong, but I think Charlie Parker put Louis' massive instrumental contributions into something of a musical perspective. Not only was Bird--like Hendrix later on--the most imaginative and "electric" player of his era, but unlike Armstrong, there has never been a time since when his ideas have fallen out of favor. Bird's reconception and reorganization of Armstrong's formal solo made even Louis' monumental earlier efforts seem a bit dated (which was admittedly unfair). Bird made complex harmonic and melodic ideas swing, and he made oddly accented and angular rhythmic reinventions seem natural. Plus, and most importantly I think, there was very rarely a sense that even his most "out there" ideas weren't still the blues. Once Bird appeared on the scene, musicians emulated his playing and not, directly anyway, Armstrong's. (Unfortunately, too many players also emulated his junkie lifestyle for ANY insight into his muse). Charlie Mingus once said something to the effect that if horn-playing was gunslinging there'd be a whole lot of dead copycats. The same, of course, could be said about Armstrong, which is why it's impossible to argue AGAINST him. However, the influence of Bird on even contemporary players is still huge compared to Armstrong (which is, once again, unfair to Satch). If Armstrong was the foundation upon which modern jazz was built, Parker was the edifice itself. Personally, I don't think either man should be slighted at the other's expense, but the role of Bird from the early '40's onward is a tough chunk of history to look past. Lance . . .
Hey KC? Frogpond?
Just heard a song by Frogpond on bravenewworld.net and it was really something special in a twangless, indie pop sort of way. Anyone know anything about 'em? Cantwell? Do you dip in this part of the local-music pool? Wowee. I love when this happens. NW
Re: Single Most Influential 20th Century Pop Musician
In a message dated 4/19/99 2:50:51 PM Central Daylight Time, [EMAIL PROTECTED] writes: Agreed. David Crosby was really something else. He ain't shit compared to Norm. Nope. Wrong. Bill ruled the world before those dumb pudding commercials. Uhhh, wait... Slim
Re: Single Most Influential 20th Century Pop Musician
On Mon, 19 Apr 1999, David Cantwell wrote: Sure, you can trail after previous influnces forever, but I'd argue that's important intellectual work. As for the MOST influential, however, the way to look at it, seems to me, isn't to idenitfy the influences upon an act (in the way Oliver paved the way for Armstrong) but to find out how far, and how broadly, into the future a person's influence reaches. why choose Bing over Frank then?? Just wondering how your logic works . . . thanks. -jim
Re: Todd Tibaud
At 04:14 AM 4/16/99 EDT, you wrote: Todd Thibaud is a label mate with us on Germany's Blue Rose Records and I've had the good fortune to see him twice. Once at Top Cat's in Cincinnati (Where We got an advance of Todd's new disc Little Mystery about two weeks ago. It is only removed from the CD player to listen to new things which arrive for catalog consideration. This is the best ROCK record I have heard in ages. Of course, I haven't yet heard that Built To Spill which is making everyone so damp but, I'll putting my bucks on Thibaud. Jeff Miles of Music mail order http://www.milesofmusic.com FREE printed Catalog: (818) 883-9975 fax: (818) 992-8302, [EMAIL PROTECTED] Alt-Country, rockabilly, bluegrass, folk, power pop and tons more.
Re: Hey KC? Frogpond?
Hey Neil: Frogpond is a KC band--actually, at least originally, a Warrensburg, MO band--that had quite a buzz going awhile back, especially after that were picked to perform at one of REM's private gatherings. I've always found them superficially engaging but nothing has ever really broken through for me--kinda of a less compelling Vercuca Salt, who themselves were only intermittently compelling to me. One of Frogpond's members, however, Kristi Stremmel (sp?), broke off and started a power trio called Exit 159, which I'd say is one of the better alt.rock/pop combos going today, IMO (though the competition ain't much, I'll admit). They have a website at exit159.com and a self-titled album on Don't Touch Me Records. --david cantwell At 05:30 PM 4/19/99 EDT, you wrote: Just heard a song by Frogpond on bravenewworld.net and it was really something special in a twangless, indie pop sort of way. Anyone know anything about 'em? Cantwell? Do you dip in this part of the local-music pool? Wowee. I love when this happens. NW
Re: Hey KC? Frogpond?
you wrote: Just heard a song by Frogpond on bravenewworld.net and it was really something special in a twangless, indie pop sort of way. Anyone know anything about 'em? Cantwell? Do you dip in this part of the local-music pool? Wowee. I love when this happens. I've never seen 'em Neal. Here's some info from the local music scene site: Frogpond Members: Heidi Phillips - Vocals, Guitars Justine Volpe - Bass, Vocals Billy Johnson - Drums Website: http://home.earthlink.net/~sjbentley/ Email : [EMAIL PROTECTED] Contact/Booking: Columbia Recording artists Frogpond was formed nearly five years ago in Warrensburg, MO. Heidi Phillips created the band as a way to explore her emotional and deeply personal music. After releasing their first recorded offering (the hard to find 2%) they came to the attention of R.E.M.'s Mike Mills, who asked them to play the after-party for the final stop of the Monster tour in Athens, GA. From there, Frogpond was picked up by Tri-Star Music. (A division of Sony Music, which has since merged with Columbia Records). To record their major-label debut, Frogpond asked Everclear's Art Alexakis to produce the album. Recorded at Butch Vig's (Garbage) Smart Studios, the 12 song result Count to Ten landed Frogpond rave reviews in the music press both home and abroad. The supporting tour landed Frogpond shows with such acts as Nada Surf, No Doubt, Pansy Division, and more. (Kansas City pop favorites, TV Fifty joined the last legs of the tour, creating a truly amazing live show). Frogpond is currently finishing up their self-titled follow-up to Count to Ten, which should be available in early 1999. Former members of Frogpond include Tawni Freeland (The Glitter Kicks) and Kristie Stremel (Exit 159)
Re: Single Most Influential 20th Century Pop Musician
I'm sticking with Bing, but I'm a little surprised that none of the rock advocates have mentioned Chuck Berry. Carl Z.
Re: Single Most Influential 20th Century Pop Musician
Neal: Sandy Koufax, the Bob Dylan of his profession. Carl: Lefty (Stated in my best John McLaughlin voice) The answer is: Walter Johnson ~Greg ___ Get your free, private email at http://mail.excite.com/
Hey, what about us?!
Hola P2ers! I came across this and thought you folks might be amused and wondered if anyone has written about us? Having met and known a few P2ers, perhaps we are best kept secret.g Wynn Short article about BGRASS-L: http://www.citypaper.net/articles/041599/mus.pointing.shtml
Re: Single Most Influential 20th Century Pop Musician
Excerpts from internet.listserv.postcard2: 19-Apr-99 Re: Single Most Influential.. by [EMAIL PROTECTED] And just wait til we rehash one of those recipe threads or my particular favorite: the greatest pitcher ever, which, of course, would Sandy Koufax, the Bob Dylan of his profession. Lefty Grove (the Bing Crosby of his profession), who may eventually be surpassed by Maddux. Carl Z.
Re: Single Most Influential 20th Century Pop Musician
Your comments mirror those that have come in since I sent you the message. I for one enjoy these things on a one on one basis, but back and forth over this list thing get a little annoying. The whole thing started because the argument was that Jahnny Cash was more influential that Dylan. Rediculous, I know, but that's what they were arguing about. Hey Jason, if the incessant nature of threads and absurd, pointless arguments get to you, you might not be long for this list. This is just a typical day in the life of P2. And just wait til we rehash one of those recipe threads or my particular favorite: the greatest pitcher ever, which, of course, would Sandy Koufax, the Bob Dylan of his profession. Neal Weiss
Re: Single Most Influential 20th Century Pop Musician
I guess I'm not quite as comfortable with cause and effect as many of you folks seem to be. Say, for example, I think Louis Armstrong was the single most influential 20th Century pop musician. Armstrong was heavily influenced himself by Buddy Bolden and King Oliver among many, many others. In fact, without Bolden and Oliver and 'the rest', you don't have Louis Armstrong as we know him. Bolden influences countless people, among them Louis Armstrong who influences countless people, among them Miles Davis who influences countless people, ad nauseum. As an intellectual pursuit I find this tiresome. As an emotional pursuit, I vote for Miles Davis and call it good. ~Greg ___ Get your free, private email at http://mail.excite.com/
Re: criminally underappreciated albums of the '90s
I know we're done with this thread, but I can't resist: As others have said, I wonder about the definition of underappreciated, especially since many of my favorite records turn out to be critical faves too (though few are big sellers). Here are some that spring to mind: Lori Carson: Everything I Touch Runs Wild and (especially) Where It Goes Sam Phillips: Omnipop De La Soul: De La Soul Is Dead Karan Casey: Songlines Jerry Douglas: Restless on the Farm Jones and Leva: Light Enough to Find My Way and perhaps my number one choice for criminally underappreciated record of the 1990s: The Harvest Ministers: Little Dark Mansions --Amy
Re: Single Most Influential 20th Century Pop Musician
On Mon, 19 Apr 1999 [EMAIL PROTECTED] wrote: it's a great list, david, but i pick brown (as i did in an earlier post), if only because he all but birthed soul, funk, and hip hop--hell, you can probably throw disco in there as well. i know that by making such a claim i leave myself open to all kinds of nitpicking (sp?), but jb cut a mighty wide swath through his half of the century. He sure did, and while he definitely gave birth to funk, I think it's an overstatement to say he did the same for soul and hip hop. Clyde McPhatter was most likely the original soul man (goin' all the way back to 1950 when he cut "Do Something For Me" with the Dominoes), and Ray Charles was the music's most influential early force. His earliest gospel-influenced recordings date a few years before JB's earliest stuff. As for hip hop, sure JB was (and still is) a major influence, but I think it's a bit of a stretch that he gave birth to the form -- it didn't really come into being until Kool Herc and Afrika Bambaataa started rappin' over the breaks while spinnin' discs at block parties in the South Bronx during the mid-70s.--don
Re: Clip-Mandy Barnett
Well thank god she's not a mint-julep girl g. Nice clip, Bill... --junior
Re: Single Most Influential 20th Century Pop Musician
In a message dated 4/19/99 2:45:23 PM EST, [EMAIL PROTECTED] writes: Agreed. David Crosby was really something else. He ain't shit compared to Norm.
Re: Single Most Influential 20th Century Pop Musician
Armstrong and Crosby loom over the first half of the century the way Elvis and JB do the second. Agreed. David Crosby was really something else.
Re: Single Most Influential 20th Century Pop Musician
The most influential pop musicians of the 20th century are, in order: 1) Louis Armstrong 2) Elvis Presley 3) James Brown 4) Bing Crosby Armstrong and Crosby loom over the first half of the century the way Elvis and JB do the second. Who's #5? Mahalia? Ellington? The Beatles or Dylan? Hank? I don't know, but those first four, man, no one can touch them. --david cantwell
RE: Single Most Influential 20th Century Pop Musician
Your comments mirror those that have come in since I sent you the message. I for one enjoy these things on a one on one basis, but back and forth over this list thing get a little annoying. The whole thing started because the argument was that Jahnny Cash was more influential that Dylan. Rediculous, I know, but that's what they were arguing about. Did you get to see any of the Cash thing on TNT last night. I thought some moments were great, and others schlocky. J
Re: Ray's tenor harmony man....
On Mon, 19 Apr 1999, Ph. Barnard wrote: Ah, thank you Brad! Yeah, Van Howard is the name... And I do believe he's the heavyset guy I've seen in old footage, etc. --junior I've got a picture of him and Ray on my PC right now, a clip from one of the old Gannaway shows, I think ... I wouldn't call him heavy set at all, though. To tell the truth, he kinda looks like Tim Curry of 'Rocky Horror Picture Show' sans makeup and black lingerie. -- Geff King * email [EMAIL PROTECTED] * http://www2.ari.net/gking/ "It is a tool of ignorance." -- Joe Gracey, re: bass guitar
Re: Clip-Mandy Barnett
On Mon, 19 Apr 1999, William F. Silvers wrote: Mandy Barnett Has No Tears in Her Beer Three years ago, when she was just twenty years old, Mandy Barnett was prepared to shake the foundations of country music with the release of her self-titled debut album. With a powerful voice of stunning intensity and precision that seemed to be channeling both Patsy Cline and Loretta Lynn, OHHH! HE SAID IT!! HE SAID IT FORTY LASHES - No, FIFTY. -- Geff King * email [EMAIL PROTECTED] * http://www2.ari.net/gking/ "It is a tool of ignorance." -- Joe Gracey, re: bass guitar
Re: Single Most Influential 20th Century Pop Musician
In a message dated 4/19/99 2:32:43 PM Central Daylight Time, [EMAIL PROTECTED] writes: The most influential pop musicians of the 20th century are, in order: 1) Louis Armstrong 2) Elvis Presley 3) James Brown 4) Bing Crosby Armstrong and Crosby loom over the first half of the century the way Elvis and JB do the second. it's a great list, david, but i pick brown (as i did in an earlier post), if only because he all but birthed soul, funk, and hip hop--hell, you can probably throw disco in there as well. i know that by making such a claim i leave myself open to all kinds of nitpicking (sp?), but jb cut a mighty wide swath through his half of the century.
Re: Clip-Mandy Barnett
Geff King wrote: On Mon, 19 Apr 1999, William F. Silvers wrote: Mandy Barnett Has No Tears in Her Beer Three years ago, when she was just twenty years old, Mandy Barnett was prepared to shake the foundations of country music with the release of her self-titled debut album. With a powerful voice of stunning intensity and precision that seemed to be channeling both Patsy Cline and Loretta Lynn, OHHH! HE SAID IT!! HE SAID IT FORTY LASHES - No, FIFTY. Now Geff, weren't me that channelled, er, said it. g The interview was the good stuff, the rest a turkey shoot. b.s. n.p. Stacey Dean Campbell HURT CITY
Alice Gerrard, Brad Leftwich and Tom Sauber House Concert
Hi everyone, The reservations for the Tom, Brad and Alice house concert go on sale at 8am on Tuesday the 20th (that's today for most of you getting this email in the morning). These shows have been selling out in less than *two* hours, so if you want to go you'll need to respond as soon after 8am as you can. Please do not email me before 8am, or your reservation will not count. Here's the info if you missed it the first time: Who: Tom, Brad and Alice When: 5/8/99 8pm Where: Pine Hill Farm (see http://www.topsoil.net/pinehill.htm for directions) How much: $10 each I'll email you letting you know where you got a space on the reservation list or not. You must have an advanced reservation to attend. more info: Alice Gerrard, Brad Leftwich and Tom Sauber - Oldtime Music Trio at Pine Hill Farm. Reservations on Sale 4/20 at 8am for $10 each. Here I have three of my favorite artists who play oldtime music. They have a CD out now on Copper Creek which I've been playing on my show since last summer. Check out the second half of this webpage http://milesofmusic.com/bluegrass3.html from Miles of Music to find out more about this group. If you don't know, or don't remember how these things work, let me refresh your memory. I ask a band to play in a friend's living room. The room holds about 70 people. There is no sound system and so the band plays acoustic. We do two sets, with an intermission where you can meet the artist, or just get something to eat or drink. The shows start at 8pm and end by 11pm. There's no smoking, everyone hoots and hollers, and everyone (including the artist(s)) go home happy. See www.topsoil.net for even more info. Listen to Topsoil to hear more from these and other twangy artists. Cheers. Steve -- Steve Gardner - Topsoil: A Century of Twang - Sun. 12-3pm WXDU 88.7FM Durham NC and on the Net at www.wxdu.duke.edu * [EMAIL PROTECTED] www.topsoil.net *
RE: Single Most Influential 20th Century Pop Musician
Yeah, I can amuse myself for hours on a list like that. The question that immediately leaps to my mind is, "Does George Gershwin qualify as a pop musician thanks to his songs and jazz influence, or does he get shuffled off to classical." If pop, then I'd rank him #2. The only rock people that would make the list would be Elvis, Beatles, Hendrix. -Original Message- From: David Cantwell [SMTP:[EMAIL PROTECTED]] Sent: Monday, April 19, 1999 9:36 AM To: passenger side Subject: Re: Single Most Influential 20th Century Pop Musician The most influential pop musicians of the 20th century are, in order: 1) Louis Armstrong 2) Elvis Presley 3) James Brown 4) Bing Crosby Armstrong and Crosby loom over the first half of the century the way Elvis and JB do the second. Who's #5? Mahalia? Ellington? The Beatles or Dylan? Hank? I don't know, but those first four, man, no one can touch them. --david cantwell
Re: Single Most Influential 20th Century Pop Musician
The most influential pop musicians of the 20th century are, in order: 1) Louis Armstrong 2) Elvis Presley 3) James Brown 4) Bing Crosby Armstrong and Crosby loom over the first half of the century the way Elvis and JB do the second. Who's #5? Mahalia? Ellington? The Beatles or Dylan? Hank? I don't know, but those first four, man, no one can touch them. --david cantwell Well, in order to reel in this madness, let's focus on rock, instead of pop. Who then? Elvis, Dylan or Cash or... ? I still stand by Dylan over Cash easily, but there's a good argument to be made that Elvis wins over Dylan. After all, he did define the sound, and he gets props for being maybe the first punk rocker by virture of swiveling his hips and all. Even still, nowadays, it makes much more sense to me to invoke Dylan, as I guess you all have discerned by now. And that's not just because *my* singing voice is stuck in my nose too. Neal Weiss np - Forces of Nature soundtrack
Re: Ray's tenor harmony man....
Ah, thank you Brad! Yeah, Van Howard is the name... And I do believe he's the heavyset guy I've seen in old footage, etc. --junior
Re: The Barkers : mp3s, new record, tour, etc.
You know what would be a great double-bill? The Bobs The Barkers ~Greg ___ Get your free, private email at http://mail.excite.com/
Re: The Barkers : mp3s, new record, tour, etc.
You know what would be a great double-bill? The Bobs The Barkers Heh heh heh! Get it? Bobs. Barkers. Oh nevermind. ___ Get your free, private email at http://mail.excite.com/
Re: Ray's tenor harmony man....
According to the liner notes in Hillbilly Fever, volume 3: Legends of Nashville, the harmony vocal was sung by guitarist Van Howard on the song "Crazy Arms". He probably did many of the other harmony vocals as well.
Re: Single Most Influential 20th Century Pop Musician
Yow, tough stuff. I'm inclinded to offer up (as Brad did) Bing Crosby, who pioneered how to sing pop into a microphone. Almost all pop singers use aspects of techniques he pioneered, from Elvis to Shania to Sinatra to Al Green. Carl Z.
RE: Ray's tenor harmony man....
He's the one I saw talking about his harmony singing days with Ray on Backstage at the Opry aways back -Original Message- From: Brad Bechtel [SMTP:[EMAIL PROTECTED]] Sent: Monday, April 19, 1999 2:52 PM To: passenger side Subject: Re: Ray's tenor harmony man According to the liner notes in Hillbilly Fever, volume 3: Legends of Nashville, the harmony vocal was sung by guitarist Van Howard on the song "Crazy Arms". He probably did many of the other harmony vocals as well.
Re: The Barkers : mp3s, new record, tour, etc.
As we speak I'm uploading mp3's of a few songs to mp3.com. I've never done this before so I have no idea how or when they'll show up there. I'm putting them in the "pop" genre but don't let that scare you. The Barkers do have a bit of ELO-nature but we also have a goodly amount of twang. Hey Bill, congrats on the release. Keep us posted on how the MP3 experience goes, won't ya? I'm definitely curious to hear how this technology might affect the business of music from the standpoint of a (relatively) unknown artist. I always hear the hype, but I want first-hand experience. Sorry to call you unknown. You know what I mean. Neal Weiss
Ray's tenor harmony man....
Joe: I think it's Ray Price, doing the old (pre-multitrack) overdub technique whereby you sing as the original master rolls and record the mixed result onto a new master. While I'm the last person to be differing with Joe, I honestly think it's not just Ray overdubbing with himself but another fiddle player or someone. I've seen footage of the guy, in fact. A heavyset guy whose name I can't remember. Jon? or someone around here surely knows who this harmony singer was. Those two-part harmonies on Ray's hits (especially post 1956 Crazy Arms, etc.) are very distinctive and I could swear the high harmony is a different voice than Ray's --junior
The Barkers : mp3s, new record, tour, etc.
Hey y'all. I've been pretty quiet on the list lately, I know, but I'm throwing this blatant self promotion out there anyway. My band (the Barkers) have just finished our first album. It's being manufactured right now and thanks to the glorious freedom of self-releasing I can state that the release date is not a Tuesday at all but rather Wednesday April 27th. As we speak I'm uploading mp3's of a few songs to mp3.com. I've never done this before so I have no idea how or when they'll show up there. I'm putting them in the "pop" genre but don't let that scare you. The Barkers do have a bit of ELO-nature but we also have a goodly amount of twang. The album is called Burn Your Piano, and you will be able to get it at selected discriminating record stores (probably Waterloo and Sound Exchange in Austin and Vintage Vinyl in St. Louis) or from the band when we come to your town. Or by mail. Speaking of which, Tues Apr 20Continental Club (Austin) Tues Apr 27Continental Club (Austin) Thurs Apr 29High Tone (Memphis, TN) FriApr 30Duck Room [Blueberry Hill] (St. Louis, MO) SatMay 1Lounge Ax (Chicago, IL) Thurs May 6(unconfirmed) St. Louis FriMay 6(unconfirmed) Kansas City SatMay 7(unconfirmed) Lawrence KS Hopefully we'll get those unconfirmed dates solidified and y'all can come out and see us. In the mean time, check mp3.com for a sampling of songs from the CD. Pre-production CD-Rs available to press and radio types in the towns we're going to. Thanks, Bill Gribble
Clip-Mandy Barnett
Mandy Barnett Has No Tears in Her Beer Three years ago, when she was just twenty years old, Mandy Barnett was prepared to shake the foundations of country music with the release of her self-titled debut album. With a powerful voice of stunning intensity and precision that seemed to be channeling both Patsy Cline and Loretta Lynn, Mandy was declared the Next Big Thing in country music. But before the first clap could hit, her thunder was immediately calmed by the Next Bigger Thing, the thirteen-year-old LeAnn Rimes. Now she's back, and this time Barnett's a force to be reckoned with. With a legendary producer on board and a remarkable, nostalgic wonder of an album, I've Got a Right to Cry, Mandy proves she doesn't care what Nashville thinks. Reintroducing the singer to Nashville is the late, great Owen Bradley, legendary producer of Patsy Cline and Loretta Lynn. Widely credited for the growth of the Nashville sound, Owen helped to shape Mandy's career, grounding her in the traditional golden days and ways of country's past. With Owen's brother, Harold, and nephew, Bobby, Mandy consulted notes left behind by Owen to finish the album. And now, with the surefire backing power of nine elderly gents that sound like the Grand Ole Opry incarnate but look like Lawrence Welk's orchestra, the cigarette-smoking, beer-swilling, twenty-three-year-old beauty is heralding a return to country music's good old days and ready to give Nashville a good slap upside the head. Your songs definitely conjure up an era when the likes of Hank Williams and Patsy Cline dominated the country music circuit. Who inspires you musically? I've had several musical influences. I started out in, being from the south with southern gospel music, singing in the church, and a lot of the singing groups from the fifties, like the Blackwood Brothers and the Stamps and different groups like that. Then, later on, I got into Patsy Cline, Jim Reeves, Brenda Lee, and Wilma Burgess. To put it in a nutshell, the Nashville sound has been one of the biggest influences on my life and on my music, and not just Patsy Cline. When I say the Nashville sound, I mean from Patsy Cline to Ernest Tubb to Conway Twitty. The thing about the Nashville sound is it's a perfect blend of pop standards and country. So I listened a lot to Ella Fitzgerald and that kind of thing. And some swing. You make a striking image fronting a gang of older musicians. What's your all-male band like? They're great! They're the nicest guys I've ever known. And there's some of them I've worked with for years and years. There's one guy in the band, Jason Bells. We played shows together when we were about nine and ten years old. Incredible banjo player, incredible rhythm player. And Harold Bradley, who co-produced the record with me, and [drummer] Buddy Harman [Cline, Johnny Cash, Roger Miller] ... They're two living legends. Owen Bradley was responsible for some of country's biggest hits. How did he help shape your music? The thing that was just so inspiring about Owen was that he just picked such great songs, and he just really knew how to get inside of you and pick the right kind of songs for you and the right kind of arrangement. He was all in it to make you sound like you're supposed to sound, to find the perfect sound for you. What is the most important thing you learned from him? Always to do great songs no matter what people are doing, no matter what trends there are, no matter what gimmicks people have. Always do quality music. How do you pick songs that you want to sing? Before Owen helped, but does the label select the songs now? No, I usually pick most of the songs and when we were doing the record, I brought a lot of songs to the table. I always had a good ear for what I can sing -- it's just finding it. I've gone down to the archives at the Country Music Hall of Fame, and I've gone to record stores, and I've gone to publishing companies and looked at their older catalogs. Because, in Nashville, really what I'm doing isn't exactly what's popular right now, so the writers aren't writing a slew of songs that sound like "I've Got a Right to Cry." I have to go back a little bit. I try not to find songs that have been cut to death, songs that are so obvious. I try to find songs that ... well, there are some of those album cuts that really didn't maybe have a chance, or if they were hits, it was years and years ago, and they haven't been heard from since. You played the role of Patsy Cline for over two years in the musical tribute Always ... Patsy Cline. Are the comparisons to her getting burdensome? No. I think that when people tell me that I sound similar to Patsy Cline that they can tell that I've been influenced by her, and it's true -- I have been influenced by her tremendously, but I'm not a Patsy Cline imitator. I'm pretty much just doing what
Re: Single Most Influential 20th Century Pop Musician
In a message dated 4/19/99 12:18:03 PM Central Daylight Time, [EMAIL PROTECTED] writes: Blah blah Bob Dylan's the single most influential pop musician in the 20th century. Hands down. Not even close. Bob Dylan's more influential than Bing Crosby? Than Frank Sinatra? Than Louis Armstrong? Than Hank Williams? Than Jimmie Rodgers? Than Elvis Presley? JAMES BROWN
Cash,etc...
And btw, it struck me as ironic that while the media was getting gonzo over Gretzscy's last perfomance, few stories seemed to mention that this was very possibly Johnny Cash's last show. If he goes downhill, that's it I think Emmylou was crying a little there at the end, during I Walk the Line. For that reason, I'd suppose. Even though the show had its kitschy aspects, I found it moving. Except for Dave Matthews and U2s clever camera angles g. --junior
Re: Remember, its Denver
Todd Larson wrote: On another subject, a couple of month ago I picked up the essential Ray Price disc after hearing the raves from others on list. Question: who is the high harmony singer on those amazing shuffles on the second half of the disc? Wow, does he sound frickin great singing along with Ray's big baritone... I think it's Ray Price, doing the old (pre-multitrack) overdub technique whereby you sing as the original master rolls and record the mixed result onto a new master. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: Remember, its Denver
Cash eclipses Dylan. Cash is one of only two musicians in both the country and rock halls of fame. Cash has Dylan in decades o' influence, five to four. Cash helped *found* rock roll, for chrissake. I'll still disagree with you Dave. First off, who gives a rat's ass about how many halls of fame Cash is in compared to Dylan. Are you really gonna give creedence to an organization (rock) that inducts Billy Joel as a member? Pshaw. You know better than to use that as an argument. Plus, in this here day and age, every singer-songwriter who ever picked up an acoustic guitar, every folk-rocker, every punk rocker and every politically charged rapper (and any other outspoken musician), and every artist who defied their own musical definition and followed his or her own muse, quite likely owes a debt to the Zim. Where's the obvious examples of modern-day repercussions of Cash's work? And if Cash *found* rock roll, does that mean Elvis didn't? Hmm... guess I've got my musical references all wrong. Neal Weiss
You Am I (was Re: Underappreciated (long))
Chris Hill wrote re Steve Kirsch's note: --You Am I--"Hi Fi Way"--the second album by these Aussies, where they turn down the Stooges, turn up The Jam and get spectacular results. Next to Afghan Whigs Curve, THE best concert I saw last year. The lead singer has a charisma that controls a crowd like none I've seen, and the band's energy is palpable. I kick myself for the number of their Seattle shows I've missed, and vow it'll never happen again. Amazing show. I tend to prefer the third album, _Hourly, Daily_ and the 4th, _#4 Record_, to their rawer first two. I picked up HI FI WAY a couple of years ago and it didn't do much for me- I resold it. Late last year I stumbled over a copy of You Am I's most recent #4 RECORD, and it's great. It would certainly been one of my top 10 pop records last year if I'd heard it longer. HOURLY, DAILY's out of print, but I managed to locate a copy on ther net and I'm hoping it'll be in today's mail. Roomie Dave went out and bought a copy of HI FI WAY, and while it's not the equal of the new record, it's much better than I remembered. b.s. n.p. Mandy Barnett I'VE GOT A RIGHT TO CRY
Re: Remember, its Denver
Neal: I'll still disagree with you Dave. First off, who gives a rat's ass about how many halls of fame Cash is in compared to Dylan. Are you really gonna give creedence to an organization (rock) that inducts Billy Joel as a member? Pshaw. You know better than to use that as an argument. You shouldn't throw the baby out with the bathwater -- the point is that Cash is idolized by important artists on both the country and rock sides of the fence, and I don't think as strong an argument can be made for Dylan. Plus, in this here day and age, every singer-songwriter who ever picked up an acoustic guitar, every folk-rocker, every punk rocker and every politically charged rapper (and any other outspoken musician), and every artist who defied their own musical definition and followed his or her own muse, quite likely owes a debt to the Zim. Where's the obvious examples of modern-day repercussions of Cash's work? In all the above: Cash was an iconoclast star when Dylan was still wetting himself in Hibbing. Cash blazed the trail, Dylan followed it. No, many of the types you mention might not cite Cash as an explicit influence, but then again, a lot of them might not cite Dylan either. And if Cash *found* rock roll, does that mean Elvis didn't? Hmm... guess I've got my musical references all wrong. I said he *helped* found rock and roll. Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Re: Cash, etc.
Don: As for Dylan's influence on pop music, I'd bet Bob would choose the Big E. over himself any day. Indeed. Not that we don't all love and respect Bobby, but there's just no comparison here --junior
Re: Hey KC? Frogpond?
I'll chime in with my one cent's worth of info...though I haven't heard the band either. David probably has them pegged pretty well, compared to what I've heard about the band. The new Frogpond disc is due for release May 4 on Columbia. It's titled *Safe Ride Home* Also, the offshoot Exit 159 that both Bill S. and David mentioned (which I think now has two locally released discs) just won the Best Alternative/Rock Band award at the Kansas City/Lawrence Area Music Awards (Klammies). (David, for what it's worth, the Weekly Pitch spells the leader's name Kristi Stremel). BTW, another Klammies winner of note was Arthur Dodge the Horsefeathers as Best Country/Bluegrass Band *and* Best Folk Act. Jack Copeland Shawnee, Kansas At 05:30 PM 4/19/99 EDT, Neil wrote: Just heard a song by Frogpond on bravenewworld.net and it was really something special in a twangless, indie pop sort of way. Anyone know anything about 'em? Cantwell? Do you dip in this part of the local-music pool? Wowee. I love when this happens. NW
Re: Remember, its Denver
Cash is one of only two musicians in both the country and rock halls of fame. Is this still true? Because Bob Wills just went into the Rock 'n' Roll HOF a few weeks ago, and I've gotta believe that he'd already made the cut for the Country Music HOF. Unless the Opry's still pissed about that drum thing g. Lance . . .
Re: Remember, its Denver
There just aren't many artists in any genre as influential as Cash. Dylan maybe. Dylan *maybe*? How about: "There just aren't many artists in any genre as influential as Dylan. Cash maybe." But I doubt it. Bob Dylan's the single most influential pop musician in the 20th century. Hands down. Either him or Mark Linkous in Sparklehorse, that is. Neal Weiss
Cash, etc. (was Re: Remember, its Denver
There just aren't many artists in any genre as influential as Cash Not to begrudge Cash his due, but I can think of at least a half-dozen country performers who have been more influential, at least as far as country music is concerned: Jimmie Rodgers, Bob Wills, Bill Monroe, Hank Williams, George Jones and Merle Haggard. As for Dylan's influence on pop music, I'd bet Bob would choose the Big E. over himself any day.--don
Re: Clip: The Grand Wizard of Wrestling died for your sins
In a message dated 4/19/99 9:45:35 AM Central Daylight Time, [EMAIL PROTECTED] writes: Is The Nashville Network ready to add a wrestling show to its schedule, or is the speculation just a bunch of pro-wrestling hokum? It would be better than 3 hours of "Dallas" every day. I think ECW would be too violent for TNN, but you never know. Memphis has the best live TV wrestling in the world, or it did a few years ago. Maybe TNN needs to lookin it's own back yard. I would watch it. Slim - The Masked Inferno
Re: Remember, its Denver
Neal: Dylan *maybe*? How about: "There just aren't many artists in any genre as influential as Dylan. Cash maybe." But I doubt it. Bob Dylan's the single most influential pop musician in the 20th century. Hands down. Cash eclipses Dylan. Cash is one of only two musicians in both the country and rock halls of fame. Cash has Dylan in decades o' influence, five to four. Cash helped *found* rock roll, for chrissake. Don't get me wrong -- I love His Bobness, but Cash vs. Dylan is a blowout. And I bet Bob would agree. Dave, surprised that the rockcrit in Neal didn't nominate Zack "Frenzy" Sanders of the Tiny Rocket Men From Idaho -- who we all know had a very important garage rock single in 1965 that briefly charted in Greenland -- as the most influential pop musician of the 20th century *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Playlist - Monday Breakfast Jam - A Morning Drivetime Show on KRCL 91FM, SLC, UT 4/19/99
Here is the playlist for Monday Breakfast Jam on KRCL 91FM, SLC, Ut for April 19, 1999. Monday Breakfast Jam is an eclectic morning drivetime presentation totally programmed and present by me over KRCL 91FM in Salt Lake City. The show generally revolves around contemporary singer/songwriters, folk, folk-rock and rock artists. A little bluegrass, jazz, world or spoken word pieces thrown in. If, after reviewing this playlist, you feel that your music would fit in the general vicinity of what I do, feeler to forward me copies at the snail mail address below. Be aware that it is station policy that any mail, regardless of recipient name on it, arriving at the station address is consider property of the station and not the individual programmer. Thanks to all the artists who have forwarded stuff for their kind (and much appreciated) support. Feel free to forward me any promo material. It will get listened to for possible inclusion on a later show. The Iceman (Doug Young) email: [EMAIL PROTECTED] snail mail: Doug Young 3855 Nordin Ave. Ogden, UT 84403 Station copies should be mailed to KRCL 230 S 500 w, Suite 105 SLC, UT 84101 Attn.: Music Director Format: Cut Artist Album Label MONDAY BREAKFAST JAM PLAYLIST FOR April 19, 1999 MAYBE YOU'RE RIGHTUPROOTED THE RANKINS ROUNDER MY CAT LEFT HOME NIGHT SUNNIGHT SUN MAP OF MY HEART NIGHT IN A STRANGE TOWN LYNN MILES PHILO NUMBER 37 ROAD JAMES KEELAGHAN HIGHTONE LA PRIMERALOST HERD IAN TYSONVANGUARD FEEL YOUR OWN TEARS ONE DROP ALLEN DOBB AND DUMELARESOURCE AFTER THE FIRST TIME MOLINOS THE PAPERBOYSSTONY PLAIN WILDER THAN HER WHAT DO YOU HEAR IN THESE SOUNDS DAR WILLIAMS w FRED EAGLESMITH RAZOR TIE COOL BLUES STORY WOMEN IN PRISON EVIE SANDS w LUCINDA WILLIAMSTRAIN WRECK WRAPPED WHAT I DESERVE KELLY WILLIS RYKODISC NOWHERE AT ALLA SMALL GOOD THING BOCEPHUS KINGNEW WEST OTHER GIRLS BULL SAY ZUZU BROKEN WHITE FLASH IN THE NIGHTTHE JOEL RAFAEL BAND THE JOEL RAFAEL BAND RELUCTANT ANGEL JUST ONE LOVE JACKALOPES, MOONS ANGELS KIMMIE RHODES w JOE ELY JACKALOPE OLD LOVE KEEPS ON BURNING YOU DON'T KNOW ME DENICE FRANKEDE NICE GIRL MISTAKES I'VE GOT A RIGHT TO CRY MANDY BARNETTSIRE WHAT ABOUT ME TAKE YOUR SHOES OFF ROBERT CRAY BAND RYKODISC CHAN, CHAN (CHARLIE'S BLUES) CONTINENTAL DRIFTER CHARLIE MUSSELWHITE POINTBLANK YOU JUST DON'T WANT METHIS AIN'T OVER YET GRETA LEEself-release DON'T YOU FEEL IT TOO?LOW DOWN AND UP TONI PRICE ANTONE'S CHURCH OF THE FALLING RAINCHURCH OF THE FALLING RAIN THE STONE COYOTESRED CAT SOLD AMERICAN PEARLS IN THE SNOW: THE SONGS OF KINKY FRIEDMAN (various) LYLE LOVETT KINKAJOU TOTAL STRANGERLITTLE MYSTERY TODD THIBAUD DOOLITTLE GEORGIA LEE MULE VARIATIONS TOM WAITSEPITAPH NEXT DOOR DOWNSIMPLE GEARLE STACEY EARLE GEARLE ROMEO RESPOND (various) JESS KLEIN SIGNATURE SOUND RUN AWAY TO THE CIRCUSDRIVE CHRIS WEBSTERCOMPASS I'M STILL IN LOVE WITH YOUTHE MOUNTAIN STEVE EARLE DEL MCCOURY BAND E2 GO TO HELLSIMPLIFY RYAN SHUPE AND THE RUBBER BAND TYDAL WAVE NASHVILLE CATSTHE FAMILY THE DEL MCCOURY BAND CIELI NO ONE I COULD TALK TO THIS ABOUT COLLABORATIONS CHRIS CHANDLER w CATIE CURTIS1-800-PRIME-CD TURN THE LIGHTS BACK ON TEN YEAR NIGHT LUCY KAPLANSKY RED HOUSE NOWHERE TO GO THREE WISHES ERICA WHEELERSIGNATURE SOUND UNHOLY TRAIN HALF MAD MOON THE DAMNATIONS TXSIRE NO PLACE WORTH DYING FOR SPARK JULIAN DAWSONGADFLY LET THE IDIOT SPEAK FIGHT SONGS OLD 97'S
Re: Elvis (was Moby Grape's Skip Spence Dies at 52)
On Sun, 18 Apr 1999 21:19:56 -0700 (PDT) Jerry Curry [EMAIL PROTECTED] wrote: NP: The absolutely BEST reissue anywhere, anytime.Elvis Memphis Sessions 1969. I think Peter Guaralinck exhumed Elvis and performed a Vulcan mindmeld. Incredible detail in the liner notes. anybody else have this reissue comp.? No, but I have a friend who has the original on vinyl and it's the pride of his record collection. I've lusted after it for years. William Cocke Senior Writer HSC Development University of Virginia (804) 924-8432
RE: Underappreciated (long)
--You Am I--"Hi Fi Way"--the second album by these Aussies, where they turn down the Stooges, turn up The Jam and get spectacular results. Next to Afghan Whigs Curve, THE best concert I saw last year. The lead singer has a charisma that controls a crowd like none I've seen, and the band's energy is palpable. I kick myself for the number of their Seattle shows I've missed, and vow it'll never happen again. Amazing show. I tend to prefer the third album, _Hourly, Daily_ and the 4th, _#4 Record_, to their rawer first two. Sidewinders--"Auntie Ramos' Pool Hall"--big, loud, 2-guitar roots rock. I can't imagine a Scorchers fan not liking this one. Steve Kirsch [EMAIL PROTECTED] Another favorite band. This would be my favorite out of their Sidewinders releases. Underappreciated as well, and even more brilliant, was their first release as the Sand Rubies (s/t cd). FYI, Dave Slutes (vocals, guitars) has a release coming on Contingency (http://www.contingency.com) with his side-project, Maryanne. 10 fine power-pop songs - out May 4th, I think. And Rich Hopkins (guitars) has a bunch of stuff in the works for '99 - Luminarios, a Billy Sedlmayr (sp?) disc, and some others I can't remember. Billy co-wrote, or wrote, my favorite tracks on the Luminarios discs _El Paso_ and _Glorious Sounds of Rich Hopkins Luminarios_. Chris
Re: Criminally Underappreciated Albums
On Mon, 19 Apr 1999, Steve Gardner wrote: Well, seeing as the Jimmy Murphy "Electricity" reissue on our label soundscanned 5 its first week out I'd have to say that he wins the prize. :^) I purchased this yesterday as well, primarily on the advice of a friend. Damn good advice, I tell you. What a find. Course, she found the Bear Family Jimmy Murphy disc. I wish I'd found both. Fabulous artist, do yourself a favor and check him out. Steve, please address my Sugar Hill check to.Big G! NP: Danni Leigh - you know what, this is good. Jerry
Re: Criminally Underappreciated
So whose big idea was this anyway? Thanks a bunch Jake, now I've had to make yet another lengthy list of records I oughta hear. A guy could go broke subscribing to this list. Anyway, few more nominees. -Heather Myles, Just Like Old Times: '92 debut, every bit as good as Highways Honky Tonks. -Bobbie Cryner, Girl of Your Dreams: Indeed. Gives country pop a good name. -Dan Penn, Do Right Man: Sweet soul music, the likes of which they just don't make much any more. -Jimmy Rogers, Blue Bird: Old school Chicago blues, the likes of which they just don't make much any more. -Bob Dylan, Good As I Been To You and/or World Gone Wrong: Bob's anthologies of American folk music, killing time in the best sense of the words. M Moore
Clip: The Grand Wizard of Wrestling died for your sins
From TV Guide: Wrestling Heading to TNN? Friday, April 16, 1999 Is The Nashville Network ready to add a wrestling show to its schedule, or is the speculation just a bunch of pro-wrestling hokum? Rumors have been flying among wrestling fans that the country-oriented cable channel is preparing to launch its own wrestling show this fall to cash in on the kind of success currently enjoyed by competing networks USA and TNT. The National Wrestling Alliance and Extreme Championship Wrestling, two upstart wrestling organizations that currently buy airtime on local TV stations around the country, are said to be vying for a TNN network deal. "The reality is that it appears wrestling will show up there in one form or another, and my hope is that it shows up with a name-brand identification and with our potential involvement," says NWA's Bill Behrens. "There is a contract, there is a commitment, but it isn't going to start until it does. Obviously, there are certain financial timetables that need to be met." So, does this mean that Shania Twain might soon be sharing airtime with muscled strongmen on TNN? It wouldn't come as too much of a surprise, considering the network recently added a Roller Jam roller-derby show to its schedule. Then again, it didn't sound very promising when we asked a TNN spokesman about the wrestling rumors: "We have no clue where the rumor started. There is no truth to the rumor." Rich Brown
Criminally Underappreciated Albums
Well, seeing as the Jimmy Murphy "Electricity" reissue on our label soundscanned 5 its first week out I'd have to say that he wins the prize. :^) -- == Steve Gardner * Sugar Hill Records Radio Promotion [EMAIL PROTECTED] * www.sugarhillrecords.com WXDU "Topsoil" * A Century of Country Music [EMAIL PROTECTED] * www.topsoil.net ==
RE: criminally underappreciated albums of the '90s
er...ahm.I made these all up. But yeh, maybe it should be an album Sorry. I'm sure I have a real list somewhere.. M -Original Message- From: Michele Flannery [SMTP:[EMAIL PROTECTED]] Sent: Friday, April 16, 1999 6:00 PM To: passenger side Subject: 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
Alan Jackson Everything I Love press kit fer free...
hey kids; Got an Alan Jackson "Everything I Love" press kit that I'm either gonna throw away (you know, glossy pic, weasel literature, etc. etc. in a nice folder) unless someone wants it. First come first serve... dan bentele
Re: Clem Snide (Was Criminally Underappreciated Albums)
In a message dated 4/19/99 12:18:24 AM Central Daylight Time, [EMAIL PROTECTED] writes: O.K., just the other day I saw a reference to the original Clem Snide, i.e. where the band got its name, but now I can't remember what it was. Help! tony -- snide was a character in a couple of william s burroughs novels. bill f-w
RE: Era of Perfect Singles
The "era of the single" died when they stopped making 45's, IMHO. The switch to those horrid little cassette's in the mid 80's and then the "cd single" killed the single. I know, I know, a single is a song released to radio, but who cares anymore? The 45 stood on its own as a concept. They're still fun to buy: I just picked up some old James Brown singles on the King label (a purple label, and one with his face on it) and a couple Al Green on Hi. I don't even need to hear em: just to look at em is perfect. Who even sees "cassingles" on the market anymore? Who'd want em? Then again, maybe I'm getting old. -Original Message- From: BARNARD [SMTP:[EMAIL PROTECTED]] Sent: Saturday, April 17, 1999 7:25 PM To: passenger side Subject: Re: Era of Perfect Singles CK archly suggests: hope you're not suggesting that the list of 50's and 60's era singles are somehow superior to the singles of the 70s, 80s, and 90s. Since that would be wrong. g No, but as several pointed out, the era in which the single ruled was drawing to a close in the 70s and early 80s. As a medium, as an institution (running out to buy 45 rpm records by major artists, actually playing them, etc...), as a way to conceptualize the writing, arranging, production, etc., of a piece of music, they really mark an era. In that sense, it's fair to say there was indeed an "era" of the single which is long over I certainly wouldn't suggest the music of one period is superior to that of another, but that there was a period during which the 45 medium dominated the airwaves and determined a lot of things about both the production and reception of pop music, I think there is little doubt. Smart-ass youngun! g --junior
Re: The Barkers : mp3s, new record, tour, etc.
Hey there, Greg, being funny... You know what would be a great double-bill? The Bobs The Barkers Heh heh heh! Get it? Bobs. Barkers. Oh nevermind. As opposed to the much more influential bill of The Bobs The Dylans (short lived UK guitar band) 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]
Rock and Country HOF
Hey there, Dave... Cash is one of only two musicians in both the country and rock halls of fame. Lance... Is this still true? Because Bob Wills just went into the Rock 'n' Roll HOF a few weeks ago, and I've gotta believe that he'd already made the cut for the Country Music HOF. Unless the Opry's still pissed about that drum thing g. Firstly, I'm doing this to change the subject line, since I thought I was getting loads of advice on goings on in Denver. Secondly, I was gonna add some minor comment to the Cash vs Dylan thing but the thread is pretty much well underway. Thirdly, if we are counting the 'early influences' category in the Rock HOF are the folks that are in both... Elvis Cash Bob Wills Bill Monroe Jimmie Rodgers and did Carl Perkins make both? 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]
Clip-Shelby Lynne
From this week's e-pulse: 6. (LATE-SUMMER) COMEBACK OF THE WEEK: A decade ago, SHELBY LYNNE was just another misfit in Nashville, a very promising but not easily categorized young performer who was signed to a major label (Sony) intent on developing her talents within the constraints of the Nashville system. After washing out there, she signed with a sad excuse for a record company called Morgan Creek and released a fine (and ahead of its time) swing album in 1993; that label went belly-up before anything happened. Then she went underground -- or, to be more precise, back home to Alabama. Cut to the present: She's back. Lynne, who in her absence has watched her little sister Allison Moorer become a rising star in Nashville, has resurfaced with a label deal and a new record, produced by Bill Bottrell (Sheryl Crow). 'THIS IS SHELBY LYNNE' (Mercury/Island, 8/3) won't be out for a while, but that's a good thing; it'll buy Island some time to set it up properly with the press and radio. Which shouldn't be any kind of problem -- 'This Is ' is the kind of knockout punch that makes its newly won fans fall over themselves in their evangelical zeal to get the word out to others. It's that good. The 36-minute, 10-cut disc kicks off with "Your Lies," a stunning, big Southern-pop ballad in the tradition of Billy Joe Royal's "I Knew You When." As soon as that song's fade slides into "Leavin'," which sounds like 'Ingenue'-era k.d. lang fused with the Gladys Knight of "Midnight Train to Georgia," you realize that what you're listening to is no ordinary album. Next up is the disc's most overtly rock tune, the slide-guitar-driven "Life Is Bad," which may be more in line with Bottrell and Crow's 'Tuesday Night Music Club' album. But things kick back into a fluid soulful groove with "Easier," an updated take on Memphis and Muscle Shoals that betrays Lynne's debt to the likes of Aretha Franklin and Dusty Springfield. (No wonder the Nashville brain trust couldn't figure out what to do with her.) "Gotta Get Back" and "Why Can't You Be," which follow, expand the album's country-soul feel; by this time, you know Lynne's spent some time woodshed-ing with a decent-sized stack of Dusty Springfield sides. Similarly, acoustic numbers like "Lookin' Up" and "Dream Some" add an introspective slant nicked from '70s hybridized folk chanteuses like Joni Mitchell and Phoebe Snow. But the next tune, "Where I'm From" reasserts the album's churchy country-soul vibe with a blast of Alabama attitude. And the closer, "Black Light Blue," is a string-caressed torch number that lies down nicely next to the retro-countrypolitan stylings of k.d. lang's 'Shadowland.' It's an eclectic mix, but from start to finish the album's song sequence flows naturally; it's stitched together in a manner that recalls Marvin Gaye's landmark soul album, 'What's Going On.' Everything fits like a well-worn pair of favorite shoes, and the retro-familiarity of the music also acts to draw the listener in. Which acts somewhat as a palliative, as these songs' thematic embrace of loss and acceptance need some sort of sweet counterbalance to the expression here of some of life's bitter vicissitudes. But the hard-won battles of life often make for great art, and 'This Is Shelby Lynne' is the kind of record that often catapults a heretofore-obscure artist into the heady realm inhabited by superstars. On the basis of this thoroughly wonderful disc, if it happens to Lynne, it really shouldn't be much of a surprise to anyone. (Griffith) "Time begins on Opening Day" -Thomas Boswell
Re: Playlist 15 April 1999 - PBS-FM, Melbourne, Australia
Hey Slim! That's so cool that one of your family members heard you on the radio - howzabout that?!? I really love your CD and have been listening to it incessantly at home. It was so nice to meet you and hang out in Austin. cheers, Sophie === _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
RE: Der Bingle
I'm with brother Cantwell on this, have been ever since Merle Haggard cited Der Bingle as one of the most influential singers in the history of country music and one of his favoritest. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
RE: Ghost Riders
"Ghost Riders" it was, and unpopular though I know this will be, I'd rather listen all day to Brooks Dunn singing it than listen a second time to Bruce Springsteen turn "Give My Love To Rose" into some kind of sensitive dirge. But that's just me. I wish I'd seen more of that show, or at least Marty Stuart. Marty was on the Opry Saturday night and sounded great. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
AOTD again
So, I caught the AOTD's 15-minute portion of the second show on the Opry Saturday night, and what he did was, he came out with just his guitar and sang a Guy Clark song, then introduced unscheduled guest Guy Clark, who sang one of his songs with Jamie Hartford backing him, and then the 3 of them did another one of his songs, and that was it. Good music, and a very classy move. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
Dallas/Ft. Worth info needed
I've got a friend who's going to be traveling to DFW and is looking for some info about where to stay, etc., so anyone there willing to share, please contact me off-list. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
Re: Single Most Influential 20th Century Pop Musician
Yow, tough stuff. I'm inclinded to offer up (as Brad did) Bing Crosby, who pioneered how to sing pop into a microphone. Almost all pop singers use aspects of techniques he pioneered, from Elvis to Shania to Sinatra to Al Green. Because I got into a similar discussion yesterday in my bar with a CSNY advocate, I gotta chuck in Brian Wilson. In terms of harmony and arranging, he pretty much rewrote pop. Shame about the going bonkers thing. cherilyn.
Re: AOTD again
So, I caught the AOTD's 15-minute portion of the second show on the Opry Saturday night, and what he did was, he came out with just his guitar and sang a Guy Clark song I didn't know Beck was playing the Opry. Damn. NW
