Junior Brown, Blotter Bots, Chris Whitley, Chris Knight - Charlotte, NC in May June
Hi NC/SC Music fans: Tickets for these upcoming concerts at The Neighborhood Theatre are available in independent record stores in Charlotte Huntersville ... you can pick them up or order by phone (704.309.2087); or on-line @ www.maxxmusic.com. Saturday, May 22nd @ 8:00 PM Junior Brown returns to the Neighborhood Theatre This one is being co-produced with Paul Sharon of NT fame. We're not 100% sure yet but Mandy Barnett should open the show - she's being called the best female vocalist out of Nashville since Patsy Cline! And you get this all for $20.00 Saturday, June 26th @ 8:00 PM The Blotter Boys make their Neighborhood Theatre debut - they're the super-group consisting of Vassar Clements on violin; Buddy Cage (New Riders Of The Purple Sage/The Band/Bob Dylan) on pedal steel; Sammy Piazza (Stevie Ray Vaughn/Hot Tuna) on drums; Boyd Albritton (Quicksilver/John Lee Hooker/Buddy Miles) on guitar and Mike Sudderth (The Grass Roots/Billy Joe Royal) on bass. Tapers get ready - this is a deal at $15.00. Sunday, May 9th @ 8:00 PM Chris Whitley and Chris Knight The night of the Chrises ... I'm really excited about this one - Chris Whitley has been a favorite since the release of Living With The Law in 1991(I'm sure you remember the title track, Big Sky Country, Poison Girl, Dust Radio) and he's returned to that National Steel sound on his latest - Dirt Floor! Chris Knight's self-titled debut ranks right up there on my favorite of 1998 list - if you haven't heard it, think Steve Earle, Fred Eaglesmith ... just think about going out buying it!! A night with the two Chrises will be $12.50. Thanks for supporting live music in Charlotte! Gregg McCraw MaxxMusic
Re: Welfare Music
Jeff said: My only complaint is that Chris Gray (singer/gee-tar) says he likes Sheryl Crow... Sheryl Crow is a three on a scale of 1-5. She ain't great, but she ain't Mariah Carey. Jeff Huh? Mariah Carey cannot and I repeat cannot stay glued to one note long enough to let you hear for sure that she has raked her vocal chords over the coals for the last time and will be in need of vocal chord surgery any day now. Trilling a scale is for people who've lost it - do not confuse with the great scatting of Ella Fitzgerald in her heyday. Carey's camp wants us to believe that she has an eight-octave range. Yeah, right - if rocks could fly. Sorry Jeff, Carey ruined her voice a long time ago. On Crow - well, pleasant voice but I'm still looking for a female Delbert McClinton or Paul Rodgers in his day - maybe Bonnie Raitt meets Wynonna? g Tera
Damnations, TX - Charlotte, NC
Hi NC/SC music fans: I'm giving lots of advance warning for the Tuesday, April 27th edition of Charlotte's Tuesday Night Americana Showcase - held every week at the Double Door Inn. Music starts @ 9:00 (early) so you can get some sleep for work on Wednesday! This week it's host David Childers and the hottest band in Austin, Texas these days Damnations TX!!! Sisters Amy Boone Deborah Kelly (along with Rob Bernard) have just released their debut CD - "Half Mad Moon" and it's a blend of punk, rock, bluegrass, soul country ... it's done a great deal of time on my player for the past month!!! Think Lone Justice .. or Cowboy Junkies with lots more energy think about not missing Tuesday night because they rank with the best Showcase guests yet! Thanks for continuing to support live music in Charlotte! Gregg McCraw MaxxMusic Tuesday Night Americana Showcase
RE: Welfare Music
Wasn't the same said about Captain Beefheart? Now THAT was a voice. -Original Message- From: vgs399 [mailto:[EMAIL PROTECTED]] Sent: Wednesday, April 21, 1999 9:00 AM To: passenger side Subject: Re: Welfare Music Carey's camp wants us to believe that she has an eight-octave range. Yeah, right - if rocks could fly.
Re: Clip: the Mary Janes on salon.com
THANK you! Linda, no longer feeling like twisting in the wind on this band
Re: Welfare Music
On Wed, 21 Apr 1999, JP Riedie wrote: Shryl Crow is one of the best big mainstream stars around. Not only is her heart in the right place, her records are extremely well-crafted and listenable, her melodic sense is stronger than many better writers and at the very least she tries to express herself. If she wasn't selling tons of records she would, I think be champoined by several folks on this list. Since she needs no championing, I'll do it just to be contrary. I totally agree on all accounts here. I don't own any of her records . . . but I think this sums up my impressions of her as a person and an artist. And I have had a few instances where I have heard a song on the radio and liked and found out it was CC. Great voice too . . . one of the most expressive female voices in pop music. -jim
RE: Mandy B
I wonder if Jon could provide a list of records that have made the country music charts, singles, albums, whatever, that have not come from Nashville based labels in the past, let's say 5 years. Just looking for evidence that the "Nashville machine" doesn't exist. g Jim
Re: My Bing-a-Ling
Joe Gracey wrote: Bob Wills made his guys learn the hit songs on the charts no matter what genre they came from. They had to, even though he had hits of his own. Along these lines, sorta kinda, I had a weird experience along these lines last week. I'd just passed the point in Colin Escott's Hank bio where he was discussing Hank's hits charting on the pop side, for Mitch Miller and the like. He mentioned Tony Bennett's cover of "Cold, Cold Heart" -- I heard that very same version playing over a restaurant's sound system the next night. Spooky. Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Re: Here Be Monsters
No repeat peformance by Frank the Chihuahua? Damn. The highlight of the last Here Be Monsters was definitely the performance piece with Frank (as the ghost of Hank Williams playing theramin in a Soundgarden cover band), Subway Red the Peanut Vendor, and Cam Fong as Chin Ho. Brilliant! Dave [EMAIL PROTECTED] wrote: Christopher Mills wrote: Here Be Monsters April 27 9pm @ Schuba's *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Re: Summer Teeth?
Bob Burns: It's a really catchy song. I haven't analyzed it but after a few listens I believe the song is a bout nothing but a dream that makes no sense. thanks for the info. if you subscribe to the jungian school of thought (collective unconscious and all that), nothing means nothing. note to self: stop doing bong-hits before work g like a bird that flew, JF ___ Get Free Email and Do More On The Web. Visit http://www.msn.com
Beale Street Music Festival-May 7-9 (Big Star, etc)
For those of you relatively close to Memphis this May, keep in mind that Big Star will be playing a very rare show at the aforementioned festival on Friday. Unfortunately, detail on bandmates is unknown at this time, but as long as Jody Stephens shows up, a splendid time is guaranteed for all. Los Lobos is also playing on Friday, as is a Stax Records Salute, featuring Booker T. the MGs, the Bar-Kays, Eddie Floyd, etc!!! On Saturday, the list of performers includes Wilson Pickett (who I have to imagine will have BT the MGs backing him up), Dr. John, G. Love Special Sauce, Bela Fleck the Flecktones, Cheap Trick, Koko Taylor, RL Burnside, Corey Harris, and a Sun Records Salute, featuring Billy Lee Riley, Paul Burlison, Sonny Burgess, Malcolm Yelvington, and a buncha others. Anyway, head over to www.memphisinmay.org/beale/ and check out the fest. Should be fun!! Lance . . .
Clip: Johnny Cash
Tuesday April 20 3:54 PM ET Johnny Cash Gets Spiritual BURLINGTON, N.J. (AP) - Johnny Cash has recorded more than 400 of his favorite Scriptures for a soon-to-be-released line of electronic Bibles. Cash will narrate the desktop version of Franklin Electronics' King James Bible due out in July. He has been a spokesman for the Burlington, N.J.-based company for six years. ``I am honored to lend my voice and share my favorite, hand-picked passages from the Scriptures with other daily devotionalists,'' Cash said in a statement. Cash, 67, has been sidelined in recent months with a rare neurological disorder, Shy-Drager Syndrome, which causes progressive damage to the nervous system. His voice, however, is still strong.
Clip: Kelly Willis
Country flame After 10 years, Kelly Willis gets what she deserves By Donna Freydkin CNN Interactive Contributing Music Writer (CNN) -- Given country singer Kelly Willis' less-than-easy sojourn in the music business, she's probably earned a certain amount of bitterness. In less than a decade, the gifted vocalist has been given the proverbial boot by her first label, MCA Nashville; lost her second recording deal; and in the last five years has had to content herself with only one promotional EP to her name. But after years of such travail, Willis has released "What I Deserve," her critically lauded labor of love. The title might seem to be a statement of Willis' vindication. But this amazingly tranquil artist swears she's not bitter. She says she's just delighted and relieved that she's had the chance to release the record she's been hearing in her head for most of her adult life. "A lot of it was backbreaking, hard and discouraging, to where I thought maybe I wasn't cut out for this thing, maybe it's just too hard for me," says Willis. "But I thought, I have to make this record for my own personal wellbeing. Once I make this record, I can quit if I choose." For Willis, the album is a triumph, proof that she has what it takes to make it in country music -- while holding onto her artistic integrity. "What I Deserve" is moody, quiet, pensive -- more alt-country than much of what's coming out of Nashville. With her throaty voice and introspective lyrics, Willis most resembles a country version of Sarah McLachlan. The album, released on independent label Rykodisc in February, is already outselling her first three albums for MCA Nashville, released in the early 1990s. "This album is a soul-searching, self-redemption album that figures out where you're going and what you want to do with your life," says Willis. No hard feelings The Oklahoma native started out fronting a rockabilly band, Kelly and the Fireballs, at age 16. In the late '80s, Willis moved to Austin, Texas, where the band attracted the attention of country singer Nanci Griffith, who caught a performance and immediately alerted MCA. So at 19, the promising Willis got a deal with the same label that was home to Griffith, Lyle Lovett and Steve Earle. A few months later, she started working on her debut album, "Well Traveled Love." And that's when the problems started. In the early 1990s, the label wanted a cute country crooner, a photogenic media star, but Willis says she was just a timid, naïve, introverted kid who wanted to make music. After releasing three albums, which collectively sold fewer than 100,000 copies and registered only with critics -- MCA dropped her. "I was young and my music sounded young, but the sound wasn't right for the time," recalls Willis. "And I was a really awkward, shy person and was not capable of being the kind of performer they really wanted. And there were other creative differences as well. I wanted to take a little time, do some different songs, and be a little more creative with it -- and that got nixed pretty early on in the recording process. "I don't feel bad about it," she says, now 10 years wiser. "I was young and inexperienced. With the experience I have now, I would have said, 'Screw you, I'm going to take more time and do what I want.' Back then, I was really intimidated by the whole thing." Willis decided to reinvent herself, and focused on writing her music. After signing with AM in 1996, she released "Fading Fast," a four-song promotional EP which featured collaborations with alt-country performers Louris, Son Volt and 16 Horsepower. But again, Willis had the rug pulled out from under her when she lost the deal with AM in 1997. Willis says she talked to a number of labels, but most of them weren't sure what she'd sound like and didn't want to take a chance on her. So she struck out on her own, making a record and shopping the finished product around to various labels. Rykodisc released her album intact. "That was my dream -- there was no conflict or controversy. Everyone was happy with what was happening and that was ideal," Willis says. So far, the response has been staggeringly positive, earning Willis ink in Time, Spin and Rolling Stone. She says she's more surprised than anyone. "I didn't think about what people's reactions would be," she says. "In a small part of my mind, I did. But mostly, I was just desperate to get the record made. I never thought what would happen beyond that. I just knew I would move forward after it." The recognition couldn't have come at a better time for Willis, who says she was ready to abandon her lifelong dream of making music her way for a safer and steadier day job. Sweet victory A decade after being dropped by MCA Nashville, a jubilant Willis is in Atlanta, following a triumphant performance at Nashville's Grand Ole Opry the night before. Before a packed crowd, which included many members of her old MCA family, Willis says she exonerated
Re: Beale Street Music Festival-May 7-9 (Big Star, etc)
Lance Davis writes: For those of you relatively close to Memphis this May, keep in mind that Big Star will be playing a very rare show at the aforementioned festival on Friday. Unfortunately, detail on bandmates is unknown at this time, but as long as Jody Stephens shows up, a splendid time is guaranteed for all. Word on the Posies list last week was that both Ken Stringfellow and Jon Auer will be holding down their usual posts in the group; Ken on bass and vocals and Jon on guitar and vocals. --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
Re: Blue Chip Radio Report, 04/19/99
At 09:00 PM 4/20/99 -0500, you wrote: Hey there, Expect more rear-end collisions on Music Row in the near future. Vince Gill's Volvo was involved in a 3-car accident on West End Avenue just off the row a few days ago. Reports say that Vince was stopped for a red light when he was rammed from behind and pushed into the car in ahead of him. Shouldnt driving a Volvo disqualify one from being the AOTD? Cal Highway Patrol is testing a few Volvos as police crusisers. I would be embarassed to be pulled over by a Volvo. 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: Welfare Music
At 02:59 AM 4/21/99 -0400, you wrote: Jeff said: My only complaint is that Chris Gray (singer/gee-tar) says he likes Sheryl Crow... Sheryl Crow is a three on a scale of 1-5. She ain't great, but she ain't Mariah Carey. Jeff Huh? Mariah Carey cannot and I repeat cannot stay glued to one note long enough to let you hear for sure that she has raked her vocal chords over the mariah's a one. 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: Clip: Johnny Cash
BURLINGTON, N.J. (AP) - Johnny Cash has recorded more than 400 of his favorite Scriptures for a soon-to-be-released line of electronic Bibles. From Matthew 21:2 -- "Hello, I'm Jesus Christ." Sorry, couldn't resist. Dave np: Mike Ness -- Digging it, and it's not nearly as one-dimensional as the typical Social D record, though I would appreciate a bit of harmony here and there. *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Clip==Gatton, Kirchen Reviews
Guitar Wizard A Posthumous Collection Celebrates Danny Gatton By Mike Joyce Special to The Washington Post Wednesday, April 21, 1999; Page C01 How did Danny Gatton acquire his nickname, "The Humbler"? Simple. By inspiring the awe and deflating the egos of countless guitarists around the world. The boy who seemed a natural musician to his parents -- he picked out "Foggy Mountain Breakdown" on the banjo immediately after getting his hands on one -- later seemed a supernatural talent to his peers, a "master of the Telecaster" whose speed, dexterity and precision swiftly removed him from the realm of ordinary pickers. The new double-CD set "Red Hot Guitar: The Danny Gatton Anthology" (Rhino), is a 27-track celebration of Gatton's career, which ended tragically when he committed suicide on Oct. 4, 1994. A souped-up mix of rockabilly, blues, pop, jazz, country and Gatton's patented "redneck jazz," the music mostly derives from nine recordings released between 1975 and 1998, on both independent and major labels, and provides an unprecedented view of Gatton's broad stylistic reach. The first disc is nothing short of dazzling. It opens with performances by Gatton and the Fat Boys (featuring the late pianist Dick Heintze and rhythm guitarist Billy Hancock) and closes with Gatton's overdubbed performances for the 1992 Blue Note jazz album "New York Stories, Volume One." Particularly enjoyable is Gatton's subdued pairing with steel guitar ace Buddy Emmons, an alliance that produced, among other things, a shimmering arrangement of "Canadian Sunset." Other tracks, though, including "Honeysuckle Rose," "Redneck Jazz" and "One for Lenny," provide plenty of reason to keep listening as the guitarist demonstrates his flair for brightening or shading arrangements with melodic embellishments, rippling arpeggios, simulated horn and organ parts, atmospheric effects, anthemic blues riffs, rolling banjo-inspired patterns and chiming harmonics. The music on the second disc, while sometimes more polished, further illustrates Gatton's eclectic tastes and exceptional musicianship. The opening track, "Funhouse," lives up to its billing, thanks to the brash alliance Gatton forged with saxophonist Bill Holloman. "So Good," also from the 1993 album "Cruisin' Deuces," conveys a similarly exuberant spirit and momentum before Gatton evokes the chugging rhythms of Elvis's heyday in Memphis, with Delbert McClinton capably handling the vocals on a Sun Records medley. The mood shifts into a freewheeling club groove when Gatton teams up with jazz organist Joey DeFrancesco for three tracks anchored and animated by bassist John Previti and drummer Timm Biery, then shifts again with a cool reprise of the Ahmad Jamal hit "Poinciana." Finally, the compilation closes with something that only Gatton could have imagined and executed: an imposing and improbable melding of "Linus Lucy" and "The Orange Blossom Special." In addition to the performances, a booklet accompanying the set contains detailed discographical notes and a reprint of a 1991 Washington Post Magazine cover story on Gatton, making this collection truly worthy of the musician it honors. (To hear a free Sound Bite from this album, call Post-Haste at 202-334-9000 and press 8181.) Gatton's 'Portraits' A notorious perfectionist and studio tinkerer, Gatton was his own harshest critic, which is why much of the music he recorded during his lifetime wasn't released until after his death. "Portraits" (Big Mo) rounds up 10 recordings that Gatton made in the late '80s and early '90s, both in the studio and onstage. The concert tracks, which include separate versions of "Linus Lucy" and "Orange Blossom Special," as well as "7 Come 11," Gatton's tribute to jazz great Charlie Christian, are vibrant reminders of the excitement he could create onstage when everything clicked. The studio tracks aren't as consistently rewarding, though beginning with the aptly title "Rambunctious," there's no shortage of six-string energy or invention. (To hear a free Sound Bite from this album, call Post-Haste at 202-334-9000 and press 8182.) Bill Kirchen: 'Raise a Ruckus' It's not hard to imagine Gatton getting a big kick out of hearing Bill Kirchen's new album, "Raise a Ruckus" (Hightone). After all, Kirchen is no slouch either when it comes to genre-jumping. There are 14 tunes on "Raise a Ruckus," and Kirchen moves from rockabilly shouts, honky-tonk laments and Western swing tunes to Tex-Mex musings and Southern soul ballads without missing a beat. Even if he weren't such a nimble guitarist and engaging singer, though, Kirchen's talent as a songwriter would warrant plenty of attention. Several tunes on "Raise a Ruckus" illustrate his craft and wit, particularly the album's title track, which sounds as if it were co-written by Bob Dylan and Chuck Berry. "Little Bitty Record," co-written by Kirchen, is another gem, recalling the great pleasures found on 45 rpm singles at the dawn of the rock
Re: Clip: Johnny Cash
Dave Purcell writes: From Matthew 21:2 -- "Hello, I'm Jesus Christ." Sorry, couldn't resist. Don't apologize, Dave--I almost used that as my subject line! --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
Re: Wilco @ Pearl Street
Tweedy actually stopped the song completely: "You know, I don't care how
fucking far you drove to see us. You don't give the band directions."
And really, for me, that sort of sums it up. Abstaining Tom caught these
details about these guys, and I wonder how much patience on-the-wagon Tweedy
needed to have with these obnoxious idiots. If the club can't take steps to
quiet, or remove drunken-stupid patrons who are disrupting the performance, I
can't blame the performer for getting pissed-off enough about it to "break
character", so to speak.
b.s.
Yeah, I should have mentioned that hecklers can really screw up your
groove and take the steam out of the act of performing. I've always been
in bands that would either have come down off the stage and whipped the
guy's ass and then gone back and resumed playing, or acoustic songwriter
stuff like Kimmie does where the people who are there are generally
there to listen to her, and if they are not they are quickly escorted
elsewhere.
Kimmie handles them well when she does get them, however, because she is
so much more verbally facile than most people; she always manages to
shut them up by turning it around on them and embarrassing them in about
two seconds.
I do think that if you are an act that tends to attract noxious drunks
then it would be good to develop a strategy other than letting it ruin
the show for everybody. That's what bouncers are for, if you can't
handle it from the stage pretty fast. The problem is that if the act
comes across as the heavy ("get this asshole out of here") then the
crowd can turn on you. The solution is to talk to the bouncers before
the show and ask them to remove people once they get to the point that
they have caused you to stop what you are doing more than one time.
--
Joe Gracey
President-For-Life, Jackalope Records
http://www.kimmierhodes.com
NYC Willis Weekend Gathering
I was hoping someone in the know regarding the P2 meet 'n' greet in conjunction with Kelly Willis this weekend could tell me what's the plan. Where ye meeting? When? Which night? and anything else. I've been lurking long enough, it's time to get out in the world. I know this has all been covered, but I had to find out what my weekend was going to be like before I knew if I was going to be able to go. Another thing: If anyone's interested, my band (Star City) just finished recording a record and we have some promo cds that I'm giving away to all takers. Some of you might have heard of us. (Maybe not.) We play around the city a lot at Rodeo Bar and the like. I know this falls into the shameless self-promotion category, but hey, I'm giving the things away. If you don't like it you can make it into a coaster or add it to your promo cd mobile. I'll be bringing a big bunch of them to the show with me. Thanks in advance.
RE: Mandy B
I wonder if Jon could provide a list of records that have made the country music charts, singles, albums, whatever, that have not come from Nashville based labels in the past, let's say 5 years. I don't need to. All I need to do is ask if Jim seriously thinks that if the same album were released by, say, Asylum Nashville, which put out Barnett's first album - co-produced by the head of the label, BTW - it would be doing any better at country radio (which isn't based in Nashville). If the answer is no, then obviously the issuing label, not to mention it's location, isn't the main problem; if the answer is yes, I've got some great oceanfront property in Arizona I need to talk to him about. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
Hecklers, was: Wilco @ Pearl Street
My favorite "shut up" line was from Henry Rollins of Black Flag: "Lose the 'tude, dude."
advance Twangfest tickets/URL
Seems to be a slight problem with Village Records URL posted yesterday. Use this URL to buy Twangfest 3 tickets via the web at Village Records' website. Let me know if you have any problems. http://villagerecords.com/cgi-bin/villager/scan/mp=0/sf=artist/se=twangfest/sf=title/se=st
Doo Rag
Does anyone on the list know anything about about a cd called "Chuncked and Muddled" by Doo Rag, on Bloat Records? The somewhat self-consciously retro packaging has a 1994 copyright. Someone I work with just handed it to me, and said "You're always listening to that yee haw stuff, you might like this." She was right. It sounds a little like Beck playing the blues. Very lo fi production. It's curiously hypnotic. I can't stop listening to it.
Correction to URL for Web orders of Twangfest tix
We (we this time being not the Twang Gang, but me) inadvertently included some ASCII formatting junk in the URL you can use to order Twangfest 3 tickets online through Village Records. Try this: http://villagerecords.com/cgi-bin/villager/scan/mp=0/sf=artist/se=twangfest/ sf=title/se=st I tried this out, and it works great. Sorry for any confusion! --Your red-faced Twang Gang representative aka Mark Wyatt [EMAIL PROTECTED] www.twangfest.com
Re: Doo Rag
Yes, I have this CD and it comes in a cardboard box essentially. I believe they are/were from Phoenix. I bought it used primarily based upon a cursory listen. Over time, it hasn't held up very well for me. However, this gives me impetus to revisit and perhaps reform my impressions. I remember it definitely falling on the lo-fi end of things. The packaging is indeed, interesting and it irritated me since it takes up so much shelfspace. g JC On 21 Apr 1999, Robin Hall wrote: Does anyone on the list know anything about about a cd called "Chuncked and Muddled" by Doo Rag, on Bloat Records? The somewhat self-consciously retro packaging has a 1994 copyright. Someone I work with just handed it to me, and said "You're always listening to that yee haw stuff, you might like this." She was right. It sounds a little like Beck playing the blues. Very lo fi production. It's curiously hypnotic. I can't stop listening to it. Jerry Curry - Spectre Booking Independence, Oregon [EMAIL PROTECTED] In the Top 40, half the songs are secret messages to the teen world to drop out, turn on, and groove with the chemicals and light shows at discotheques. -- Art Linkletter
RE: Doo Rag
very lo-fi indie washboard drums indie rock/blues what have you, a la
Chickasaw Mud Puppies, but a little edgier un-trad sounding. "What We Do"
('96) has even rougher production, sounding like it was recorded to produce
a real tinny AM radio sound. Just like Real Audio!
-Original Message-
From: Robin Hall [mailto:[EMAIL PROTECTED]]
Sent: Wednesday, April 21, 1999 11:52 AM
To: passenger side
Subject: Doo Rag
Does anyone on the list know anything about about a cd called "Chuncked and
Muddled" by Doo Rag, on Bloat Records? The somewhat self-consciously retro
packaging has a 1994 copyright.
Someone I work with just handed it to me, and said "You're always listening
to that yee haw stuff, you might like this."
She was right. It sounds a little like Beck playing the blues. Very lo fi
production. It's curiously hypnotic. I can't stop listening to it.
Re: Doo Rag
Does anyone on the list know anything about about a cd called Chuncked and Muddled by Doo Rag, on Bloat Records? The somewhat self-consciously retro packaging has a 1994 copyright. It sounds a little like Beck playing the blues. Very lo fi production. It's curiously hypnotic. I can't stop listening to it. What a great band. I haven't thought about them in a while. I believe that they've broken up. I saw them live a few times. They were definitely lo-fi live as well. I think they were fairly innovative and doing some interesting stuff. I think they did done some work with Jon Spencer. I think the Beck comparison is fair, but I think they both released their first material around the same time. They have another cd released in '96 titled What We Do. I listened to that one a lot back in the day. (Why does '96 seem so long ago??) marie
Re: Doo Rag
they actually also utilize a vacuum cleaner in their arsenal. I hear a bit
of brotherhood with G. Love as well as Beck and the Mud Puppies...I dig
this record-in-a-box too - it came with a cool patch!
--
From: Michele Flannery [EMAIL PROTECTED]
To: "passenger side" [EMAIL PROTECTED]
Subject: RE: Doo Rag
Date: Wed, Apr 21, 1999, 1:03 PM
very lo-fi indie washboard drums indie rock/blues what have you, a la
Chickasaw Mud Puppies, but a little edgier un-trad sounding. "What We Do"
('96) has even rougher production, sounding like it was recorded to produce
a real tinny AM radio sound. Just like Real Audio!
-Original Message-
From: Robin Hall [mailto:[EMAIL PROTECTED]]
Sent: Wednesday, April 21, 1999 11:52 AM
To: passenger side
Subject: Doo Rag
Does anyone on the list know anything about about a cd called "Chuncked and
Muddled" by Doo Rag, on Bloat Records? The somewhat self-consciously retro
packaging has a 1994 copyright.
Someone I work with just handed it to me, and said "You're always listening
to that yee haw stuff, you might like this."
She was right. It sounds a little like Beck playing the blues. Very lo fi
production. It's curiously hypnotic. I can't stop listening to it.
Clip: Bluegrass Hootie
-- Forwarded message begins here -- NEW YORK (AP) -- Hootie and the Blowfish is bouncing back from backlash and sophomore slump with a third album, ``Musical Chairs,'' and a lot of touring. Hootie's 1994 debut album, ``Cracked Rear View,'' sold 15 million. But its second, ``Fairweather Johnson,'' released two years later, sold only 3 million. The backlash that Hootie endured after ``Cracked Rear View'' came as no surprise. ``It is like everything in life,'' said guitarist Mark Bryan. ``With that much success, there is going to be a downside. You can't have 15 million sales without having some detractors as well. We weren't going to quit.'' Still, some comments were hurtful. ``People are entitled to their opinions. There's certainly music I don't like. I don't expect everybody to like ours,'' Bryan said. ``Some people said we'd sold out. That was upsetting. That hurt. We didn't do anything different to become successful or afterwards. We were always ourselves.'' ``Only Lonely'' is the second single from ``Musical Chairs.'' The song is also a single release from the movie soundtrack CD, ``Message in a Bottle.'' Lead singer Darius Rucker wrote the lyrics based on the story for the film, ``You've Got Mail.'' But director Nora Ephron didn't want the song. Atlantic Records pushed for the song in ``Message in a Bottle.'' The new CD also includes ``Desert Mountain Showdown,'' which Bryan wrote. ``It's some of the most fun music I've ever written,'' he said. ``You can tell I've been listening to bluegrass. Darius turned me on to Doc Watson. Music is my true love in life. I discover things like bluegrass. There's so much out there, different styles, new instruments to learn, songs I haven't written yet. ``It's got Darius playing mandolin. He had never played it. I said, 'The chords are not that hard, if you can play guitar. You learn where to put your fingers.' He was fine. He had a smile on his face when he played it.'' Hootie toured for three weeks in New Zealand, Australia and Japan prior to its current U.S. tour. After the tour ends July 3, there will likely be a tour in Europe. The U.S. tour includes some big festivals. ``It's going to be a blast,'' Bryan said. Bryan and bassist Dean Felber grew up in Maryland. The band, which also includes drummer Jim ``Soni'' Sonefeld, got together at the University of South Carolina in 1985. The name is a compound of nicknames from two of Rucker's friends. ``We were a cover band the first three years, playing parties and clubs and having a good time. When we graduated, we decided to see what would happen,'' Bryan said. ``If we sold records, great.'' If anyone had predicted their first album would sell 200,000 copies (never mind 15 million), ``We wouldn't have been able to believe it,'' Bryan said. ``'Wow, that's a lot of records,' we'd have said. The next thing you know, it sold one million, then two million, before you knew it, 15 million. It was quite a run. It was out in 1994 and really took off in 1995.'' The band worked hard to make a name for itself. ``Before we put the record out, we toured constantly trying to create awareness about the band,'' he said. ``Then we kept touring two years, just steadily.'' Weary from touring, Hootie took a break. Band members decided to get back together when the urge arose. ``We wanted that feeling of itching to do this again,'' Bryan said. ``Once we had that, we went and did it.'' That time came in October 1997. They traveled to Jackson Hole, Wyo., where they played golf during the day, came up with songs at night, and made fun of each other like old friends do. In December, they worked on 20 song ideas. After Christmas, they finished the songs for ``Musical Chairs.'' They decided to ``make sure we are happy doing what we do best: making music we want to make and enjoying it,'' Bryan said. ``It would be nice to sell 15 million again. But we're in a good position. We're going to be able to tour the world for a long time to come.'' However, Hootie isn't getting much radio play. ``Radio played us too much three years ago. We hated how much we were overexposed. The ball gets rolling, you can't stop it,'' he said. ``Now they're not willing to play us. It's a problem, not letting the public get into your song and having it become a hit. We're still trying.'' -=-=- AP NEWS The Associated Press News Service Copyright 1998 by The Associated Press All Rights Reserved The information contained in the AP News report may not be published, broadcast or redistributed without the prior written authority of The Associated Press.
Re: Clip: Bluegrass Hootie
Talk about your bluegrass borg. First Steve Earle. Now Hootie. Next come Shania and Jewel. ~Greg ___ Get your free, private email at http://mail.excite.com/
Name that song (non-twang)
Can anyone tell me what the name of the song is that's playing in the background of the tv previews for the new John Cusack movie "Pushing Tin?" It's some relatively famous 80s British song. It's on the tip of my tongue, but I just can't retrieve the name, and it's driving me crazy. I just know that one of you P2-ers can help me out. Oh, and knowing the artist who did it would be nice too. Many thanks, Jennifer
Re: Name that song (non-twang)
Can anyone tell me what the name of the song is that's playing in the background of the tv previews for the new John Cusack movie "Pushing Tin?" Could be "festival" - heard it in the previews, but no the tv commercial. I don't know who sings it - maybe Bing Crosby g -JF ___ Get Free Email and Do More On The Web. Visit http://www.msn.com
Re: Hecklers, was: Wilco @ Pearl Street
At 09:22 AM 4/21/99 -0700, you wrote: My favorite "shut up" line was from Henry Rollins of Black Flag: "Lose the 'tude, dude." A good shut up line, no doubt, but if reversed and shouted at Rollins instead, it would make a more than appropriate heckle. --david cantwell
Re: Tom Petty's roots are showing (real twangy)
In a message dated 4/21/99 9:13:38 AM Eastern Daylight Time, [EMAIL PROTECTED] writes: Another gap in my knowledge: I was amazed to read, in the liner notes, that Duane Gregg Allman, Bernie Leadon, and Don Felder all came out of the Gainesville music scene along with Petty co. coming to a bookstore near you in September. well, if I get it done and turned in by May 12th. Florida turned out to be more interesting musically than I thought particularly with all the connections between Petty (fellow Mudcrutch then Heartbreaker high school buddies), the Allmans, Ronnie Van Zant, the Eagles, Stephen Stills and on and on. Sadly, the Gainesville music scene is more ska today than anything else. Deb posting from work g
Re: Name that song (non-twang)
Isn't it that New Radicals tune? I don't know what it's called. Anyone? "Jennifer K. Heffron" [EMAIL PROTECTED] - 4/21/99 3:18 PM Can anyone tell me what the name of the song is that's playing in the background of the tv previews for the new John Cusack movie "Pushing Tin?"
MN bluegrass/old-time festival
It's a ways off, I know, but an early heads-up never hurt... August 6-8 Minnesota Bluegrass Old Time Music 20th Anniversary Festival Camp in the Woods Resort (1 hr NW of Minneapolis) Super line-up this year as the festival celebrates its 20th year. Seldom Scene, Lynn Morris Band, James King Band, Lonesome River Band, Tom, Brad Alice, Volo Bogtrotters, New NC Ramblers, Bovee Heil and many more! This is the premiere festival in the upper-midwest and this is the year to check it out. Workshops galore and vendors selling food, instruments, learning materials, etc. Call 1-800-635-3037 for details. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
RE: Hecklers, was: Wilco @ Pearl Street
-Original Message- From: David Cantwell [SMTP:[EMAIL PROTECTED]] "Lose the 'tude, dude." A good shut up line, no doubt, but if reversed and shouted at Rollins instead, it would make a more than appropriate heckle. --david cantwell [Matt Benz] A heh heh heh.
Real Audio
Howdy folks - the new tracks by Cheri Knight, Eric Ambel and the Ass Ponys from the Ray Mason Tribute are now up on our site if you want to check them out. Just click here: www.tarhut.com/listen.htm You can check out tracks from all the bands, actually. This is 100% spam. Thanks. Jeff Copetas ~ Tar Hut RecordsPO Box 441940 ~ Somerville, MA 02144www.tarhut.com ~ (617)776-5106 Two monologues don't make a dialogue.
Re: Tom Petty's roots are showing (real twangy)
Another gap in my knowledge: I was amazed to read, in the liner notes, that Duane Gregg Allman, Bernie Leadon, and Don Felder all came out of the Gainesville music scene along with Petty co. Molly Hatchet also hails from FLA. BTW, they toured several years ago w/Danny Jo Brown at the helm. It was him, a bass player, ONE freakin' guitar player and a drummer. Anybody who knew them new that they used to line up three guitarists in a row and...anyway, it was a hoax! -JF ___ Get Free Email and Do More On The Web. Visit http://www.msn.com
RE: Mandy B
Jon is obviously confused. The main reason you aren't hearing Mandy Barnett on your local country radio station is because it is on a label that is not based in Nashville. His unwillingness to provide hard data proves my point. It has NOTHING to do with the music. It all depends on who is paying who. If you think there isn't a machine, I want a hit of that bluegrass you've been smokin'. g Jim, smilin'
RE: Name that song (non-twang)
That's the New Radicals "You Get What You Give" from last year's "Maybe You've Been Brainwashed Too". It's suddenly ubiquitous once again. I think I also heard it on a promo for "Dawson's Creek" or one of those teen shows. Always thought the singer sounded dead on Karl Wallinger of World Party. See ya, Slonedog -Original Message- From: Jason Lewis To: passenger side Sent: 4/21/99 3:44 PM Subject: Re: Name that song (non-twang) Isn't it that New Radicals tune? I don't know what it's called. Anyone? "Jennifer K. Heffron" [EMAIL PROTECTED] - 4/21/99 3:18 PM Can anyone tell me what the name of the song is that's playing in the background of the tv previews for the new John Cusack movie "Pushing Tin?"
Re: Tom Petty's roots are showing (real twangy)
On Wed, 21 Apr 1999 15:53:43 EDT john friedman [EMAIL PROTECTED] wrote: Molly Hatchet also hails from FLA. BTW, they toured several years ago w/Danny Jo Brown at the helm. It was him, a bass player, ONE freakin' guitar player and a drummer. Anybody who knew them new that they used to line up three guitarists in a row and...anyway, it was a hoax! Yes, the idea was to out-Skynyrd Skynyrd I always heard. William Cocke Senior Writer HSC Development University of Virginia (804) 924-8432
Re: Tom Petty's roots are showing (real twangy)
John Friedman writes: Molly Hatchet also hails from FLA. BTW, they toured several years ago w/Danny Jo Brown at the helm. It was him, a bass player, ONE freakin' guitar player and a drummer. *One* guitar player?!?!?! Hell, John, why don't you just tell us they were recruiting for the Socialist Worker's Party while you're at it? --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
RE: Mandy B
On Wed, 21 Apr 1999 [EMAIL PROTECTED] wrote: Jon is obviously confused. The main reason you aren't hearing Mandy Barnett on your local country radio station is because it is on a label that is not based in Nashville. You really think that's the main reason? Then why didn't her first album do anything on country radio? Not only did it contain a number of fine songs, but it was obviously more HNC-friendly than her new one. I think Jon's main point is that the powers-that-be that control country radio (the folks who own the stations and the consultants who help program them) are primarily responsible for what you hear on country radio. That seems pretty obvious to me. Sure, the Nashville-based major labels are the source for the great bulk of what's heard on country radio, but it's the stations who ultimately decide what they are and aren't going to play from those labels. Hence the lack of airplay for Mandy's first Nashville label album, and hence the awfully lackluster airplay (one high-charting single, and a couple of great ones that bombed) for songs from The Key. If the country radio world ran according to Jim's logic, the almighty MCA would've been able to run whatever they damn well pleased from the megapopular Vince Gill up the country radio charts. That's obviously not the case. As for mainstream country radio not playing anything but stuff from the big country major labels, please tell me how this is different than the way it works in *any* commercial radio format.--don
Re: Mandy B
Jim, smilin (of course) The main reason you aren't hearing Mandy Barnett on your local country radio station is because it is on a label that is not based in Nashville. I'm hearing it on my local country station, but I guess that doesn't count since I work in a peon market and program my own music. If the mainstream press keeps up the full frontal assault over this record the mainstream stations may HAVE TO play it. Or they can just keep watching those shares keep on slip sliding away. 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: Tom Petty's roots are showing (real twangy)
In a message dated 4/21/99 3:16:01 PM Central Daylight Time, [EMAIL PROTECTED] writes: Yes, the idea was to out-Skynyrd Skynyrd I always heard. That can't be done. There is only one Skynyrd, and they rule southern rock. Slim
KC area festival (was Re: MN bluegrass/old-time festival)
Just an excuse to piggy-back onto Jon's festival heads-up with a URL for one in the KC area, in just two weeks: http://www.santafetrails.org/index.html The Santa Fe Trails Bluegrass Festival will feature The Del McCoury Band (Friday night 5/7) and Ricky Skaggs. (Saturday night 5/8) The Freight Hoppers will play both nights. b.s.
RE: Mandy B
Don writes: I think Jon's main point is that the powers-that-be that control country radio (the folks who own the stations and the consultants who help program them)are primarily responsible for what you hear on country radio. That seems pretty obvious to me. Sure, the Nashville-based major labels are the source for the great bulk of what's heard on country radio, but it's the stations who ultimately decide what they are and aren't going to play from those labels. My point, and I think we keep missing each other, is that country radio (which is NOT based in Nashville) and the country music labels are in bed on this together. Believe it or don't, the BIG labels pay the consultants (who control many stations) to get their records on the air. It's not like they send them a Fedex each week with cash in it, but there are under the table deals made in all formats that control what gets played. I know this kinda sounds like the X-Files, but it's true. The more money you throw at the consultants and their ilk, the better response you get. If Sire REALLY wanted to get Mandy Barnett on the radio, they'd hire a big time radio promoter, who would pay some consultant to add her record to his stations and then you'd hear her on the radio. Sire doesn't have the kind of money it takes to play that game at the same level as MCA or Arista. Sure it's called the Nashville machine, that doesn't mean it all happens in Nashville. Some people call it country music, that doesn't mean it's country music either. Jim, smilin'
Re: Doo Rag
On Wed, 21 Apr 1999, Jerry Curry wrote: I believe they are/were from Phoenix. bob's from phoenix, but the band started in tucson, actually. they used to play at backyard parties and such when I lived in tucson. more recently, they've morphed into "Bob Log III", where bob does a one man show-playing slide guitar and kick drum with some drum loops here and there. still sounds like doo rag. the motorcycle helment with the built in telephone receiver/microphone has go to be seen to be believed. -george
Re: Tom Petty's roots are showing (real twangy)
Jon Johnson: *One* guitar player?!?!?! Hell, John, why don't you just tell us they were recruiting for the Socialist Worker's Party while you're at it? Hm, if that's a sarcastic remark, which is cool, my guess is that you're not familiar w/Molly Hatchet. They were in the Skynyrd, Outlaws family of line up as many gibsons across the stage and let it rain early and often. Molly Hatchet w/one guitar is like a BLT w/o the L or the T and trying to pass it off as a BLT. As for their political beliefs, i believe they were planetarians, but I could be mistaken. -JF ___ Get Free Email and Do More On The Web. Visit http://www.msn.com
Re: Mandy B
Pshaw. Since when does the press have any real impact on radio playlists? (Don't get me started on my exercise-in-futility rant about being a journalist.) I'd be curious to know how much Allison Moorer, the last great country critical darling, has benefited from her press. Anyone? I'd say both Allison and Kelly are benefiting, at least marginally, from the heavy press as they have both garnered appearances on the Opry and other notable media/TV outlets like Letterman et al. The one place the press is unable to effect seems to be at mainstream country radio and that is IMO (and many others here) the narrow minded pinhead programmers and consultants. A very few brave souls in major markets have dared to buck the consultants and have not only started spinning Mandy and Allison but are now reaching back for some Possum, Conway and other "classic country" artists. The Richmond VA (market 56) station "The River" has a TV ad running which segues from Tall Tall Trees to He Stopped Loving Her Today, showing their willingness to dig a little deeper. In addition, the little bitty AM country station playing a lot of hard core twang and virtually no HNC, in Richmond, has seen a 150% growth in share while the HNC has seen a 40% decline over the last 6 months. 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
Mountain Stage Broadcast Schedule
APRIL/MAY BROADCAST SCHEDULE--FEED DATES TO AFFILIATES-- PLEASE CHECK LOCAL LISTINGS FOR BROADCAST DAY AND TIME IN YOUR AREA 04/23/99RUSTED ROOT STEVE EARLE DEL MC COURY BAND MICHELLE LEWIS 04/30/99CHARLIE MUSSELWHITE BEAUSOLEIL AVEC MICHAEL DOUCET STEPHEN FEARING BILL MORRISSEY CHERYL WHEELER MAY 05/07/99Encore HOLLY COLE TANYA DONNELLY TIM MOLLIE O'BRIEN DAVID POE 05/14/99LATIN PLAYBOYS CHRIS SMITHER NORMAN BLAKE HOUNDOG GEOFF MULDAUR 05/21/99PATTY GRIFFIN BILL MILLER ASYLUM STREET SPANKERS ANSON FUNDERBURK AND THE ROCKETS WITH SAM MYERS 05/28/99Encore RALPH STANLEY CLINCH MOUNTAIN BOYS ROBIN AND LINDA WILLIAMS BILL KIRCHEN TOO MUCH FUN CHERI KNIGHT EVERETT LILLY That last show listed was pretty great. Chicago note -- Mountain Stage is on WDCB, 90.9 fm, and I think they run the shows a week after the dates shown above. So the Steve Earle show is next week, I think. TWM === -- Tom Mohr usually here: [EMAIL PROTECTED] sometimes here: [EMAIL PROTECTED] _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
RE: Mandy B
On Wed, 21 Apr 1999 [EMAIL PROTECTED] wrote: My point, and I think we keep missing each other, is that country radio (which is NOT based in Nashville) and the country music labels are in bed on this together. Believe it or don't, the BIG labels pay the consultants (who control many stations) to get their records on the air. It's not like they send them a Fedex each week with cash in it, but there are under the table deals made in all formats that control what gets played. I know this kinda sounds like the X-Files, but it's true. The more money you throw at the consultants and their ilk, the better response you get. If Sire REALLY wanted to get Mandy Barnett on the radio, they'd hire a big time radio promoter, who would pay some consultant to add her record to his stations and then you'd hear her on the radio. Sire doesn't have the kind of money it takes to play that game at the same level as MCA or Arista. All right then -- let's assume Jim's conspiracy theory is actually the way it works. (I'm not so naive to believe shit like that doesn't happen, but I very much doubt it's the overly simplistic, pay-for-play scenario described by Jim above.) Then what happened to The Key, Jim? You think Tony Brown decided all he wanted was one hit single from the album? If it's all a matter of consultant payola, then it shouldn't have been a problem for MCA to turn the followup singles on the albums into a few more megahits for Vince. That didn't happen, and the PRIMARY reason those singles stiff is that those MCA Made-In-Nashville products were deemed too-country-for-country-radio BY country radio. It's not because Tony Brown forgot to pay a few consultants. Like most conspiracy theories, Jim's may be attractive for those who like simple explanations for the complicated doings of the real world, but that doesn't make it right.--don n.p. James Hand - "Did You Forget Last Week's Payment, J.P.?"
RE: Mandy B
Jim says: My point, and I think we keep missing each other, is that country radio (which is NOT based in Nashville) and the country music labels are in bed on this togetherthere are under the table deals made in all formats that control what gets played Sure it's called the Nashville machine, that doesn't mean it all happens in Nashville. If radio is NOT based in Nashville, and the country music labels are (as they in fact are) nothing more than divisions of NOT based in Nashville companies, and there are these deals "in all formats" between these NOT based in Nashville consultants and NOT based in Nashville radio and NOT based in Nashville labels, then it ought not to be called the Nashville machine - and in fact, it isn't; what it's called by most people is the music bidness. The more money you throw at the consultants and their ilk, the better response you get. If Sire REALLY wanted to get Mandy Barnett on the radio, they'd hire a big time radio promoter, who would pay some consultant to add her record to his stations and then you'd hear her on the radio. Back to Don's question: why didn't the singles off The Key do better? MCA's too poor to pay a promoter? I don't *think* so. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
E-Town Broadcast Schedule
Someone asked me to post the E-Town schedule too. SHOW FEED MUSICAL GUESTS 15 4/14/1999 Cheryl Wheeler Corey Harris 16 4/21/1999 RERUN-Michael Martin Murphey Mem Shannon and The Membership 17 4/28/1999 Taj Mahal Cyril Pahinui, Dennis Kamakahi, George Kahumoku 18 5/5/1999 RERUN- John Hammond Sherrie Jackson 19 5/12/1999 Lowen Navarro, Ricardo Lemvo Makina Loka 20 5/19/1999 Charlie Musselwhite Kelly Willis 21 5/26/1999 Bela Fleck the Flecktones, Blind Boys of Alabama A easier to read version is at their website, www.etown.org. TWM === -- Tom Mohr usually here: [EMAIL PROTECTED] sometimes here: [EMAIL PROTECTED] _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
Re: Mandy B
For those of you keeping score at home, in the last 3 emails from Don, Jon W, and Jim C, the word "Nashville" has appeared 10 times in 3 paragraphs.
SPANKERS (was Re: Mountain Stage Concert Schedule)
Just an additional heads-up ... Getting this was a real coup for the Spankers. If you've seen them and have friends in the Huntington area, please alert them to this show. If you haven't seen them, be sure to tune in. April 25--7pm Joan Edwards Playhouse Huntington, WV PATTY GRIFFIN BILL MILLER ASYLUM STREET SPANKERS ANSON FUNDERBURK AND THE ROCKETS WITH SAM MYERS ADVANCE TICKETS $8.50 AT THE DOOR $12.00
RE: Mandy B
Jon Weisberger wrote: Back to Don's question: why didn't the singles off The Key do better Maybe MCA found out he drove a Volvo. ~Greg ___ Get your free, private email at http://mail.excite.com/
Re: Single Most Influential
At 01:49 AM 4/21/99 -0400, Tera wrote: Yes, I know what you mean - however...Crosby was influenced enough by Jolson to forego his previously scheduled future to pursue a career in music. After Crosby began singing he took other influences into account and thus established his own style. I'd say Jolson was the greatest influence for Crosby as Jolson was responsible for kick-starting a career which may not have been otherwise. Personally, I'd call this more inspiration than influence. Maybe i'm unusual (watch it, now Tera!) but when I talk about musical influences I tend to think not only the person or thing that inspired or motivated an artist to create art in the first place but primarily the persons or things that actually influenced or helped shape the KIND of art that was made. In Crosby's case, that figure was largely Armstrong. To use a far less significant example to illustrate this distinction, the writer who first got me thinking that, hey, I want to be a writer too was, no snickering, J.R.R. Tolkien. It would be a lie, however, if I said he had been an actual influence on the kind of writing i do or the way i do it. Well, it seems to me that Jolson was responsible for changing the way in which music was presented. as well as a whole lot else, as Tera articulated quite well. Like I say, he was hugely important. But my only point is that the things Jolsen did, while significant, tended to end with him. Crosby came along, basically refuted the Jolsen model--Crosby's singing and acting is diametrically opposed to Jolsen's in nearly every way--and helped create (no exageration) the world and musical style we tend to think of as being "Twentieth Century"--that is, the world we live in and the musical styles we still use. Jolsen, by contrast, was merely the high point of a world we long ago left behind. Tera (and you still skirted around the issue of great female influentials...harummph! Can I hear a Ma Rainey or a Bessie Smith?) You can hear a Bessie Smith, and I'll repeat Mahalia Jackson, and add Aretha Franklin. All three would be "top ten most influential" candidates. But I'm standing pat with my Satchmo/King then JB/Bing Top 4. --david cantwell
Artist of the Decade?
What does everybody think of Rolling Stone's typically head up their ass selection of Kurt Cobain as Artist of the Decade? Try most pathetic loser of the decade. The guy had nothing interesting to say musically or lyrically and then he blew his brains out. Any alternative selections we P-2ers can offer them. Just askin', Slonedog
Re: Artist of the Decade?
On Wed, 21 Apr 1999 [EMAIL PROTECTED] wrote: What does everybody think of Rolling Stone's typically head up their ass selection of Kurt Cobain as Artist of the Decade? Well, I'd take him over Alejandro Escovedo, that's for sure.g--don
Re: Artist of the Decade?
Steve Malkmus. I see a thread developing here.
Re: Artist of the Decade?
Here, here, Don! -Original Message- From: Don Yates [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Wednesday, April 21, 1999 6:08 PM Subject: Re: Artist of the Decade? On Wed, 21 Apr 1999 [EMAIL PROTECTED] wrote: What does everybody think of Rolling Stone's typically head up their ass selection of Kurt Cobain as Artist of the Decade? Well, I'd take him over Alejandro Escovedo, that's for sure.g--don
Re: Doo Rag
more recently, they've morphed into "Bob Log III", where bob does a one man show-playing slide guitar and kick drum with some drum loops here and there. still sounds like doo rag. the motorcycle helment with the built in telephone receiver/microphone has go to be seen to be believed. I had a soft-in-the-head spot for Doo Rag, I confess, but I recently saw Bob Log III and after two songs realized that this was going to go on and on in an undifferentiated oozy sloppy-blues mess and that I'd gotten all the novelty value from it I could. Luckily in the same venue a bhangra/drum'n'bass group was rocking the house downstairs so I went and shimmied among 21 year old beautiful Indian girls and boys and felt much better. For the not-my-idea-of-fun brigade, Carl W.
RE: Mandy B
why didn't the singles off The Key do better? Cos like Mandy Barnett, they were "too country." Jim, smilin'
Boxy but safe (was Re: Blue Chip Radio Report, 04/19/99)
Hey there, Expect more rear-end collisions on Music Row in the near future. Vince Gill's Volvo was involved in a 3-car accident on West End Avenue just off the row a few days ago. Reports say that Vince was stopped for a red light when he was rammed from behind and pushed into the car in ahead of him. Shouldnt driving a Volvo disqualify one from being the AOTD? Later... CK "They're boxy, but safe." A few years back when the 850 series first came out, a Car and Driver type rag commented that they really liked the car but sure wished it looked a little less like the box it came in. As tidy a summing up of Volvo sheet metal as you're likely to find. Cheers, TG... recently seen driving around in a boxy car listening to The Backslider's Throwing Rocks at the Moon and wondering how the CD had flown under his radar for so darn long. Fine stuff.
Re: Artist of the Decade?
Tarhut Jeff: Steve Malkmus. Ooh, good one. I'm torn between Malkmus or Jay Farrar. Steve Kirsch [EMAIL PROTECTED] np: Damnations TX ___ 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: Single Most Influential
Not to displace anything in David's definitive Top 4 - (sideline: except that I'm not quite convinced we've covered soul properly in the person of James Brown, whose influence vocally and rhythmically is definitive for funk-disco-rap but not so much in the more slow-grooving melody-centred part of pop-soul-RB - I think maybe I'd tie Brown with Ray Charles for 4th). - but on Tera's behalf I'd reluctantly say that if we look at the current state of pop music, where female singer-songwriters are about the only growing concern in the rock column of the equation, it's not easy to avoid pegging Joni Mitchell fairly high up. You have to open up your idea of "influential" here: "Blue" would be acknowledged by astonishing numbers of performers as a seminal record (likely more than any single Beatles or Dylan album). If you're bristling, let me put it this way: Joni Mitchell was the pop-music equivalent of Jackie Robinson, breaking the bar as the first major female artist to visibly call the shots on her own career, on her own songs and in her own distinctly female (but not feminized) voice - Madonna's godmother, and also that of Sarah and Sheryl and Alanis and Lucinda and Rickie Lee Jones and Lauryn Hill. Janis Joplin and Laura Nyro were important in this sense, too, but Mitchell's influence was cemented by the fact that she survived it. (Yes, you might name Dolly or Loretta or Aretha or Billie Holiday or Ella or Tina Turner, but I don't think any of them visibly held control over their personae and music in the same way.) The irony is that Mitchell's historical significance far outstrips her musical quality - much of the latter is for the worse, in that she, er, overlegitimized confessional songwriting (she is to song what Sylvia Plath and Robert Lowell were to poetry) - but if we assume that the revolution in gender roles will go down as one of the 20th century's most important developments, that historical place looms pretty large (if depressingly recent). carl w.
Re: Artist of the Decade?
In a message dated 4/21/99 3:00:28 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: What does everybody think of Rolling Stone's typically head up their ass selection of Kurt Cobain as Artist of the Decade? Try most pathetic loser of the decade. The guy had nothing interesting to say musically or lyrically and then he blew his brains out. Any alternative selections we P-2ers can offer them. Wow. Do I even bother counterpointing this? Let's just say that whatever Slone said above, consider my opinions the exact opposite. Except the fact that Cobain blew his brains out. That is irrefutable. And really fucking tragic, if you ask me. Obviously, Slone disagrees. Neal Weiss
Re: Artist of the Decade?
What does everybody think of Rolling Stone's typically head up their ass selection of Kurt Cobain as Artist of the Decade? Try most pathetic loser of the decade. The guy had nothing interesting to say musically or lyrically and then he blew his brains out. Any alternative selections we P-2ers can offer them. Wow. Do I even bother counterpointing this? Let's just say that whatever Slone said above, consider my opinions the exact opposite. Except the fact that Cobain blew his brains out. That is irrefutable. And really fucking tragic, if you ask me. Obviously, Slone disagrees. Neal Weiss Um . . . what you said. Twice. Lance . . .
Re: Artist of the Decade?
Wow...I disliked Curt Cobain's music and I disliked Nirvana as well. _In Utero_ particulary grated on me. However, I think I would agree that he's the artist of the 1990's. He was extremely influential and basically defined alterna-rock and honed the entire grunge sound. Hell, on the backs of that sound an entire radio format developed. Yep, he was pretty big alright and even though I didn't care for his music, I sure do respect him AND I feel a great deal of empathy over his personal struggles. It certainly would have been nice to have had him around for another 30-40 yrs. I would have been curious to have seen which musical avenues he would have explored. I for one, found Nirvana's Unplugged set to be welldamn good. Yes, Cobain was certainly overexposed and harbored great personal issues but I don't think that diminishes his impact upon 90's music in any way, shape, or form. NP: Cruzados - self-titled JC
Re: Single Most Influential
All this talk of Bing Crosby has piqued my interest. Other than some pretty corny movies, I can't say I've ever really given him a chance. So today I wandered over to the easy listening section of the local CD store to browse and see what I could find. Not much. Lots of Armstrong, tons of Sinatra, but only a couple of lonely Crosby disks. He may have been influential, but he must not seel much these days. Can someone repost or send me the Bing recommendations that were posted a couple days ago?
Re: Artist of the Decade?
Excerpts from internet.listserv.postcard2: 21-Apr-99 Re: Artist of the Decade? by Jerry [EMAIL PROTECTED] However, I think I would agree that he's the artist of the 1990's. He was extremely influential and basically defined alterna-rock and honed the entire grunge sound. Hell, on the backs of that sound an entire radio format developed. He also was very important to how music got marketed, and which artists got signed and dropped by major labels. Two other artists of great influence come to mind: Dr. Dre Garth. My personal AOTD is still Mark Eitzel. Didn't we have this discussion 'round about the time those aging hipsters at No Depression chose Alejandro Escovedo over Neil Young as AOTD? Carl Z.
Re: Artist of the Decade?
BTW, I also happen to think Cobain was a pretty fabulous craftsman. Jerry, wasn't he poppy enough for you? Carl Z. NPIMH: "More Than a Feeling"...no wait, that's "Smells Like Teen Spirit"
Re: Mandy B
Dammit, you all aren't allowed to have this country radio/Nashville fracas without me. If there's gonna be any geographical knee-jerking -- what an image! -- around here, then I'm gonna do it! -- Terry Smith ps seriously, I'm holding out hope that Mandy Barnett's record will chart on country radio. Hell, it just came out. I'm curious, too, to see whether all the recent hubbub about big band and swing might translate into heightened interest for a big sound record like Mandy's. pps it's been a great week; discovered via the library, Solomon Burke and Lloyd Price. How'd I ripen into my 40s without having heard these guys? Mysteries of life. ppps Made a mistake the other night, and threw on Hadacol right after introducing myself to Mandy Barnett's new one. It wasn't fair to Hadocol, and I wound up taking it off after a few songs. I'll have to give it another chance.
Re: Mandy B
Two observations about this Jim vs. Don and Jon debate (a side issue: when the hell do we get Don vs. Jon?). Anyhow, first thing, aren't a lot of the sensitive ballad weiners coming out of Nashville not doing that well either? So it's evidently not just material that's "too country" that's having a difficult time, though I'm hoping the programmers will notice that and quit playing so much of that mild crap. I mean, which comes first, lousy record sales and then radio play falls off, or the other way around? Second thing, I'm not convinced by Don and Jon's example of Vince Gill's "The Key." It's one record, and I think we need some more examples. There's other factors that may have contributed to its lack of success (incidentally, a "lack of success" that very many performers in and out of Nashville envy greatly). But basically, until you've provided some more examples, you're vulnerable to the "exception that proves the rule" argument. -- Terry Smith, a normal music fan
Townes Far Cry from Dead?
Someone on eBay is offering an advance promo "of Townes Van Zandt's new CD 'Far Cry from Dead'." They're selling it with a press kit with bio and photo, so it sure sounds like there's a new TVZ on the horizon. So, industry weasels, what's the word? Is this the stuff he was recording with Two Dollar Guitar shortly before his death, some kind of best-of, yet another live album, or what? When's it coming out? Larry
Re: Artist of the Decade?
Dittos to all the Cobain support. But, though I'd need to think much harder about it, my gut reaction tells me the artist of the decade might just have to be...Dr. Dre. --david cantwell
Re: Townes Far Cry from Dead?
At 09:07 PM 4/21/99 -0500, you wrote: Someone on eBay is offering an advance promo "of Townes Van Zandt's new CD 'Far Cry from Dead'." They're selling it with a press kit with bio and photo, so it sure sounds like there's a new TVZ on the horizon. So, industry weasels, what's the word? Is this the stuff he was recording with Two Dollar Guitar shortly before his death, some kind of best-of, yet another live album, or what? When's it coming out? Coming in June. It is some demos with new backing tracks added. It *sounds* great, but the name Alan Douglas keeps popping into my head. 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: Mandy B
If the Garthman had made an album like The Key, you bet your ass it would be on the radio! Second thing, I'm not convinced by Don and Jon's example of Vince Gill's "The Key." It's one record, and I think we need some more examples. There's other factors that may have contributed to its lack of success (incidentally, a "lack of success" that very many performers in and out of Nashville envy greatly). But basically, until you've provided some more examples, you're vulnerable to the "exception that proves the rule" argument. -- Terry Smith, a normal music fan
Re: Artist of the Decade?
At 09:33 PM 4/21/99 -0400, you wrote: BTW, I also happen to think Cobain was a pretty fabulous craftsman. Jerry, wasn't he poppy enough for you? Kurt never worked with Jeff Lynne and Jerry's bitter. 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: Townes Far Cry from Dead?
This is a record coming out on Arista/Austin very soon. They were songs Townes recorded solo and then some great musicians recorded the music around the vocals. There are many older Townes songs on it, some new ones. Pancho and Lefty is on it. It sounds pretty good. Townes' widow is the executive producer on it. Not a weasel, just a manager with an artist on the same label, Kim Someone on eBay is offering an advance promo "of Townes Van Zandt's new CD 'Far Cry from Dead'." They're selling it with a press kit with bio and photo, so it sure sounds like there's a new TVZ on the horizon. So, industry weasels, what's the word? Is this the stuff he was recording with Two Dollar Guitar shortly before his death, some kind of best-of, yet another live album, or what? When's it coming out? Larry Kim Jensen Straightaway Artist Management 300 Commercial Street #307 Boston, MA 02119 Vox: 617-523-9292 Fax: 617-557-3078 [EMAIL PROTECTED] http://www.Jeffblack.com
RE: Mandy B
Two observations about this Jim vs. Don and Jon debate (a side issue: when the hell do we get Don vs. Jon?). Whenever the subject of the original alt.country comes up. Anyhow, first thing, aren't a lot of the sensitive ballad weiners coming out of Nashville not doing that well either? So it's evidently not just material that's "too country" that's having a difficult time... I didn't say it was, but it's certainly a big category of stuff that has had a hard time getting airplay, regardless of what label it's on. Furthermore, all the stuff you're referring to, and a lot of the light-weight New Country stuff in general is on what Jim calls Nashville-based labels, so the difficulty some of these acts are having argues against his pay=play equation too. ...which comes first, lousy record sales and then radio play falls off, or the other way around? The truism is that airplay drives sales (that's why labels send stuff to radio for free, eh?), and there's a lot of evidence to support that as a general proposition. On the other hand, you can get pretty decent sales without airplay; recent examples would include Kelly Willis, Steve Earle The Del McCoury Band and Trio II, all of which are or got pretty high on Billboard's sales chart without benefit of mainstream (country or otherwise) airplay. Alison Krauss Union Station's So Long, So Wrong went gold without benefit of mainstream airplay, too, to take a somewhat earlier example. Second thing, I'm not convinced by Don and Jon's example of Vince Gill's "The Key." It's one record, and I think we need some more examples. There's other factors that may have contributed to its lack of success (incidentally, a "lack of success" that very many performers in and out of Nashville envy greatly). But basically, until you've provided some more examples, you're vulnerable to the "exception that proves the rule" argument. Barnett's first album. Dawn Sears' second album. Daryle Singletary, who had a couple of big hits and then went nowhere on account of being too country. Rhonda Vincent. Junior Brown has gotten video airplay up the wazoo - won mainstream awards for his videos - and can't get airplay, and he's on Curb. Allison Moorer's not getting airplay, and she's on MCA and has been a personal project of Tony Brown's. Danni Leigh's basically gone nowhere airplay-wise. Skaggs' pre-bluegrass albums of the 90s. George Jones (when he went from MCA to Asylum, Evelyn Shriver said that as far as they were concerned, they were writing radio off up front). Those are off the top of my head, and I'll bet it wouldn't take long to come up with other examples. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
RE: Mandy B
If the Garthman had made an album like The Key, you bet your ass it would be on the radio! I dunno, John, I don't think "Longneck Bottle" did nearly as well as his poppier stuff, like that Dylan song. I guess we won't really know, though, until he releases that version of "The Fields Have Turned Brown" that's in the can g. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
Re: Single Most Influential--Bob Marley (duh)
I'm curious why we've collectively overlooked the influence of Bob Marley in our discussion so far. Is it because he's not from the United States? Is it because we find reggae to be a marginal music that has had little impact in American culture? Or is it because we're sick of hearing Legend blasting from SUVs owned by upper middle class trust-funders? Well, that would seem to be short-sighted at best, ignorant and ethnocentric at worst. I think Bob Marley's contributions to popular music in the second half of this century might be substantial enough to place him near the top. Certainly Bob Dylan, the Beatles, and James Brown have each had a profound impact on Western culture, and maybe one or all of these artists deserves to be higher than Marley. But I'm not so sure that's as clear cut as we think. And that's just taking into account music. If we add definitive political contributions into the mix, none of them outshine Marley. Sure, Dylan had some fantastic finger-pointers, and songs like JB's "Say it Loud" were defiant statements of racial pride, but didn't Marley do both throughout his entire career? At least during his association with Island Records, his records consistently addressed--directly--political concerns of not just Jamaicans, but black people all over the world. And unlike Dylan, when Marley spoke on behalf of the abject poor and dispossessed, it was because he had first-hand knowledge of those people. He was those people. Don't forget either that Marley also influenced the outcome of the 1976 Jamaican presidential election (and not in some milquetoast Springsteen fashion). I wouldn't necessarily say that Bob Marley should be numero uno, but that we've neglected his impact thus far seems to indicate that, I for one, have been far too US-centric. Lance . . . PS--If someone can better defend the man's contributions than my half-ass attempt, please do so.
Re: Artist of the Decade?
Where's Weisberger to ask about criteria? g If we don't care how long in the 90s an artist was actively recording in a national arena (ie Cobain was active from 1990-1993), then I'd suggest Gillian Welch for AOTD. If we are looking at ten years of performance, I give you one name - Emmylou. ~Greg ___ Get your free, private email at http://mail.excite.com/
RE: Mandy B
Like most conspiracy theories, Jim's may be attractive for those who like simple explanations for the complicated doings of the real world, but that doesn't make it right. Well, I don't want to prolong the agony of this too much longer, but I just wanted to point out that I know it's a LOT more complicated than the simple scenario than I described. But I only have so much time to post, unlike a couple of others it seems. There's a ton of behind the scenes politics involved, stuff that we can't know, that explains why "The Key" wasn't more successful than it was and why certain artists get on the radio or get any exposure and some don't. I suggest reading "Get Hot Or Go Home" the story of Trisha Yearwood's rise in the early 90's for a pretty good glimpse at the behind the scene workings of the supposed "Nashville machine." I want to add that I hope Mike is right with his observation that some country stations are leaning towards actually playing country music again. I had to stop the other day to find out what song was playing on a local station cos it sounded almost "alt.country." Turned out to be the latest Dixie Chicks single. Anyone else heard that one? Jim, smilin'
Re: NYC Willis Weekend Gathering
I was hoping someone in the know regarding the P2 meet 'n' greet in conjunction with Kelly Willis this weekend could tell me what's the plan. Where ye meeting? When? Which night? and anything else. I've been lurking long enough, it's time to get out in the world. I know this has all been covered, but I had to find out what my weekend was going to be like before I knew if I was going to be able to go. I don't think it has all been covered, Jason, but I'll go ahead and suggest that we meet at the Mercury Lounge at 7:00. Any members of the NYC-and-surrounding-areas contingent, come on down! We can figure out then whether we want to go grab a bite to eat or just have a drink at the bar--I'm leaning toward the latter myself, as I'm having a late brunch/early dinner with friends that afternoon. It also appears likely that I'll have an extra ticket, which I will sell at face value to anyone who needs one. See y'all there, I hope. --Amy
RE: Artist of the Decade?
Where's Weisberger to ask about criteria? g Hey, I made my nomination during the Escovedo go-round, and I haven't seen any reason to rethink it - in fact, I've seen lots of reasons to confirm it. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
Re: Artist of the Decade?
Hey there, Slonedog... What does everybody think of Rolling Stone's typically head up their ass selection of Kurt Cobain as Artist of the Decade? Try most pathetic loser of the decade. The guy had nothing interesting to say musically or lyrically and then he blew his brains out. Any alternative selections we P-2ers can offer them. Wow. Do I even bother counterpointing this? Let's just say that whatever Slone said above, consider my opinions the exact opposite. Except the fact that Cobain blew his brains out. That is irrefutable. And really fucking tragic, if you ask me. Obviously, Slone disagrees. Neal Weiss I'm with Neal on this, and there are a few conspiracy type folks who believe the last part (him blowing his brains out) is arguable as well. (murder, police cover up, bla bla bla). The artist of the decade is, of course, The Beastie Boys. 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: Artist of the Decade?
Jon Weisberger wrote: Hey, I made my nomination during the Escovedo go-round, and I haven't seen any reason to rethink it - in fact, I've seen lots of reasons to confirm it. I thought your candidate had already won and been declared AOTD months ago. This new little thread is nothing more than a post-mortem on a de facto decision, right? AOTD will retain his title. ~Greg PS If the ballot box does open slightly, I'm votin for Emmylou ___ Get your free, private email at http://mail.excite.com/
RE: Artist of the Decade?
I thought your candidate had already won and been declared AOTD months ago. I hope so, but I figure it's not official until it's on the cover of No Depression. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
Re: Artist of the Decade?
The artist of the decade is, of course, The Beastie Boys. Later... CK I agree, and not just because I'm finishing up a paper on the Boys at this very moment g. As far as I'm concerned, the decade of the 1990's really began with the release of Paul's Boutique, and nothing released since then has surpassed it in either musicality, imagination, or ambition. As Q-Tip said, "The Beasties are the Bugs Bunny of hip-hop." Classic, baby, classic. Good call, Chris. Lance . . .
Updates
Just added an essay on the "Alt.Country" showings at the recent SXSW conference on my homepages, in case anyone was interested. ___ Mark Rubin POB 49227, Austin TX 78765 http://markrubin.com
RE: Artist of the Decade?
At 12:10 AM 4/22/99 -0400, you wrote: Where's Weisberger to ask about criteria? g Hey, I made my nomination during the Escovedo go-round, and I haven't seen any reason to rethink it - in fact, I've seen lots of reasons to confirm it. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger You thought Vince Gill, right?
Re: Artist of the Decade?
On Wed, 21 Apr 1999, Carl Abraham Zimring wrote: BTW, I also happen to think Cobain was a pretty fabulous craftsman. Jerry, wasn't he poppy enough for you? Naw Carl, You'll have to visit with my evil pop counterpart, Bill silvers. He likes his pop crunchy, I like it lush and overdubbed all to hell. I found Nirvana to be way to raw and underproduced for my liking. Also, I found Cobain's voclas to be less than pleasing. His songs had a particular urgency particularly given what we know about him in hindsight. I wih he was still making music though because he's one of those intriguing artists that I wait and see (and hope) they do something that entralls me. Peace, JC
Re: Artist of the Decade?
On Wed, 21 Apr 1999, Jeff Weiss wrote: At 09:33 PM 4/21/99 -0400, you wrote: BTW, I also happen to think Cobain was a pretty fabulous craftsman. Jerry, wasn't he poppy enough for you? Kurt never worked with Jeff Lynne and Jerry's bitter. Holy Moley, I'm picturing the possibilities in my head. Wow, that could have been something, no? Actually, Cobain's career didn't need saving like Petty, Orbison, Harrison, Edmunds, et al. He would have come around eventually and Lynne would have gotten him back on top o' the charts! g Night all, Jerry
Captain Beefheart (re:Welfare Music)
Richard said: Wasn't the same said about Captain Beefheart? Now THAT was a voice. Uh, I think that was "eight octane" range g Actually, Van Vliet's stuff always went right over my head, sorry to say. My husband loves "Trout Mask Replica" to this day; still goes over my head though. Tera -Original Message- From: vgs399 [mailto:[EMAIL PROTECTED]] Sent: Wednesday, April 21, 1999 9:00 AM To: passenger side Subject: Re: Welfare Music Carey's camp wants us to believe that she has an eight-octave range. Yeah, right - if rocks could fly.
