RE: pumpskully
D*n wrote: Are Roy and Jon gonna pick up where they left off and engage in another epic rhetorical battle? Why do you think I've been gone so long? I've been assembling an immense catalog of evidence and logic, organized cross-referenced to wipe out Weisberger's posts with but a click of the mouse. If that doesn't work I'll just start calling names. Does this mean there's gonna be hell to pay the next time I engage in indiscriminate f*lkie-bashing? Guess. Or are the rumors true about Roy abandoning coffeehouse music in favor of HNC heartthrobs like Deana Carter? For the record, my most recent experience with Carter was quite memorable. Her last album wasn't so bad either. Roy Kasten [EMAIL PROTECTED]
bare jr./V-Roys
I went to the Chapel Hill show, too. Just wanted to clear up a couple things..."Motion Pictures" was a neil young song. Their song was actually spelled "Goddamn the Son," which changes things altogether for me, anyway. But this was hardly one of the better V-roys shows I've been to. Scott told me at the beginning that he really didn't want to be there, and he had a pretty pissed off look all night...but maybe it's just because of the shape of his face. And Bare Jr. was a circus. I like their cd more and more every listen, but damn that guy was like watching a beer-bellied Carrot Top impersonating Bobcat Goldthwait, and then jumping around and tangling himself up in the guitar cord. They rocked though, but I couldn't look at them for very long or else have odd mushroom dreams for a week. Todd WAkefield ___ Get Free Email and Do More On The Web. Visit http://www.msn.com
Re: Updates
Dave Purcell wrote: Mark Rubin spit: These "alt-country" showcases were packed with scenesters dressed up like they were going to a Hee-Haw theme party. Women in pig-tails and guys in spray painted straw hats that would surely get their asses kicked in an actual honky-tonk. Funny...I was at a real country bar out in the county on Saturday, and remarked to a bandmate that someone like Moonshine Willy or SCOTS would get their asses stomped if they got on stage. But would Buck Owens and the Hee Haw cast doing their thing have gotten stomped too?
Playlist: The Fringe featuring the Flatirons
Howdy, I temporarily misplaced last week's playlist for the Fringe, so I am only just now getting around to posting it for your reading pleasure (at least I hope it's more of a pleasure than a burden). By way of an introduction of this week's featured Fringe artist, let me say that it should be fairly obvious that I select my featured artists based more on personal taste than anything else. It is my hope that along the way either of my two listeners will enjoy the selection, too. That being said, this week's album easily generated the most telephone response than any featured artist to date. I know next to nothing about the band itself, but I'm loving this album. The best compliment the show received all night was from a caller who said he'd just turned off Austin City Limits on the television so he could listen to the Fringe instead. So, now we have three listeners... At any rate, artists making their Fringe debut this week included: Hazel Dickens Alice Gerrard, Stacey Earle, Farmer Tan, The Flatirons, Good Ol' Persons, Chris LeDoux, Martin's Folly, The Okra All-Stars, Poco, Stray Cats, Rick Trevino, and Tom Waits. Here's how the Fringe looks from a distance: Fringe -- Episode #30 -- April 17, 1999 WDVX-FM -- Clinton/Knoxville, TN -- 9 p.m. to Midnight Purple Rain -- The Okra All-Stars -- The Okra All-Stars -- Innerstate The Camel's Heart -- Dolly Parton -- Hungry Again -- Decca (4/18@Dollywood) Pickin' Up the Pieces -- Poco -- Heroes of Country Music, Vol. 5 -- Rhino High Lonesome Moon -- The Flatirons -- Prayer Bones -- Checkered Past You Win Again -- The Ditchdiggers -- Cow Patty Bingo -- Go Kat Go Working Man Blues -- Lone Justice -- This World Is Not My Home -- Geffen Sweetheart -- Cheri Knight -- The Northeast Kingdom -- E-Squared New Pair of Shoes -- The Flatirons -- Prayer Bones -- Checkered Past Track 5 Blues -- Martin's Folly -- Man, It's Cold -- Tar Hut She's Tough -- Chris LeDoux -- Rodeo Rock and Roll Collection -- Capitol (4/22@Cotton-Eyed Joe's) Heart's On Fire -- The Flatirons -- Prayer Bones -- Checkered Past Cadillac Ranch -- Rick Trevino -- NASCAR: Runnin' Wide Open -- Columbia Waiting -- Stacey Earle -- Simple Gearle -- Gearle Picking Up the Signal -- Son Volt -- Straightaways -- Warner Brothers (4/22@Sing Sing, Chattanooga) Last Night -- Mark David Manders Neuvo Tejas -- Tales from the Couch Circuit -- Blind Nello My Life -- Iris DeMent -- My Life -- Warner Brothers When I Write the Book -- Nick Lowe -- Basher: The Best of Nick Lowe -- Columbia By Yourself -- The Flatirons -- Prayer Bones -- Checkered Past My Better Years -- Hazel Dickens and Alice Gerrard -- Hazel Alice -- Rounder The One I Love Is Gone -- Good Ol' Persons -- Good N' Live -- Sugar Hill Heaven Help You -- The Flatirons -- Prayer Bones -- Checkered Past Highway Cafe -- Tom Waits -- Pearls in the Snow -- Kinkajou Local Girls -- Graham Parker -- Just Can't Get Enough, Vol. 1 -- Rhino Three Coins -- Blue Mother Tupelo -- My Side of the Road (4/23@The Spot, 4/24@Sassy Ann's) Nothing -- The Flatirons -- Prayer Bones -- Checkered Past Slippin' and Slidin' -- Wanda Jackson -- Right or Wrong/There's a Party Goin' On -- TNT Laser These Hills -- Iris DeMent -- Infamous Angel -- Warner Brothers She Came Along to Me -- Billy Bragg Wilco -- Mermaid Avenue -- Elektra (Wilco 4/28@Tennessee Theatre) These Days -- Sara Evans -- No Place That Far -- RCA Sexy + 17 -- Stray Cats -- Just Can't Get Enough, Vol. 12 -- Rhino So Lonesome -- The Flatirons -- Prayer Bones -- Checkered Past Be Mine -- Kimmie Rhodes -- West Texas Heaven -- Justice Flyswatter/Ice Water Blues -- Lyle Lovett -- Joshua Judges Ruth -- Curb/MCA Jump Jim Crow/Zip-A-Dee-Doo-Dah -- Michelle Shocked -- Arkansas Traveler -- Polygram Crazy Train -- The Flatirons -- Prayer Bones -- Checkered Past Hangin' Round the Airport -- Farmer Tan -- Farmer Tan -- Foothill I Lost It -- Lucinda Williams -- Car Wheels on a Gravel Road -- Mercury (4/29@Tennessee Theater) Devil Lives in Dallas -- The Flatirons -- Prayer Bones -- Checkered Past No Ash Will Burn -- Mollie O'Brien -- Big Red Sun -- Sugar Hill Boogie -- John Hartford -- Aereo-Plain -- Rounder You Are the Light -- Lone Justice -- Lone Justice -- Geffen Napoleon -- Scott Miller -- Bubbapalooza, Vol. 1 -- Sky (Scott Miller's Mule Train 4/30@Bird's Eye View) I Never Heard You Say -- Kimmie Rhodes -- West Texas Heaven -- Justice Bad Seeds -- The Flatirons -- Prayer Bones -- Checkered Past William and Nancy's Parting -- John Wesley Harding -- Trad. Arr. Jones -- Zero Hour ...and that's our cue to end the Fringe this week. Next week the Fringe shifts course a bit as our featured artist/album is John Wesley Harding and his tribute to Nic Jones-- Trad. Arr. Jones Any comments, suggestions, discs for airplay consideration, compromising photos of notable local celebrities, etc., may be sent to my attention at: Shane Rhyne 208 W. Glenwood Avenue, #2 Knoxville, TN 37917 Also, if you're planning a tour through my
P2 heaven
What a banner day in my P2 mailbox. My favorite Norwegian is back, Erin Snyder's posting again, and Roy's back. It's enough to make a gal get all mushy. --Amy
Re: Updates
In a message dated 99-04-23 17:38:03 EDT, bob writes: Ummm, who are these bands that are getting on the radio and turning newbies off of "altcountry"? I could name some pretty rotten Southern Ohio bluegrass bands That doesn't answer the question, which was about alt country... g Actually, I consider bluegrass alt-country. Still haven't found any satifactory definition to alt country (does the world really need one, I guess), Mark Rubin eludes to one by saying that Don Walsner and I think it was Dale Watson AREN'T altcountry, just pure country western, but to me, I'll say again, it's any "country" that's rejected by the Hot New Country stations, where all the big bucks are, that embraces country sounds like fiddles and pedal steel and banjo's and doesn't sound like 80's lite FM rock. Elena
Re: Oliver Lake
Excerpts from internet.listserv.postcard2: 23-Apr-99 Re: Oliver Lake by "Greg Harness"@excite.co One of my desert island records is the World Saxophone Quartet's *Dances and Ballads*, and Lake's originals - 'West African Snap', 'Adjacent', and 'Belly Up' - are a big part of why I like that album so much. One of my great regrets is never having seen the Quartet play while Julius Hemphill was still alive. Amazing players, amazing composers, and their covers (including songs by Duke Ellington and Otis Redding) were inspired and fun to hear. Carl Z.
RE: Mandy B
On Thu, 22 Apr 1999, Don Yates wrote: And it looks like I was right: "Ever True Evermore" was recorded by Patti Page (as was "With My Eyes Wide Open I'm Dreaming"), and "Mistakes" was recorded by Vera Lynn. !--don Friggin' hell! Not *the* Vera Lynn? Sweetheart of the Forces in WWII? Her of whom Ken Dodd once observed that he knew there was going to be war in the Falklands when he walked past her house and heard her practising her scales? Her who is heard singing "We'll meet again" over the closing credits of 'Doctor Strangelove'? Dear me, life's just getting too weird these days. -- Iain Noble Hound Dog Research, Survey and Social Research Consultancy, 28A Collegiate Crescent Sheffield S10 2BA UK Phone/fax: (+44) (0)114 267 1394 email:[EMAIL PROTECTED] [EMAIL PROTECTED] ---
Re: Crosby/Jolsen Cash/Dylan in Kansas City (was: Single MostInfluential)
Since these sorts of lists generally just give me a headache...the result of promiscuous musical attachmenets I guess...I've avoided comment on mopst of the interesting discussion. (No headache detected.) But a few late throw-in points: I think David C. is dead on in answering Tera's question about Jolsen. There was a REAL generational cut-off there; because Jolsen was absolutely worshipped by my grandparents' WWI East Coast kids' /flapper generation...(moreso in their case , I suspect, since they were Hebraic, and he was one of those rare sexy Jewish heroes--like Hank Greenburg later)... And that notion of sexiness really doesn't transcend time, does it! (Not unusual in the history of lust.)... But the stagey and overdone aspect David hit on is part of this--Jolsen's always "selling" the song..and that's a direct result of his history in turn of the century live town-by-town, one-shot only vaudeville and even minstelry..It was meant to be large, it was mant to be hot, it was meant to be seen live--it was FOR the stage, just once-- and he wasn't gonna let any new-fangle microphone (or talkie movie!) stand in the way of his style. Jerry Lee Lewis ALWAYS claims Jolsen as a predecessor, like Jimmie Rodgers, as a singing "stylist"...So here's the irony: It was exactly Jolsen's exhuberant overkill extroversion the 1918 generation found sexy--and the place where that would re-emerge for white folks e (then, as in Jolsen's time, as a crossing of the line into what was seen as a more black-like sexual openness) was in in rockabillies like Jerry Lee and Elvis! Bing Crosby's absolutely important and endlessly influential style went the opposite way--to the restraint and introverted personalness of up to the mike singing--which also led to his famous "laid back" standing in a golf sweater style of physical performance...From John McCormack stagey Irish tenor style to Bing American --now THERE's a birth of the "cool"!...Which is forever with usand is both influenced by and ON other trends in black vocals. In a way, Elvis had the ability, like s other full-range singers (see Sinatra, Brother Ray, etc.) , to marry and even play off the cool and hot things, the holding in and letting go... like the Spanish dance influence on the Texas 2-step. The restraint's the sexy point there. But in rock and roll the simmering volcano eventually must erupt! Meanwhile, "briefly", I've loved the music of Johnny Cash for over 30 years and will stanbd second to no one as an admirer of his...his influence on our little world of outlaw/alt.country is huge, on country at large, large but not endless, and on rock and roll minor at most. Bob Dylan has to make the top ten (but not above Bing or Armstrong or Elvis or T-Bone Walker (good call Joe) for the very notion of delivering POP music intended to have impact on the head as well as the heart and nether parts...in the course of doing that, he delivered the notion of presenting an ALBUM's worth of significant cuts, paving the way for the death of the single sensibility I was saluting here last week. This is of lasting impact. PS: You can't find your way to either Charlie Parker or Elvis Presley without going through those Kansas City territory bands...you wind up there looking for the birth of RB, which would be a key moment in 20th century American music history. You can say it's Louis Jordan's Tympany Five...but it's in some place in the Benny Moten/Count Basie world, where onee bunch of guys run off to form seriously cretaive, even classical and intellectual be bop/progressive jazz (after playing RB, usually!) and another set go off to build raucus RB dumb repeitive sax honking dance music god bless it... But who do you nominate? Count Basie? Big Joe Turner? (Find me a better rock and roll or shouting blues singer!).. Or do we ignore these St. Louis and Kansas City types and turn to Illinois Jacquet and Lionel Hampton in NYC?) I told you I wouldn't have much to say about this stuff. Now I have a headache. Barry M.
Re: pumpskully
Roy "The River" Kasten: Why do you think I've been gone so long? I've been assembling an immense catalog of evidence and logic, organized cross-referenced to wipe out Weisberger's posts with but a click of the mouse. If that doesn't work I'll just start calling names. Holy shit! What a strange week. A Beefheart thread on P2, the Gap is selling *cowboy shirts*!, and Roy's back on P2. This must be some kind of sign. sniff, sniff..is that the smell of Twangfest in the air? Let the talk of long, long songs about long, long rivers begin. marie
CMR Playlist: Thursday 22nd April 1999
Country Music Radio The Bob Paterson Show Thursday 22nd April 1999 Hazeldine - Drive ["Digging You Up", Polydor UK 1998] segue The Damnations TX - Spit and Tears ["Half Mad Moon", Sire Records 1999] Nadine - Out On A Limb ["Downtown, Saturday", Glitterhouse Records 1999] Interview with Annabel Lamb Annabel Lamb - Blessed By The Songs In Your Heart (Live at The Kashmir Klub 2/2/99) Ron Sexsmith - Pretty Little Cemetry ["Other Songs", Interscope Records 1997] Fleetwood Mac - Never Going Back Again ["Rumours", Warner Brothers Records 1977] segue Annabel Lamb - Travelling Home (Live at The Kashmir Klub 9/2/99) Ana Egge - Lebanon, TN ["Mile Maker", Grace Records 1999] Keb 'Mo' - She Just Wants To Dance Kelly Willis - Not Forgotten You [CD Single, Rykodisc 1999] Bonnie Raitt - I'm On Your Side ["Fundamental", Capitol 1998] segue Kenny Roby - Why Can't I Be You ["Mercury's Blues", Glitterhouse Records 1999] Lynn Miles - Sunset Blvd [CD Single, Philo 1998] Mary Chapin Carpenter - I Take My Chances ["Come On Come On", Columbia 1992] segue Ilse DeLange - Flying Blind [CD Single, Warner Brothers 1999] Julian Dawson - I Like Your Absence ["Spark", Gadfly Records 1999] Witness - Audition [CD Single, Island Records 1999] segue Whiskeytown - Excuse Me While I Break My Own Heart Tonight ["Strangers Almanac", Outpost Recordings 1997] segue Bap Kennedy - Mostly Water ["Domestic Blues", E-Squared Records 1998] Terry Allen - Billy The Boy ["Salivation", Sugar Hill Records 1999] Lucy Kaplansky - End Of The Day ["Ten Year Night", Red House Records 1999] -- Bob Paterson http://www.ursasoft.com/bob Bob Harris Country BBC Radio 2 (Researcher) CMR DJ (Thursday nights 10-12)
Re: single most influential, cont.
Tom Ekeberg wrote: Carl W.: As a footnote to our discussion, see the new issue of the Atlantic, including an article arguing that Dylan changed pop music more than any other single figure, "including Sinatra, Elvis or the Beatles." Of course. He single handedly made it all right not to know how to sing, not to know how to play and still be a big star. Ah, ha! I laughed my ass off at this one. Ekeberg rises from the mists to denigrate His Bobness! My feeling on this observation is that Dylan is much like other stars who overcame vocal limitations, even used them to advantage. Offhand I am thinking of Ernest Tubb, who actually used his flat, weird vocals as a way to become famous. "Can't sing" means "can't sing as well as the typical good singer" but doesn't really hurt anybody in this context. Bill Anderson was another guy who "couldn't sing" but turned it into an asset by calling himself "Whispering Bill". One example I have always found particularly grating was the Dead's vocals, which are like fingernails on chalkboards to me, but which apparently don't bother their fans. I find Dylan's early stuff to be engaging, his later stuff to be almost painful, vocally. It is true that he opened the door to a lot of terrible singing in the rock bizniss. I actually think he was a pretty good acoustic and rhythm electric guitar player, if that was in fact him on the early records. I like the jangly out-of-tune strat he plays on Hiway 61, etc. Its cool. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
RE: Updates
Which pretty much echoes something that Bill Emerson, banjoist extraordinaire, told Bluegrass Unlimited a few years ago (I'm hunting for that Crowe rant): "The problem with bluegrass is that there's too much unprofessional bluegrass. It's a type of music that anybody can play anywhere. You don't have to have an amplifier or an AC power outletThat's not to say that anyone who's doing it is ready to make records and compete for the jobs at the bluegrass festivals. Anyone with a few thousand dollars can produce a recording and send it to radio stations. Program directors, recording executives and promoters should be careful about who they're putting out there to represent the bluegrass idiom. To help it grow we have to concentrate on the *best* music we have." Yeah, damn shame how advances in recording technology have made it possible for people to make records without the financing -- or blessing -- of some media conglomerate more concerned with cash than quality or a group of gatekeepers who get to decide what's "professional" or not. This quote is so ludicrous it would be laughable, if it weren't for the fact that the opinions expressed are apparently shared by others. I guess I should just delete this crap before I let it get to me...
Re: Chicago Calender - message from Stacey Earle
Sorry. I should have clarified in the first place. This is Stacey Earle of Chicago, who is a founder and regular at Here Be Monsters, and has occasionally sung harmony with Jon Langford in Skull Orchard. I talked to her last night. Her arm is a wreck with metal things sticking out of it. She was riding her bike home from the last Here be Monsters and was sideswiped by a car. The car stopped long enough for the people in it to yell at her, but not long enough, of course, to provide any info that might get an insurance company to pay for her injuries. Stacey, the Chicago Stacey, has no insurance. She said last night there may be another benefit later at Lounge Ax, but this Tuesday lineup looks great, and I'm thrilled to say that a number of people at the Alejandro show last night, who haven't attended Monsters shows before, are excited enough about this one to plan to attend and bring friends. Hope you'll do likewise. Stacey was one of the founders of Here Be Monsters when it began at the Chopin Theater in Wicker park two or three years ago. That was, as I recall, one of the first public settings in which Ms. Kelly Kessler returned to the stage after the breakup of the Texas Rubies and, I suspect, a seed of the current Honky Tonk Living Room. Monsters has long been a Mekons side project of sorts, providing audiences for individual members' various solo inspirations. It's practically home to Chris Mills, and its stage is frequently visited by the likes of Kelly Hogan, Deanna Varagona, Dave Trumfio of King Size studios and the Pulsars, Brett and Rennie Sparks and all manner of musicians/performance artists, filmmakers, etc., known and unheard of. Stacey was part of the vision to make each Monsters event a benefit for some worthy, obscure, often windmill tilting not-for-profit venture. She's a great gal and I hope people turn out for this thing for her. Linda
Dixie Chicks Article in Dallas Observer
Quite an amusing read I thought. Two extremes and both too extreme IMO. The web site is at : http://www.dallasobserver.com/1999/041599/music1.html The Dixie Chicks What's Not To Like? By Michael Corcoran I'm prone to hyperbole, especially in situations where alcohol is served, so when I proclaimed, in the presence of a certain sports and music editor for a Dallas weekly, that the Dixie Chicks' Nashville breakthrough Wide Open Spaces was the best country album of 1998, a good-natured yet heated discussion ensued. This assignment to defend the Chicks is the SM editor's revenge, but I have no problem putting my byline where my mouth is. For years, while they dressed like Annie Oakley and warbled preciously as though Nanci Griffith were their Aretha, the Dixie Chicks were hard to take seriously. The Erwin sisters, Martie (now Seidel) and Emily, could really rip on the stringed instruments, but the whole presentation reeked of gimmickry, or at least as the punch line of a joke that asked you to cross Melrose Place and Appalachia. They wanted it so bad that they forged ahead, playing every gig like a showcase and proving again and again that there's nothing less attractive than unrequited ambition with a banjo backing. How can those same Dixie Chicks, the scourge of gritty Dallas hipsters, suddenly be one of the best things to happen to country music? Well, they're not the same Dixie Chicks, for one thing. In fact, I've heard the band may change its name to "Natalie Maines." After years of plugging away, looking for the magic that would pull them out of the Perot party circuit, Martie and Emily finally found it three years ago when they hired Natalie, the Lubbock-raised daughter of producer-pedal steel guitarist Lloyd Maines. The Chicks got their record deal without Natalie, but then-singer Laura Lynch needn't kick herself for quitting just before the windfall. The Chicks would've sold nine records, instead of six million, if Lynch were still hopelessly trying to verify the rumor that everyone has a soul. This is not a Pete Best situation, but more like Stevie Nicks and Lindsay Buckingham replacing Bob Welch in Fleetwood Mac. A million would-be Dollys have daydreamed in song at the baggage claim area of the Nashville airport, but it's been a long time since a blonde bundle of spunk and talent like Natalie Cool bounded through the gates.Foremost is a buoyantly vibrating voice that can, in the words of Graham Parker, "turn a cliché into a sensation." Maines has quite a few clichés to work with on Wide Open Spaces, but listen to everything she brings to a throwaway line like "It shoulda fit like a glove" on "There's Your Trouble," the song that vaulted them into Shania country. The video for "There's Your Trouble" found Maines moving like Lubbock got MTV right after Butch Hancock, Joe Ely, and Jimmie Dale Gilmore moved to Austin. For a glorious three minutes and 13 seconds, it looked and
Re: pumpskully
On Fri, 23 Apr 1999 [EMAIL PROTECTED] wrote: In a message dated 4/23/99 3:27:27 PM Central Daylight Time, [EMAIL PROTECTED] writes: handle I've ever seen. I mean Cheese Grits are just way up there on the high holy list of all things soul, right up there next to scrapple, chili, chicken-fried steak, cornbread, etc. etc. Damn I love cheese grits. No, no danger of a food thread starting Dan. A cardiology thread perhaps. Good god man, think of your arteries! g JC
RE: Dixie Chicks Article in Dallas Observer
Louise says: Two extremes and both too extreme IMO. Which is about right; if Natalie Maines were all the Monument Chicks have going for them, some folks - well, me, at least - wouldn't have much interest, so Corcoran's it's-all-Natalie "defense" is of minimal use. Wilonsky, on the other hand, is a supreme idiot - no, wait, that's too nice; he's a supremely mean-spirited idiot, and not just because of his snide anti-bluegrass hipster pathology, but because when he writes stuff like this: the Chicks keep insisting it's their first record, as though the past decade never happened. Too many times have they uttered such nonsense in interviews... he's just a flat out liar, as anyone who's read, for instance, the current Country Music magazine piece on the Chicks (a full page on the band's history - with quotes about it from Seidel - including a their first three album titles, with combined sales figures) can attest. A mean-spirited, chuckle-headed, lying asshole. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
RE: Updates
Yeah, damn shame how advances in recording technology have made it possible for people to make records without the financing -- or blessing -- of some media conglomerate more concerned with cash than quality or a group of gatekeepers who get to decide what's "professional" or not. This quote is so ludicrous it would be laughable, if it weren't for the fact that the opinions expressed are apparently shared by others. Well, considering that Emerson's talking about bluegrass, I've got to take that "media conglomerate" thing with a grain of salt. There are a lot of gatekeepers in the music bidness, and not all - not even most - of them are Big Bad Guys. Do you know any DJs who air all the cuts on everything they get in the mail? The ones who don't - which is all of them, I do believe - are gatekeepers. Clubs who book everyone who wants to play for as long as they want to? The ones who don't are gatekeepers. Record labels that put out everything sent in to them? The ones who don't are...you guessed it. The list of gatekeepers is a pretty long one, and while some of them do a bad job, and some use what I think are pretty bad criteria, I don't see anything wrong with the idea per se. I've heard enough crappy stuff to last a lifetime already. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
Re: single most influential, cont.
On Sat, 24 Apr 1999 [EMAIL PROTECTED] wrote: really isn't all that good. And while we're goin' down that roadEmmylou on lead these days isn't all that appealing, yet as backup/harmony is quite nice. Oh, that's open to a serious rebuttal, but we are talking about subjective opinions. ANDI sure respect your right to post yours even though I'm tearing my fingernails out not to disagree. g Flat out Worst Singer I can't stand so much it spoils any hope of enjoying the music - Robert Smith of The Cure Flat Out Worst Singer that is horrible but does not spoil the music in any way, shape, or form - Neil Young NP: Jimmy Murphy - Electricity Best, Jerry
RE: Updates
"The problem with bluegrass is that there's too much unprofessional bluegrass. No, no. That would be old-time music. snort Erin
RE: single most influential, cont.
His Royness: Tom Ek. wrote: Of course. He single handedly made it all right not to know how to sing, not to know how to play Bob knew how to sing and knew how to play. Still does. Everything is true in some sense, false in some sense, meaningless in some sense, true and false in some sense, true and meaningless in some sense, false and meaningless in some sense, and true and false and meaningless in some sense. Seeing the sense in which Bob Dylan don't know how to sing shouldn't be too hard. Seeing the sense in which Bob Dylan don't know how to play harmonica should be a no brainer. Tom Ekeberg Oslo, Norway http://home.sol.no/~tekeberg/
RE: Dixie Chicks Article in Dallas Observer
In a message dated 4/24/99 1:52:16 PM, [EMAIL PROTECTED] writes: he's just a flat out liar, as anyone who's read, for instance, the current Country Music magazine piece on the Chicks (a full page on the band's history - with quotes about it from Seidel - including a their first three album titles, with combined sales figures) can attest. A mean-spirited, chuckle-headed, lying asshole. geez, but how do you really feelwhat's up with such completely "mean-spirited" attacks on critics that for some reason are not likedwhat a waste of time...
Re: POSTCARD2 digest 1381
I think Anon's beef is much more with the organizers, promoters, and marketers of SXSW, but all the ire falls on the bands. Nah, I'd say he's disturbed most by the infrastructure attached to that particular scene that can't seem to diferentiate between the wheat and the chaff, as it were. See http://dannybarnes.com/trends.html for a similar perspective . ___ Mark Rubin POB 49227, Austin TX 78765 http://markrubin.com
Re: Updates
Richard Haslop wrote: The World Is A Wonderful Place (is that what the English Richard Thompson tribute was called? I haven't heard of this. Who's on it? Tom Smith
RE: Oliver lake
Progressive jazz and twang: I never saw all four together, but I have had the pleasure of seeing the three surviving members of WSQ in three separate gigs -- two I booked. Saw David Murray's Quartet with the late Fred Hopkins on bass at Artpark. Presented Hamiet Bluiett duo with Ronnie Burrage - for Hallwalls at the Calumet in Buffalo. Presented Trio 3 - Oliver Lake-sax, Andrew Cyrille drums (just won a Guggenheim) and Reggie Workman on bass. - for Hallwalls at the Calumet in Buffalo Three of the finest times. Dan Rigney
RE: single most influential, cont.
Tomness writes: Seeing the sense in which Bob Dylan don't know how to sing shouldn't be too hard. Seeing the sense in which Bob Dylan don't know how to play harmonica should be a no brainer. Ah, if I only had a brainIn what sense does Bob not know how to sing? He doesn't know how to sing on key? (He does.) Doesn't know how to deliver a melody? (He does.) He doesn't know how to use his voice as an emotional vehicle? (He does.) I'm not even gonna touch the harmonica issue, until I get some sense out of what Tom is talking about. Roy Kasten [EMAIL PROTECTED]
Re: Dixie Chicks Article in Dallas Observer
From: [EMAIL PROTECTED] geez, but how do you really feelwhat's up with such completely "mean-spirited" attacks on critics that for some reason are not likedwhat a waste of time... That was nothing. If you really want to see insults and venom hurled about, bring up the 'M' word. Marcus...as in Greil. marie
subject line? what subject line?
When I sent the following message yesterday, it had a nifty little subject line of "AOTD (All-purpose-quotation Of The Decade)", which appears to have been stripped, at least on the digest. Just so everybody knows what I was really nominating Steve Earle for. Nina Melechen In today's digest: Well, I'll stand in front of Rob Miller's fantastic jukebox there in his living room, in my best pair of overalls, with a haybale, and a feather boa drinking RC Cola, munching on a moon pie, and tell him Jr's right, and a whole bunch of references in the last couple of digests, and even more in the past So: I nominate Steve Earle for his AOTD Nina Melechen
Re: Dixie Chicks Article in Dallas Observer
In a message dated 4/24/99 6:52:16 PM !!!First Boot!!!, [EMAIL PROTECTED] writes: Wilonsky, on the other hand, is a supreme idiot - no, wait, that's too nice; he's a supremely mean-spirited idiot Despite his hatred for bluegrass, I think Wilonsky hit the nail on the head with the Chunks. Mitch Matthews Gravel Train/Sunken Road
Re: single most influential, cont.
Tom Ekeberg wrote: Seeing the sense in which Bob Dylan don't know how to sing shouldn't be too hard. This is what I actually disagree with. Not being able to sing very well and not knowing how to sing are two different things. I think Dylan made amazingly effective use of a very indifferent vocal apparatus, thus I think that he knows very well how to sing, he just doesn't have the larynx to pull it off very well. In fact, in my experience producing and engineering, the most interesting performers are not the ones with the best pipes. They are usually the ones with an odd voice that they were forced to deal with in order to be effective. I would cite Townes, Willie, and Waylon as three artists I have recorded who developed strategies for working around whatever deficiencies they may have had, and in the process became very interesting to the ear, much moreso than a so-called "good" singer. Most "good" singers end up doing commercials or being backup chorus singers because they are not very interesting to listen to. The exceptions to this would be people like KD lang whose pipes are so extraordinary (coupled with powerful charisma) that they are mesmerizing. (We saw her at the Roy Orbison Tribute thing out in LA and she stunned me with her power over the audience. Seeing her live made me a believer.) Another example of the previous point would be Elvis. Our daughter has been having an Elvis sleepover party (she's 14 and she heard "Love Me Tender on the radio and said "Mama, Elvis is HOT!"), playing his movies continously for the past two days. I noticed after listening to him sing for a few hours that he had a tendency to go sharp all the time. Not violently so, just a shade sharp. I also noticed that he didn't have the strongest voice in the world. However, he figured out strategies for evading those problems and became a great singer. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: POSTCARD2 digest 1381
M Rubin wrote: I think Anon's beef is much more with the organizers, promoters, and marketers of SXSW, but all the ire falls on the bands. Nah, I'd say he's disturbed most by the infrastructure attached to that particular scene that can't seem to diferentiate between the wheat and the chaff, as it were. See http://dannybarnes.com/trends.html for a similar perspective . ___ Mark Rubin wow, this is very neatly said. check this out.
Re: single most influential, cont.
[EMAIL PROTECTED] writes: Flat Out Worst Singer that is horrible but does not spoil the music in any way, shape, or form - Neil Young = Nicely put! best, Kate
Mother Road Playlist
Sounds from the Mother Road-4/24/99 Saturdays Noon-2pm KGLP Gallup Public Radio Fund Drive in full Swing! Anne Feeney--Look to the Left Chicken Chokers--Looking for Money Toni Price--Throw me a Bone Sam Bush--All Night Radio Gillian Welch--One More Dollar Woody Guthrie--Do-Re-Mi Riders in the Sky--Someone's Gotta Do It Robert Earl Keen--Daddy Had a Buick Bela Fleck--Sancturary Tom Russell--Haley's Comet Kiernan Kane--Greener Pastures Tim Molly O'Brien--Out in the Country Steve Earle--My Hometown Doc Richard Watson--Milk Cow Blues Emmy Lou Harris--I'll be Your San Antone Rose Strength in Numbers--Blue Men of the Sahara Tara Nevins--Over my Shoulder Bradley N. Litwin--I'll Give You to Bus Money, Honey Darrell Scott--Family Tree Hylo Brown and the Timberline--Flower blooming in the Wildwood Mark Schatz--Celtic Medley John Prine--Paradise Sarah Elizabeth Campbell--Just Out of Reach Billy Bragg Wilco--Way Over Yonder in aMiner Key Jenks Tex Carman--Samoa Stomp--Hillbilly Hula Lousie Massey--Squeeze Box Polka Spade Cooley--Yodeling Polka Tex Williams--Never Trust a Woman Leon Rausch--Tucumcari Woman Big Sandy His Fly Rite Boys--Playgirl Red Meat--Deep Water Biller Wakefield--The wandering Texan Carl Sonny Leyland--Wine, Women song Jimmy Murphy--Ramblin Heart Jack Smith the Rockabilly Planet--King of the Show Rosie Flores--59 Tweedle Dee Happy Trails, Jamie
Re: single most influential, cont.
At 15:26 24.04.99 -0500, you wrote: Tom Ekeberg wrote: Seeing the sense in which Bob Dylan don't know how to sing shouldn't be too hard. This is what I actually disagree with. Not being able to sing very well and not knowing how to sing are two different things. Okay. That's what I meant. I shouldn't have used the word "know". And I would like to point out that I didn't say whether not knowing how to/being able to sing was a good or a bad thing. I think Dylan made amazingly effective use of a very indifferent vocal apparatus, thus I think that he knows very well how to sing, he just doesn't have the larynx to pull it off very well. Like I said, true in some sense, false in some sense. Obviously Dylan knows what he's doing when he's singing. I agree with the examples Joe used in the rest of his post too. I would have to think closer about the Elvis part though. I sometimes feel that he doesn't sing as well as an Elvis should, but I have not tried to analyze what it is that gives me this feeling. But I still say that Dylan doesn't know how to play harmonica (in some sense). I hope this answers Roy's question too. Tom Ekeberg Oslo, Norway http://home.sol.no/~tekeberg/
Car Tunes Playlist
Howdy there y'all.. Here is an old old old Playlist for Car Tunes on WEVL Memphis FM 90 Monday afternoons 4-6 PM I have working production on a rap video for the past week, so pardon the delay. I had a sub this week, and not sure what he played, but here is the show from 2 weeks ago during our pledge drive week. (APRIL 12) Bruce Robinson - See You Around Elena Skye - I'll Try Not To cry Tonight Jimmy Murphy - You Touched Me Terry Allen - Southern Comfort Van Duren and Tommy Hoehn came into the studio, we talked played some songs from their new record, and also a few live performances. The * indicates live Permanent Ink Swoon * She Might Look My Way * Love Falls Up Nowhere And Back Again Never Always Mirror Mirror * So Over It (it seems like they did another one live, but I can't read my own notes!) Back to CD's.. Dale Watson - Help Me Joe Marty Stuart - Miss Marie and the Bedford Blaze Kelly Willis - Truck Stop Girl Johnny Cash - Luther Played The Boogie Woogie Johnny Cash - Get Rhythm Keith Sykes - Maybe I'm a Mockingbird The Mavericks - Oh What A Thrill Lucinda Williams - Joy Riverbluff Clan - Walls of Graceland Pawtuckets - Punchline (someone said they would pledge $100 bucks for this song!) Merle Haggard - Somebody Else You've Known
Re: single most influential, cont.
In a message dated 4/24/99 3:25:09 PM Central Daylight Time, [EMAIL PROTECTED] writes: I also noticed that he didn't have the strongest voice in the world. However, he figured out strategies for evading those problems and became a great singer. I would beg to differ as the King got into the later part of his career. There is a clip in "This Is Elvis" (the original version, as it was edited from the "expanded" video release by EPE because it was such a negaive visual of E) where what I believe was his last televised concert he sang "Unchained Melody" accompanying himself on the piano. It is one of the most emotional and powerful musical moments I have ever seen. He looks like hell, but that voice is strong and perfect. It makes me cry. Slim
Re: Mother Road Playlist
Dang daddy, put my playlist to shame Nancy
Re: single most influential, cont.
At 05:30 PM 4/24/99 EDT, you wrote: where what I believe was his last televised concert he sang "Unchained Melody" accompanying himself on the piano. It is one of the most emotional and powerful musical moments I have ever seen. He looks like hell, but that voice is strong and perfect. It makes me cry. This amazing clip is on one of the Great Performances videos as well (and the arrangment/interpretation is largely borrowed, I'd say, from Charlie Rich's Sun era version of the song). It makes me cry too. But it makes me cry precisely because his voice CAN'T do it anymore, which isn't so suprising since he's like only a few weeks away from being dead. He can't hit the high notes at all, or the low ones either. It's a pretty pathetic performance, but it's also painfully poignant for the sheer gesture of the attempt, or maybe because of his glassy-eyed obliviousness to his lack of chops. At any rate, Unchained Melody is a very hard song to sing even for someone in their prime, but Elvis doesn't try to sing it differently to account for his new vocal weaknesses; he just plows through. So I agree with you that's it's among the most emotional and powerful of musical moments. But it's incredibly hard for me to watch, especially since I know what he's lost, and what's coming. --david cantwell
Clip == Willie at JazzFest - Friday
Hi folks! For all of us wanting to be in NOLA this weekend, eating beignets, crawfish Monica and alligator pie.here's the next best thing (sort of). Coverage via the Times-Picayune WEB site. A review of Willie's performance follows, other info can be found at: http://www.nola.com/jazzfest EnjoyK. Music writer Keith Spera's views and reviews of the 'fest April 24, 1999 *Willie Nelson* If you've ever seen Willie Nelson, then you can pretty much describe what the Red-Headed Stranger was like as he closed out the Ray-Ban Stage Friday. Nelson is nothing if not consistent: the waist-length braids, the red bandanna and thatunmistakable, nasally Nelson twang, a take-it-or-leave-it sort of voice. The barricades in front of the stage eliminated the time-honored Nelson tradition of accepting and sampling drinks delivered from the audience, which may have accounted for the laid-back tone of the set early on. The mix favored ballads too much, and 15 minutes into the show was a bit early to turn the spotlight over to his piano-playing sister for an instrumental. It wasn't until he got around to "Mamas Don't Let Your Babies Grow Up to Be Cowboys," his hit duet with Waylon Jennings, and Billy Joe Shaver's "Fast Train to Georgia," that the pace picked up. Nelson gave his battered acoustic guitar a workout, plucking and pulling at the strings as he and his acoustic "family" band ran through the outlaw country canon. The Willie Nelson Family includes not only the band, but also the fellow troubadours whose songs they cover: Shaver, Merle Haggard, Kris Kristofferson. Nelson did Kristofferson's "Me and Bobby McGee" as an acoustic shuffle, powered by the drummer's brushes on a snare. The world-weary, knowing quality in his twang can make lines like "wakin' up this morning to the feeling of your fingers on my skin" and "lovin' you is the easiest thing I'll ever do again" seem downright authentic, even though he's sung them a billion times. And he manipulated that voice to great effect as he delivered the simple, quietly optimistic line "blue sky smiles at me, nothing but blue skies from now on." Nelson may wear the same ol' hat -- make that bandanna -- but he wears it well.
Re: single most influential, cont.
In a message dated 4/24/99 4:50:39 PM Central Daylight Time, [EMAIL PROTECTED] writes: But it makes me cry precisely because his voice CAN'T do it anymore, which isn't so suprising since he's like only a few weeks away from being dead. He can't hit the high notes at all, or the low ones either. It's a pretty pathetic performance, but it's also painfully poignant for the sheer gesture of the attempt, or maybe because of his glassy-eyed obliviousness to his lack of chops. Are you sure we saw the same clip, or is it just not your cup of tea? g Yeah, he looks like hell and the strain is intense, but my God, what a performance. I stand by my perceptions. Slim
Re: single most influential, cont.
I'm sort of surprised by Joe's reference to Willie and Waylon as examples of singers with deficient voices. Townes I'll buy, but to my ears, both Waylon and Willie have great instruments. Curiously, though, of the three only Townes can deliver a song or a phrase right to the center of me and move me. Maybe because I have to look past the limitations to the raw emotion behind the song while the others can suspend me somewhere closer to the surface? I've been spending a lot of time lately with my Tom Waits collection, anticipating "Mule Variations" release this week. Talk about limited tools put to best use! Would Tom with the same writing talent be as captivating if he had a voice like Sinatra, or is it the curious charm of his gruff vocals that make him so special? Joe says: In fact, in my experience producing and engineering, the most interesting performers are not the ones with the best pipes. They are usually the ones with an odd voice that they were forced to deal with in order to be effective. I would cite Townes, Willie, and Waylon as three artists I have recorded who developed strategies for working around whatever deficiencies they may have had, and in the process became very interesting to the ear, much moreso than a so-called "good" singer. Most "good" singers end up doing commercials or being backup chorus singers because they are not very interesting to listen to.
Re: Updates
At 11:19 AM -0400 on 4/24/99, [EMAIL PROTECTED] wrote: Actually, I consider bluegrass alt-country. This isn't my objection to calling bluegrass alt-country, but I dunno how a staid, conservative genre like bluegrass becomes an alternative to a staid, conservative genre like country. It's just the easiest point to make. Bob
RE: Updates
At 6:33 PM +0200 on 4/23/99, Marie wrote: I'm going to go out on a limb here and say that the world does not need anymore tribute albums. g It's one of those ideas that are better in theory. The only really good one is *Tulare Dust*, imo. And the Tom T. Hall tribute is pretty good. The Jo Carol Pierce tribute is also very good. Though it sure doesn't replace her own release. And Merle's LPs honoring Jimmie Rodgers and Bob Wills aren't gonna be tossed away so easily either. Bob
Re: Oliver lake (Fred Hopkins. WSQ, David Murray, etc)
Saw David Murray's Quartet with the late Fred Hopkins on bass at Artpark. I've been lucky to see David Murray in many incarnations, very often with Fred Hopkins. I was sad to see how he passed away - he seemed very young (I don't know his age, but he PLAYED young). He always seemed to have the best time on stage, kind of a lil' clown, and he and Murray (and he and Andrew Cyrille especially) were so in sync with each other. He was a real treasure and I hope he's remembered. Murray always has the best bands with him. One note about the WSQ is how when I first saw them I was expecting alot of serious pomp, but they provide some of the most patying jass shows you can see. They have a new record with African vocals which, while not as good as their best, shows that as a quartet they really stretch themselves. I feel David Murray is making some of the most important music going on today (if music can be important - he shows it). He's been experimenting the last few years with combining African heritage world music with his soulful, funky jass style and it works so damn well - not on record, alas, as much as in person. If Fo Deuk Revue comes to your town in any form, check it out. When I saw him half a year ago he had Senegal rappers, traditional Senegal pop music, Amira Buraka reading beat poetry, and, of course, the great sounds of David Murray himself. Kick ass stuff. keep dancing, -ldk
Re: single most influential, cont.
John Kinnamon wrote: I'm sort of surprised by Joe's reference to Willie and Waylon as examples of singers with deficient voices. Townes I'll buy, but to my ears, both Waylon and Willie have great instruments. Willie doesn't have a "big" voice, although it can be loud if he wants to. he's a softspoken guy, and his singing voice is relatively subdued also. Waylon comes very close to having a "great voice" but he's so much himself that you could never mistake him for anybody else, no matter how hard he tried, and I guess what I was trying to convey was that none of these guys could ever sing anonymously like a typical "good singer" can. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Gillian Welch David Rawlings, Tucson, AZ, 18 Apr 99
I began scribbling the following review soon after the show, forgot about
it for a week, and came back and finished it today.
No, I refuse to say anything about the most influential artist or the
negative effect of bad musicianship on the alt-country movement. :-) In
any case, this review is completely irrelevant to these topics: I
seriously doubt that anyone would nominate Gillian as the most influential
anything, or accuse her or David of bad musicianship...
--
Gillan Welch and David Rawlings played a gorgeous, intense set last night
at a lecture hall in the Social Sciences building at the U of A campus.
("I feel like I'm giving a lecture!" Gillian exclaimed at the beginning of
the show.)
During the show, Gillian compared the setup of the auditorium to that of
the _Austin City Limits_; but the entire atmosphere of the show was quite
different. Unlike in the ACL, they were relaxed and confident, willing to
play around with the audience. ("The next song is going to be a happy,
upbeat song." [Pause] "Of course, you didn't believe that, did you?"
[Smirks from the audience] "The next song is titled, 'I'm Not Afraid to
Die'." [Laughter])
Also, unlike in the ACL set, they sounded smooth and well balanced. They
were doubtlessly helped by the good soundman (a rarity in this town full
of deaf idiot soundmen). The musicanship was impeccable: Gillian and
David's voices meshed perfectly, and David got out a Dobro-like metallic
sound from a small-bodied Gibson. The fury that came off the stage was
very appropriate for their dark songs such as "Caleb Meyer".
Of course, you know about the quality of Gillian's songs. They played
most of the songs from their two albums, plus "Wichita" and a cover of a
cowboy song whose title escapes me (sung by David). They played only one
brand new tune: this was a bit disappointing to me, since I always look
for works in progress in a concert given by an acclaimed songwriter.
For the first encore, she played a Townes Van Zandt song ("My Proud
Moutains", I believe) and "Acony Bell". When the crowd called them back
for the second encore, they played "Orphan Girl" and then called it a
night.
I was a bit weary before the show because I had heard about their supposed
lack of comfort on stage, especially in a large auditorium. I however
found this reputation unwarranted, judging from their presence in the show
last night. Everybody with whom I talked later was ecstatic about the
show, and I wholeheartedly agree.
--Hiroshi
--
Her number always turns up in your pocket \ H.Ogura ([EMAIL PROTECTED])
Whenever you are looking for a dime. \ Dept Chem, U Az, Tucson AZ 85721
It's all right to call her but I bet you+
The moon is full and you're just wasting time. -- Gram Parsons/C.Hillman
son volt cdr's
posting some more sv cdrs for anyone who wants to trade, or do a blanks and postage trade (I dont mind), this time it's 6/22/96, and 10/8/98... the 96 show is cabaret metro in Chi Town, and includes tons of high quality filler from FM broadcasts, and packs two discs. The 10/8/98 is from First Avenue, Minneapolis, MN and has a nice, recent setlist. I am willing to burn for any fans who want to trade, or just love the band and maybe want to start trading, so spread it around and be cool.and find me a spel checker respond to this address and dont make this list even larger! :))) Kevin Reed [EMAIL PROTECTED]
Re: Oliver lake (Fred Hopkins. WSQ, David Murray, etc)
Cactus wrote: If Fo Deuk Revue comes to your town in any form, check it out. When I saw him half a year ago he had Senegal rappers, traditional Senegal pop music, Amira Buraka reading beat poetry, and, of course, the great sounds of David Murray himself. Kick ass stuff. Kick ass stuff indeed. I saw them in NYC last summer and was especially knocked out by the organist, whose name I didn't catch. Murray joked that he was "the new guy." Any idea who he was? Tom Smith
Gwil Owen address?
Awhile back, someone posted this address: Rambler Records, P.O. Box 90685, Nashville, TN 37209 for tapes by Gwil Owen (writer of songs recorded by Toni Price, Joy Lynn White et al.). Being a fan of those songs, I mailed off a note asking for a list of what he had for sale. It was returned to me marked "Returned to sender/Not deliverable as addressed/Unable to forward". I've searched CDNow and Amazon with no luck. Does anyone know of anywhere else I can get his music?
Lee Ann Womack on the Opry
Caught most of the rerun of tonight's televised portion, and though Ray Price was a hard act to follow - dang, he sounded good, and he also sounded great on the radio-only second show - Lee Ann was up to the job after a slightly shaky start with her Terry Smith-endorsed current hit; it looked to me as though they were having some monitor problems (there was flash of the lead guitar player pointing to his ear, which is usually a sign g). She did a *killer* version of "Miles And Miles Of Texas" for her (unscheduled) encore, with lots of great ensemble playing from the band. In between she did a good slow, hard-country number that's not on either of her albums, most likely titled "A Way To Survive"; anyone know where it comes from? Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
No twang here- I need a good sous chef
What the hell- I'll try here. Anyone know of a good sous chef or line cook looking for more opportunity who wants to live in culinary Mecca (i.e. the wilds of Northern California). I can't pay a whole lot but my 65 seat bistro is busy, a local favorite and a damn fun place to work. I'm also a more reliable boss than Ryan Adams. I need someone soon, basically so I can get a night off. Nicholas Marginal twang content- I'm loving All About Town by the V-Roys.
Re: Lee Ann Womack on the Opry
did a good slow, hard-country number that's not on either of her albums, most likely titled "A Way To Survive"; anyone know where it comes from? Most recent version I know of is Gene Watson but I think Hank Thompson had a go at it and my band does it every weekend. 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
