Re: All The Way Down
Louisiana is good.Are we homies? Anyway, I spoke on this topic with my friend Dave, the guy who first schooled me on the difference between hip-hop and rap. And though I honestly couldn't care less if anyone thinks the Beasties are hip-hop, I have a few parting words: Do the Beasties participate in the hip-hop dialogue? Are they responding to and furthering the conversation that flows between artists through, within and across the different hip-hop scenes? I don't think so, but hey, I'm a well known asshole. The Beasties have always seemed to stand at a remove from the hurly-burly of hip-hop. Culturally they are closer in meaning to Cake than to PE. As for race and class, there is no litmus test. As Dave (who's white) says, you either are hip-hop or you are not. There's no qualifications and you can't buy a membership just by hanging around the scene. You show up and everyone else just knows whether or not you are real. I go to lots of local shows and hang with lots of hip-hop activists and artists, still, I am not part of their community. However, there is mutual respect, even if I don't understand half of what they're saying. Chuck D., and Guru are upper middle class, well educated individuals. To me, what makes them hip-hop is that they consciously strove to develop a new way of communicating and speaking musically about urban culture. Just as Eazy-E and Master P. did, albeit with a less intellectual stance. I think the Beasties are about making cool music without an underlying social or cultural agenda. Nothing wrong with that, it just ain't hip-hop.
CLIP== NOLA Content * Johnny Adams Memorial Piano Night *
Good morning folks! Sensing that the list is made up of people that enjoy ALL quality music, I thought you'd enjoy this piece on Johnny Adams. Tmrw there will be a memorial concert in NOLA. ALSO == TUNE (click) IN - *Piano Night* The 11th Annual WWOZ Piano Night Concert will be offered Monday, April 26th at Tipitina's from 6 PM til 2 AM. Kermit Ruffins will provide barbeque to all attendees, and a buffet will be served upstairs to Brass Pass members. Featured performers this year include Jon Cleary, Tommy Ridgley, Eddie Bo, Willie Metcalf, Scott Kirby, Joe Krown, Willie Tee, Reggie Hall, Ann Rabson, Mitch Woods, Joel Simpson, John Gros, Nelson Lunding and Will Sargaisson. ** WWOZ will broadcast the event live on 90.7 FM. It will also be streamed throughout the world on the Internet at: www.wwoz.org ** enjoy, Kate ~ *Songbird Remembered* On the Eve of a Jazzfest Concert in his Memory, Aaron Neville and other Friends and Fans Sing the Praises of the Late Johnny Adams, the "Tan Canary," one of the Great Voices of New Orleans Rhythm Blues By KEITH SPERA Music Writer April 25, 1999 Dew Drop Inn Revisited: A Tribute to Johnny Adams WHAT: A Jazzfest evening concert dedicated to the late RB singer FEATURING: Aaron Neville, Irma Thomas, Marva Wright, Big Al Carson and the Wardell Quezergue Orchestra WHEN: Tuesday, 8 p.m. WHERE: Praline Connection Gospel Blues Hall, 907 S. Peters Street TICKETS: Sold out. A living history of New Orleans music turned out at the D.W. Rhodes Funeral Home for Johnny Adams' funeral last fall: Ernie K-Doe. Cyril and Aaron Neville. Dave Bartholomew. George Porter Jr. Wild Magnolias Big Chief Bo Dollis. Tommy Ridgley. Harold Battiste. Willie "Tee" Turbinton. After they raised the roof of the chapel with a musical tribute, the mourners solemnly filed past Adams' open casket. Aaron Neville, a red carnation accenting his white shirt, paused for a moment in front of the casket, then reached out and placed a single rosary bead on the lapel of Adams' lavender suit. Neville's gesture, played out as a battery of cameras clicked away and the Treme Brass Band kicked off an indoor second-line, communicated the intimacy that existed between the two men, one of deep mutual respect and admiration. Neville learned to sing in part by mimicking the swooping falsetto on Adams' earliest recordings; this was his final farewell to a fellow world-class vocalist and first-class gentleman. When cancer silenced Adams at age 66 on Sept. 14, 1998, New Orleans and the world lost one of its great, largely unsung musical heroes. During a 40-year career, "the Tan Canary," as he was lovingly dubbed by an admiring disc jockey, never scored a national hit on par with K-Doe's "Mother In Law," never enjoyed a modern-day career resurgence of the sort that has blessed Aaron Neville. But to his devoted fans - which, tellingly, include everyone from rhythm blues belter Ruth Brown to contemporary blues-rocker Bonnie Raitt, from old-school singer Neville to youthful Darius Rucker, lead singer of Hootie the Blowfish - his voice shone as one of the brightest in American music, the New Orleans equivalent of Frank Sinatra. Knowing, refined, versatile, a technical marvel, his nimble voice could articulate subtle shades of emotion in everything from the earthiest rhythm blues to the most elegant jazz. The New Orleans Jazz and Heritage Festival has lost several members of its extended family since last year's event. Longtime contemporary jazz and evening concert producer Charlie Bering died after a long illness. Gospel singer Raymond Myles was murdered a month after he stirred the congregation at Adams' funeral. Both Myles and Bering are being honored at the '99 Jazzfest, but Adams warranted a special tribute. On Tuesday, Aaron Neville, Irma Thomas, Marva Wright, Big Al Carson and storied local arranger Wardell Quezergue and his orchestra will join together to salute Adams and his music during a sold-out Jazzfest evening concert at the Praline Connection, performing the Tan Canary's songs as well as their own. Ironically, it will be a bigger crowd than Adams ever performed for in his hometown, save his sets at Jazzfest. Jazzfest producer/director Quint Davis' eulogy at Adams' funeral sketched out the singer's place in the musical cosmos. "As it was with the passing of Duke Ellington, Ella Fitzgerald, Dizzy Gillespie, Mahalia Jackson, Louis Armstrong, Fess (Professor Longhair) and James Booker," Davis said, "there is no replacing the true masters." Like many great singers, Johnny Adams started off in gospel, and only reluctantly agreed to try his hand at secular RB. But once he relented, he discovered that he had a natural flair for the music. Songwriter Dorothy Labostrie, the person that initially persuaded Adams to try RB, also gave him his first single, "I Won't Cry," which he recorded for the local Ric Records label. It became a
Interlochen
Just got the Interlochen summer schedule, and it's an amazingly good lineup this year, including Dwight, Del, Junior, Lyle, Nevilles, BR549, and Debbie Reynolds (for the perverse among you). Me or Nina will likely be up in the area most of the summer and have a place to crash if you're interested in a short northern Michigan vacation and seeing some shows. The web-site is: http://www.michiweb.com/interlochen/
Re: Solos Instruments
I always liked that first Argent album, that was more Zombies and less bombastic 70s rock band. My vinyl of it is shot. Did Koch reissue this one by any chance? Jerry Curry wrote: How about a 5 minute bass solo? How about a long long organ solo? That's currently on my mind as I listen to Koch's reissue of Argent's _All Together Now_. Man, what a comboRod Argent Russ Ballard. JC
Re: Solos Instruments
Stuart writes: I always liked that first Argent album, that was more Zombies and less bombastic 70s rock band. My vinyl of it is shot. Did Koch reissue this one by any chance? Good question. And you're right - it *is* a real good album. I probably have something like six Argent albums (due to my love of the Zombies) and that's the only one I think I've listened to more than once. Also sorely underrated: Colin Blunstone's first solo album, "One Year." --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
RE: bluegrass whatever
-Original Message- From: [EMAIL PROTECTED] [SMTP:[EMAIL PROTECTED]] What people see or hear in this act, I don't get. Oh, wait, they have women who bare parts of thier bodies. That must be it. Oh jeez, Matt, since when do you start complaining about women on stage showing parts of their bodies? [Matt Benz] Complain? Who, me? Just looking for a reason why anyone paid any attention to this band. "Must be the gams," sez I...
RE: bluegrass whatever
Cherry Lou says: I'm on digest so I'm kinda jumping in on the tail end of the whole bluegrass hack band stealing jobs from the real guys thing, but it strikes me as incredibly distasteful. Should there be a bluegrass INS to keep all those outsiders from stealing jobs from our boys? Begin the thinning of the herd!! Christ, and people ask me why we (tmp) don't play bluegrass festivals. Because no one in any seedy rock club in America is going to judge whether we're fit to represent a entire genre. Why are people in the bluegrass clique so defensive and insular? Who said anything about outsiders? Some of the worst examples I've seen are insiders - like bands with guys in them who promote festivals, and swap out time on their stages to play on the stages of festivals promoted by other guys who are in bands. In fact all of the examples I can think of fall more into that category. I hate to be all hippie, but isn't music supposed to be unifying and all that? What the hell is with all this snide divisive shit? Let damn Darius Rucker play the mandolin fer chrissakes. It's an instrument, not the holy grail. I think it's great for Darius Rucker to talk about liking bluegrass, play the mandolin (which is as much a country and country-rock instrument as a bluegrass one, anyhow), and so on. I've been out arguing that The Mountain is a bluegrass album since long before it came out (Ronnie: "he knows it not easy to play, and it's not an easy thing to sing"). Maybe I'm insular about bluegrass compared to some folks, but I'm a lot more relaxed about a lot of the bluegrass boundaries than a lot of others. I don't think bluegrass is a matter of lists of forbidden and required instruments, for instance. But I do think that skill and craft are every bit as much a part of bluegrass as the more-in-the-eye-of-the-beholder soul and feeling. Monroe was emphatic about it; he told Gordon Terry, who played fiddle on "Christmas Time's A Coming," that if he didn't play it just like Tex Logan (who wrote it), why, he'd have Tex come in and record it - and that's just one example. Talk to Blue Grass Boys and they'll tell you all kinds of stuff about his musical demands. Jimmy Martin was the same way. Ralph expects you to be able to play your instrument to be a Clinch Mountain Boy. Different kinds of music have different values in different proportions - I'm not proposing this as an assertion of bluegrass's superiority - and I think bluegrass values that kind of stuff, bluegrass as it was created and developed by great musicians who put in just as much hard work as they did feeling and spontaneity. That's the short answer. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
RE: Updates
-Original Message- From: Jamie Swedberg [SMTP:[EMAIL PROTECTED]] Damn, you find the Blacks more painful than a faux-gospel group? Those must not be the Blacks I saw twice at SxSW. The ones I saw totally fascinated me--they really knew how to work a crowd, and made quite interesting music that has held up to many listens to their CD. And that Gina is some kinda talent, and I don't just mean at wearing diaphanous shirts. Just my $.02. I'm as baffled by Matt's opinion as he will surely be by mine. [Matt Benz] Meant to say "as painful." No, the faux gospel was worse. They pissed me off, and I couldn't even talk to em, and at least one of the people I kinda respect and like. So they sucked the most in all the worst ways we've discussed on here so much. I was seething while they played, waiting for them to get off the stage so we could play for a wednesday nite crowd in a stinky campus punk bar with backed up toiletserm, wrong rant...man, do I have issues... The Blacks were boring, showed none of the "crowd working" you mention, staring pretty vacant at nothing, or some spot above the crowd,the singer barely bothering to project, earning the name "mushmouth" from me, and the songs just lay there and died. My pal Ed loved em, bought the cd (which I've yet to hear: all this is snotty opinion is based on this show), so I must be missing something. Now, I have work to do...
RE: bluegrass whatever
On the way into work, heard a interview with Ricky Skaggs on the hated and snooty NPR discussing his BG music, and preforming examples of the "high lonesome" sound with his band, showing the vocal differences between say Flatt Scruggs and the Stanley Brothers. A good piece, tho NPR was obviously being condescending and too east coast liberal about it. Those bastards.
Re: Goose Creek Symphony
Bob Soron wrote: I'd rather have a 5-minute guitar solo than a 20-second drum solo. Oooh, I dunno about that. A short, tasteful drum solo (no, that is not an oxymoron!) in the hands of the right guy is thing of beauty. I guess I'm thinking mostly about jazz and big band drummers, rather than rock guys. I had the pleasure of watching Ed Shaughnessy (sp?) from the Tonight Show band play at my college, and my god, he was amazing. Ditto with Buddy Rich solos. Or Louie Belson. Now, that ham-fisted shit that John Bonham did in Song Remains the Same...yeah, that's awful. Set the reputation of drummers back 20 years. And I will confess to digging Neil Peart's solos simply from a technical standpoint -- the guy is friggin' amazing. Plus, it's fun to watch 10,000 16-year-old boys drool at the same time. Some of my best friends are hippies (and not the kids-of-Boomers- driving-BMWs type either)... Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
RE: Goose Creek Symphony
On Sun, 25 Apr 1999, Roy Kasten wrote: Kip writes: It's becoming all da rage here in St. Louis, too: half-proficient tie-dyed youth playing fiddles, mandolins, banjos and Martin guitars. Who do you have in mind here, Kip? Oh, I'd rather not incriminate myself in public, Roy. St. Louis is a small town g. Next time I see you out, we'll talk. But consult the schedule at Cicero's for an idea of what's brewing here. The booker there, Chad Jacobs, figures the relocated club needs a niche and is aiming his sights at "the hippy kids, 'cause they drink a lot of beer". Kip
RE: Goose Creek Symphony
And I will confess to digging Neil Peart's solos simply from a technical standpoint -- the guy is friggin' amazing. Plus, it's fun to watch 10,000 16-year-old boys drool at the same time. [Matt Benz] Hell of a lyric writer, too. Deep. Very Deep.
Re: The Gourds and who?
This CD is already out, the gourds backed Doug's last record titled 'SDQ 98' or somesort... i have it at home and just can't remember the exact title... black label that looks like a whiskey label its very very good --- "Terry A. Smith" [EMAIL PROTECTED] wrote: Doug Sahm, I think By cracky, that's it. Sounds like a very interesting pairing; I wonder what the material's going to be. -- Terry _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
Re: Goose Creek Symphony
On Sun, 25 Apr 1999, Terry A. Smith wrote: Yeah, it's a hoot to make fun of defenseless hippies, but lots more fun if a couple of 'em come roaring up beside your pickup truck, and flip you off when you make an off-hand comment about their hair. Doh! Seriously, though, it's not nice to stereotype folks, or assume consensus on this notion than any guitar solo over 30 seconds is self-indulgent. As a former Deadhead, who now wonders what I ever saw in them, I'm not ready just yet to join in the ridicule. Unless I was completely clueless as a teen (OK, stop laughing!), there must have been something going with the Dead and Quicksilver and Canned Heat and the other 60s jam bands that too many lousy bands are emulating (along with a few good ones) these days. Oh, I agree, actually. In fact, I still enjoy pulling out the Dead's "Workingman's Dead" and "American Beauty" from time to time, and I think Quicksilver had something to 'em, as well. Although long, meandering jams are of course what the Grateful Dead are (in)famous for, I'd argue that there are some good *songs* there, too--ones no longer than 4 minutes, to boot. I'd also have to say that it was groups like the Dead and the Band and even the Buffalo Springfield who first opened my ears to country music sounds. No, I honestly bear no grudges against hippies, per se g. Truth is, I find their booming interest in bluegrass and acoustic music to be kind of interesting in a anthropological way. I assume the gateway from "Dark Star" to "Rank Strangers" is all those Jerry Garcia Acoustic Band albums?... Kip
Re: Solos (was: Goose Creek Symphony)
A short, tasteful drum solo (no, that is not an oxymoron!) in the hands of the right guy is thing of beauty. I guess I'm thinking mostly about jazz and big band drummers, rather than rock guys. I had the pleasure of watching Ed Shaughnessy (sp?) from the Tonight Show band play at my college, and my god, he was amazing. Ditto with Buddy Rich solos. Or Louie Belson. Louie Bellson could play with wooden spoons and hockey pucks and he would sound like he invented drums. Same goes for Elvin Jones. Buddy Rich, on the other hand, I would disagree with (to an extent). Rich may have played solos like they were going out of style, but like Gene Krupa, he had an awful tendency of walking all over his bandmates toes. Both guys were phenomenal soloists, but so what? As far as I'm concerned, if you play an instrument with a band, and you're unable to integrate your musical expression with the rest of the band (i.e. you are masturbating/showing off) then I could care less how much training you had at Berklee. To switch from drums back to guitars, I think Lucinda's show at the HOB on Friday is instructive. Both of her guitar players--Ken Vaughan (sp?) and John Jackson--could probably strip the paint off a '69 Camaro with their git-playing. Instead, they used their playing to flesh out Lucinda's wonderful songs with appropriate amounts of gut-wrenching slide work (Jackson) or the aforementioned paint-strippage (some Jackson but usually Vaughan). I think "Joy" has become their workout song, where Lucinda lets both guys show us what they can really do, and it was about right. Too much soloing says to me, "We're not very good songwriters, but hey, watch what I can play!" And didn't Westerberg already cover the too-many-notes part g?? Don't even get me started on jam bands. Phish: The Beatles without a John Lennon or any sense that Chuck Berry might have existed. Dave Matthews Band: Little Feat without any sense that Lowell George might have existed. Widespread Panic: Wanking off without any sense that good taste has ever existed. Lance . . . PS: OK, I think G Love the SS qualifies as a "jam band," but they drop science like Galileo dropped the orange. I'll keep them.
Clip: Buck Owens
Buck Owens rescues beloved sign Copyright © 1999 Nando Media Copyright © 1999 Associated Press BAKERSFIELD, Calif. (April 22, 1999 2:41 p.m. EDT http://www.nandotimes.com) - A condemned, 40-ton sign that once welcomed people to Bakersfield has been rescued by country music singer Buck Owens. The rusty 50-foot-long sign used to serve as a pedestrian bridge for guests of the old Bakersfield Inn beginning in 1949. However, time and earthquakes took their toll and no one came forward to retrofit it. But Owens said Wednesday he would put up the $175,000 cost of moving any of the salvageable letters and reconstruct the sign in front of his Crystal Palace Western museum and nightclub. "Each time I would come back to Bakersfield I would always see the famous sign," Owens said. "It had great warmth to it. It became an old friend." Owens hopes to have the new sign ready by the Fourth of July.
Clip: Ray Stevens/prostate cancer
Friday April 23, 12:28 pm Eastern Time Company Press Release Illness to Remove Grammy Winner Ray Stevens Temporarily from Performances NASHVILLE, Tenn.--(ENTERTAINMENT WIRE)--April 23, 1999--Grammy winner Ray Stevens has been diagnosed with prostate cancer and will undergo treatment as recommended by his doctors. Stevens debuted The Ray Stevens Show in the Roy Acuff Theatre at Opryland during November and December 1998. ``Our first priority is obviously Ray's health and well-being,'' said Jim Ditenhafer, vice president of operations of the Grand Ole Opry Group. ``We know Ray's fans will be disappointed that he won't be able to open the show on May 27 as planned. We are reviewing our options for a replacement show during his absence. We will make a determination at a later date as to whether he will be back this fall or during the holidays.'' ``Ray has been one of the most influential forces in music and video history during his 35-year career and while this situation will remove him temporarily from the limelight, we're sure he'll be back at the Acuff Theatre as soon as his doctor allows,'' said Ditenhafer. ``This diagnosis has come as a big surprise but I have complete confidence in my physician's ability to help me fight this disease,'' said Stevens. ``During this time of discovery, I've learned my cancer is in the early stages. I encourage every man over 50 years of age to get out and have a PSA test, which detects this disease. Prostate cancer is the most common, most curable form of cancer in men and my prognosis for recovery is excellent. I look forward to getting back to the music as soon as I possibly can.'' All individuals and groups who have already purchased tickets will be contacted directly. While the summer shows featuring Ray Stevens will not take place, a replacement show is under consideration. Plans are underway for the fall and holiday shows featuring Stevens at the Acuff Theatre. Anyone with immediate questions about The Ray Stevens Show at Opryland, including refunds, scheduling or securing replacement tickets for another show, should call 615/889-3060 for individual tickets or for group sales call 615/871-5993.
Clip: June Carter Cash
June in bloom (pub. date: April 25, 1999, The Tennessean) By Jay Orr staff, The Tennessean Carter Family legacy lives in 'Press On' As they prepared to retreat to Jamaica last fall after the family's Thanksgiving celebration, Johnny Cash urged his wife, June Carter Cash, to consider delaying the trip so she could finish recording a new album. The Cashes had a lot on their minds. Johnny had been off the road for just over a year, sidelined by Shy-Drager syndrome, a degenerative nerve disorder. Six months earlier, June had lost her sister and long-time performing partner, Helen Carter, and her younger sister, Anita, had been in ill health. But the album, June's second solo effort, had become a priority for the couple. "This is something I've wanted for so many years, for her to have her own record," Johnny Cash said during a recent interview. "John insisted that I make this record," June concurs, speaking during an interview at the Cashes' home on Old Hickory Lake. Last Tuesday, Hollywood-based Small Hairy Dog Records, in conjunction with Risk Records, released Press On, an acoustic collection that loosely chronicles June's musical legacy. The album begins with the Carter Family classic, Diamonds in the Rough. Played by June on autoharp, with guitar accompaniment and vocal harmony from Marty Stuart, the song includes the line which gave rise to the album title: "No more gems be gathered/So let us all press on." Along the way, there are other Carter Family songs (Meeting in the Air and Will the Circle Be Unbroken); a new rendition of Ring of Fire, the Johnny Cash classic co-written by June and Merle Kilgore; a duet with Cash on Terry Smith's Far Side Banks of Jordan; the semi-autobiographical original, I Used To Be Somebody; and Tiffany Anastasia Lowe, a hilarious tune about June's granddaughter with the cautionary line, "So Tiffany run and find an earthquake, girl, go jump in a crack/Just don't let Quentin Tarantino find out where you're at/'Cause Quentin Tarantino makes the strangest movies that I've ever seen." The new record had its start three years ago, at the House of Blues in Los Angeles, when June joined Johnny in a performance to preview John's Grammy-winning 1996 release, Unchained. Vicky Hamilton, a friend of Rick Rubin, Cash's producer, was impressed by June's performance. Rubin hooked them up and Hamilton set in motion the early plans for recording Press On. The Cashes' son, John Carter Cash, co-produced the album along with J.J. Blair. The recording was done in a cabin on the Cash property, converted for use as a studio. "He just really has an ear for everything, hears everything, and as a producer he's fantastic," says John Carter's proud mama. For musical support, June enlisted two former sons-in-law, Rodney Crowell and Marty Stuart, as well as acoustic guitar ace Norman Blake, daughter Rosie Carter, bassist Dave Roe, drummer Rick Lanow and mandolinist Hazel Johnson. "When June first called me about it, I thought it was the coolest idea I'd ever heard," says Stuart, who once was married to Cash's daughter, Cindy. "She wanted me and Rodney Crowell [ex-husband of Rosanne Cash] and Nick Lowe [ex-husband of Carlene Carter] to help me do it, and she wanted to call the album June Carter and Her Ex-Sons-in-Law." Lowe couldn't make it, but Stuart and Crowell played key roles. "The minute I heard her sing the old Carter song, Little Moses [which is not on the record], I thought, this is totally millennium-based, cosmic Carter Family music," Stuart recalls. "June naturally brings a cosmic edge to everything." "It is not an ordinary country record. We both know it's not," says June, who'll turn 70 in June. "I wouldn't have cut one. I've been in country music so long, and how can you be any purer than pure if your name is Carter? How can you get away from being a Carter? There's a part of you that's gonna come through. How do you keep from doing it? It's what you're born to do." June, of course, is the daughter of Maybelle Carter, who performed with her brother-in-law, A.P. Carter, and his wife, (Maybelle's cousin) Sara Carter, as pioneer country group the Carter Family. June and her sisters began performing with the Carter Family in the late '30s, singing on border radio stations in Mexico. By 1947, Mother Maybelle the Carter Sisters had become stars in Richmond, Va., and in 1950 they joined the cast of the Grand Ole Opry. In the late '50s they shared bills with Elvis Presley, and June went to New York to study acting with Elia Kazan at the Neighborhood Playhouse (she makes reference to those days in the song I Used To Be Somebody). A photo from that period is included in the CD booklet, showing June as a beautiful, aspiring starlet. By 1961 June was traveling with The Johnny Cash Show, and in 1963 she penned Ring of Fire, inspired by her growing attraction to the headliner, though both she and Cash were married to other people at the time. "I'm
epulse 5.17 [witchcraft] (fwd)
Speaking of those infernal tribute albums...
(Courtesy of your friends at E-Pulse)
1. WESTERN SWING ADVANCE OF THE WEEK:
It could be said that ASLEEP AT THE WHEEL owes much of its career
trajectory to the path blazed by BobWills. For over a quarter century, the
revivalist Western swing combo has been wowing audiences with an eclectic
blend rooted in the hard-swinging hybrid country-jazz style pioneered in
the 1930s by Wills, Milton Brown and others. And on the forthcoming 'RIDE
WITH BOB' (DreamWorks, 8/10), the Wheel has assembled an all-star cast of
characters, drawn from Nashville's talent pool and elsewhere, to celebrate
this eternally cool stream of music from the Southwest. What's most
amazing is how well (and how seamlessly) everything works; multi-artist
collaborations like this always run the danger of turning into the
equivalent of a dozen Patti LaBelles turned loose on a one-mic stage at
once. But who with country in his or her soul can't avoid loving the music
of Bob Wills? And who could turn down a chance like this? Not Merle
Haggard, who cut his own Bob Wills tribute album almost 30 years ago, and
who lays down a fine 'St. Louis Blues' here. Or Dwight Yoakam, who puts
the hillbilly swing into 'San Antonio Rose.' Or Steve Wariner and Vince
Gill ('Fiddle Medley'), Don Walser ('I Ain't Got Nobody'), the Dixie
Chicks ('Roly Poly'), Lee Ann Womack ('Heart to Heart Talk'), Asleep at
the Wheel main man Ray Benson ('Cherokee Maiden'), the Squirrel Nut
Zippers (whose Katherine Whalen does a smart take on 'Maiden's Prayer'),
Tracy Byrd (whose 'You're From Texas' is the album's biggest surprise),
Reba McEntire ('Right or Wrong'), Shawn Colvin and Lyle Lovett ('Faded
Love'), new Wheel singer/fiddler Jason Roberts ('End of the Line'), Clay
Walker ('Take Me Back to Tulsa'), Mark Chesnutt ('Stay a Little Longer').
The disc closes with a twin punch of Clint Black singing Waylon Jennings'
'Bob Wills Is Still the King', which leads into Willie Nelson on 'Goin'
Away Party,' backed by the Manhattan Transfer on what sounds like one of
those schlocky sides he cut for Liberty in the '60s with the Anita Kerr
Singers. Overall, though, it's Ray Benson and Asleep at the Wheel that
make this thing jump. The group tried it once before on 'Tribute to the
Music of Bob Wills' (Liberty [now Capitol Nashville], 1993), but this time
Benson had the smarts to leave noted Wills interpreter Huey Lewis -- who
had two cuts on that album -- out of the picture. The resulting album
makes a joyful noise from start to finish; it's clear that Benson must've
pushed hard to override any questionable judgment calls from some of the
more, ahem, aesthetically challenged participants. Whatever the story is,
it swings hard and good. Didn't know Bob, but I'm guessing he'd approve.
(Griffith)
6. TRIBUTE OF THE WEEK (PART TWO):
There's not a whole lot of Nashville on the upcoming 'GRIEVOUS ANGEL: A
TRIBUTE TO GRAM PARSONS' (Almo Sounds, 7/13), unless you count Emmylou
Harris, Steve Earle, Lucinda Williams and the Mavericks, and while those
artists may live within the city limits, they pretty much go their own
way. No, this is a rock-leaning collection, with contributions from the
Pretenders, Cowboy Junkies, Beck, Sheryl Crow, Whiskeytown and Wilco. What
it means is that time has caught up to Gram Parsons, that the seeds he
planted -- particularly through the influence of his pals the Rolling
Stones -- sprang up and bore fruit. The versions of his songs on 'Grievous
Angel' are respectful but insightful, and it shows how today's rockers
have absorbed country -- not just the notes but the feel. Unfortunately,
there's no Stones track here. But Emmylou Harris is on three, singing with
the Pretenders ("She"), Beck ("Sin City") and Sheryl Crow ("Juanita"), and
her spirit hovers over the album. It sounds like every artist on here
actually gave a damn, wanting to be respectful to Parsons and his legacy.
Even lightweight Evan Dando turns in a decent "$1,000 Wedding" (with
Juliana Hatfield), and the Pretenders, who haven't mattered in a long
time, do a fine "She." Earle (with old Parsons bandmate Chris Hillman on
"High Fashion Queen"), Costello ("Sleepless Nights"), Williams (with David
Crosby on "Return of the Grievous Angel"), Wilco ("100 Years"), Gillian
Welch and David Rawlings ("Hickory Wind") do their usual inspired work. If
you have to pick a standout here, it's the Mavericks' version of "Hot
Burrito #1," with singer Raul Malo wrapping his powerful pipes around a
gorgeous love song with a silly title. If there's any justice, it'll be
such a huge hit that Nashville will forget it ever checked into the Hotel
California. (Melton)
bluegrass whatever
I hate to be all hippie, but isn't music supposed to be unifying and all that? What the hell is with all this snide divisive shit? Let damn Darius Rucker play the mandolin fer chrissakes. It's an instrument, not the holy grail. AMEN! There is a constant battle that always goes on between the traditionalist and the people who like to experiment in music such as bluegrass (or oldtime, and I would assume other styles). It even goes down to non-musical things such as album covers (I've heard a few people get bent out of shape because Ricky Skaggs' new album "doesn't look like a bluegrass album" i.e. no people on the cover.) Bluegrass music may seem like a genre that is based on rules, but in reality it was originally based upon innovation. I have nothing against either the traditionalists or those pushing the definition of bluegrass. I think we need both. What we don't need is the ongoing battle between the two camps. By the way, the same argument gets thrown around even more in oldtime music. The funny part is that often the traditionalists seem to forget that the origin of oldtime music wasn't in the 1920s. That's just the origin of *recorded* oldtime music. I have a record from an old fiddler who was recorded in the 40s and was born in 1864. His name was Emmett Lundy. He was from Grayson County Virginia and said that his dad wouldn't play any of those "new" fiddle tunes that Emmett played. Those tunes he speaks of are some that many oldtime fiddlers would consider some of the oldest in the southern appalachian repetoire. -- == Steve Gardner * Sugar Hill Records Radio Promotion [EMAIL PROTECTED] * www.sugarhillrecords.com WXDU "Topsoil" * A Century of Country Music [EMAIL PROTECTED] * www.topsoil.net ==
Re: Grisman (was Goose Creek Symphony)
Jon Weisberger wrote: ... but Grisman's also about as good a Monroe-style mandolin player as you can find. For straight-ahead bluegrass, check out his, er, tribute double album, Home Is Where The Heart Is (Rounder) or Early Dawg (Sugar Hill) or what I think was his first album for Rounder - the one with "I Ain't Broke (But I'm Badly Bent)" on it. Uh, Jon, are you forgetting something? I don't see a mention of "Here Today" (Rounder) on your list of recommendations. You know, the one with Grisman, Herb Pedersen, Jim Buchanan, etc., oh and some guy named Gill doing the lead singing and playing guitar. I'm kind of surprised. Jim N.
RE: Oliver Lake - Fred Hopkins
A fullblown WSQ thread. Damn, I love this list! ~Greg ___ Get your free, private email at http://mail.excite.com/
RE: Grisman (was Goose Creek Symphony)
Jim Nelson says: Uh, Jon, are you forgetting something? I don't see a mention of "Here Today" (Rounder) on your list of recommendations. You know, the one with Grisman, Herb Pedersen, Jim Buchanan, etc., oh and some guy named Gill doing the lead singing and playing guitar. I'm kind of surprised. Me too. Of course, I just assumed that everyone already has a copy of that one, since I've been touting it here for so long g. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
HATCH SHOW PRINT ==Re: bluegrass whatever
In a message dated 4/26/1999 11:55:21 AM Eastern Daylight Time, [EMAIL PROTECTED] writes: It even goes down to non-musical things such as album covers (I've heard a few people get bent out of shape because Ricky Skaggs' new album "doesn't look like a bluegrass album" i.e. no people on the cover.) Next time they ask... Striking a "chord" here -- for the uninformed who may be curious about the CD's artwork -- it was done by none other than graphic artist, typesetter extraordinnaire, Hatch Show Print manager, JIM SHERRADEN. Andanyone that knows ANYTHING about country/bluegrass knows that Hatch is responsible for some of the best Opry/Elvis/Hank posters that have ever been created. Not to mention all the great posters which they continue to produce for the famous (Emmylou's Ryman cover, Jimmie Dale's cover, Maverick's London shows next month) the soon-to-be-famous and not-so-famous (deals start at $150) out of the Hatch shop on B'way in Nashville. (oh yeah, I've spent entire days in the place just pulling out old wood blocks and watching the process take place) So, that's my PSA for the day. If you're in town stop by and say Hey! Jim is one of the nicest guys in town. It's a living museum folks!! Kate.
Willis in NYC 5/6
Wanted say first that it was great to meet Barry and Amy and all you guys, however briefly. We should try to keep the homefires burning; it's so hard to get any kind of community feel here in NYC, its' always fun when you see one starting to develop, but hard to keep one going. there are a lot of good bands and shows that are coming up, and having grown up in a small town, I always love to see people I know when I go out. Secondly, I was wondering what everyone thought of the Kelly show. Anyone. I wasn't all that impressed and I was wondering if it was an aberration. J
Clip: Kelly Willis
From today's New York Times:
Kelly Willis: Refugee From the Nashville
Factory Finds Her Own Audience
By BEN RATLIFF
Country music often prides itself on how much it can say and still be
taken at face value, but there was a lot of subtext coursing through
Kelly Willis's show on Friday night at the Mercury Lounge. She delivered
a pointed introduction for each song -- from the fact that her current and
former husbands were co-writers of one of them ("that qualifies me to be
a country singer," she joked) to the pride she took in set-list
juxtapositions (placing a morose, oblique song by the English cult
songwriter Nick Drake before "Heaven's Just a Sin Away," the cheery
70's honky-tonk hit by the Kendalls.)
But the biggest subtext had to do with the current direction of her career:
like Steve Earle before her, she is a refugee from the Nashville factory,
giving voice to her own style by going the independent-label,
alternative-country route, and feeling better for it. Three weeks ago she
appeared on the stage of the Grand Ole Opry for the first time,
something she was never able to do while she was making records for
Nashville producers.
"What I Deserve" (Rykodisc), Ms. Willis's newest CD, is her fourth
full-length album in 10 years and her first since leaving MCA, where she
was remade from a teen-age rockabilly singer into a full-fledged but
failed country diva. (There was also a hard-to-find EP released by AM
in 1996 that began her crossover.) If the title sounds petulant, perhaps it
means to be: it can be read as a message from Ms. Willis to the world of
mainstream country that she has finally found her own audience without
their help.
On the title track's chorus, she sings: "Well, I have done/the best I
can/oh, but what I've done/it's not who I am."
Her performance at the Mercury could have been read that way too,
backed by a standard hard-country quartet of fiddle, bass, lead guitar
and drums, Ms. Willis sang with a thin, exact voice, as jolting as ice
water. It doesn't have a lot of weight to it, but it cut through the band
like
a laser, with ends of words curling upward and a taut, subtle vibrato
throughout. She's a good songwriter, too, as is her husband Bruce
Robison; together they wrote the bulk of the new record's songs, which
are several degrees darker, more honest and more searching about love
and self-fulfillment than the average commercial country record.
And yet it's still a modest record, not a knockout blow. The strength of
the long set was its overwhelming confidence; though she doesn't stretch
out and deviate from the arrangements and tempos of her recordings,
Ms. Willis does seem centered and on track.
HATCH SHOW PRINT ==Re: bluegrass whatever
On Mon, 26 Apr 1999 12:11:32 EDT [EMAIL PROTECTED] wrote: So, that's my PSA for the day. If you're in town stop by and say Hey! Jim is one of the nicest guys in town. It's a living museum folks!! I'll attest to the awesomeness of HSP. You can get great reprints of classic concert posters (George, Tammy, Narvel, for example) along with ones like "Roy Acuff for Governor" from the time when Roy ran way back when. Mostly fairly inexpensive, too. My bro bought that alt-country classic Uncle Tupelo poster (St. Louis' 2nd-Best Country Band) for like a buck. He was even nice enough to give it to me. No trip to Nashville is complete w/out a visit to HSP. Are you listening, Wynn? William Cocke Senior Writer HSC Development University of Virginia (804) 924-8432
RE: Clip: Kelly Willis
Three weeks ago she appeared on the stage of the Grand Ole Opry for the first time, something she was never able to do while she was making records for Nashville producers. [Matt Benz] Yeh, using those Nashville Producers generally keeps you off of the GOO stage
Re: Willis in NYC 5/6--oops
Not 5/6--last weekend, 4/24. Not quite myself yet on this Monday. J
RE: Oliver Lake - Fred Hopkins-- Julius?? Hello!!
Greg says: A fullblown WSQ thread. Damn, I love this list! Yeah, I've been enjoying this thread too. I'm chiming in late, but hasn't anyone mentioned Julius Hemphill? He was my fave of the bunch. Saw him a lot over the years and followed him from his B.A.G. days in St Louis to his New York phase and untimely death three years or so. It's not crucial, but I always thought Julius was the initial organizer of the WSQ. Many years ago a friend was doing an album cover for Julius (right after his "Coon Bidness" album) and we met up with him at some sort of loft show in the East Village. That night he had Olu Dara on cornet (first time I ever heard of him was that night) and Philip Wilson on drums, from the old Butterfield Blues band, etc. After a couple of sets Wilson was blasted and Barry Altschul started playing drums instead!! Good stuff. Dara was very Miles Davis-y at that time, epitome of "cool" sound, etc. --junior
RE: bluegrass whatever
Matt Benz wrote: On the way into work, heard a interview with Ricky Skaggs on the hated and snooty NPR discussing his BG music, and preforming examples of the "high lonesome" sound with his band, showing the vocal differences between say Flatt Scruggs and the Stanley Brothers. A good piece, tho NPR was obviously being condescending and too east coast liberal about it. Those bastards. Ricky tried. A nice comparison of Highway 40 Blues done as a country piece and as a bluegrass piece, and a nice demo of adding that high lonesome tenor. After this stirring piece of a cappella singing, BlandNPRInterviewerWoman asked, "Why would you want to sing like that?" Or something about as derogatory. ~Greg ___ Get your free, private email at http://mail.excite.com/
RE: bluegrass whatever
Ricky tried. A nice comparison of Highway 40 Blues done as a country piece and as a bluegrass piece, and a nice demo of adding that high lonesome tenor. After this stirring piece of a cappella singing, BlandNPRInterviewerWoman asked, "Why would you want to sing like that?" Or something about as derogatory. Maybe that's why they didn't archive that segment at the Morning Edition site; too embarrassing. Sorry I missed it, Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
RE: New York P2ers rise again!
Thanks to Jason and the others who answered my question. Those guys are pretty good - I intend to go see them soon. And we should definitely round up some others and get together for beers - it'd be nice to meet some other Williamsburg people with the same interests. Elizabeth -Original Message- From: Jason Lewis [mailto:[EMAIL PROTECTED]] Sent: Monday, April 26, 1999 9:26 AM To: passenger side Subject: RE: New York P2ers rise again! Same guys. The lineup is very fluid, but our steel/guitar player (Star City) does a lot of gigs with them. They do have a standing thing at Parkside on Sundays. I think they goe on around 9 and Parkside is on houston near Ave B. BTW: I too live in Wiliamsbrug. Anyone else? We should have beers sometime or something. I live in Williamsburg and have notice signs up for the Hand Williams LonesomeHearts Club Band (something like that anyway) which is going to playing at the Parkside Lounge regularly on Sunday. Now the question is, does anyone know if this group is the same guys - the trio with with standup bass - who play on the L platform at Bedford on the weekends? Those guys rock - well, not ROCK - but you know what I mean. If anyone knows this I'd really be interested in knowing.
questions, news and a rave
Any of the Nashville folks have an opinion on a band called Joe, Marc's Brother? I'm pretty sure that it's been mentioned here, but what's the general opinion on the new Fountains of Wayne CD? I though there were a couple of pretty good tunes in the Cheap Trick/Cars pop/rock vein. Two tidbits of info gained this weekend. The next Trish Murphy record is now due in July. Jesse Dayton has signed to Columbia and is also expecting to release a record in July. OBTwang: The upcoming Marty Stuart record could be the country record of the year. It's an ambitous project that melds all kinds of country into a very listenable whole and features guest appearances from Emmylou, Ralph Stanley, Johnny Cash and George Jones. Jim, kinda smilin'
Playlist - Monday Breakfast Jam - A Morning Drivetime Show on KRCL 91FM, SLC, UT 4/26/99
Here is the playlist for Monday Breakfast Jam on KRCL 91FM, SLC, Ut for April 26, 1999. Monday Breakfast Jam is an eclectic morning drivetime presentation totally programmed and present by me over KRCL 91FM in Salt Lake City. The show generally revolves around contemporary singer/songwriters, folk, folk-rock and rock artists. A little bluegrass, jazz, world or spoken word pieces thrown in. If, after reviewing this playlist, you feel that your music would fit in the general vicinity of what I do, feeler to forward me copies at the snail mail address below. Be aware that it is station policy that any mail, regardless of recipient name on it, arriving at the station address is consider property of the station and not the individual programmer. Thanks to all the artists who have forwarded stuff for their kind (and much appreciated) support. Feel free to forward me any promo material. It will get listened to for possible inclusion on a later show. The Iceman (Doug Young) email: [EMAIL PROTECTED] snail mail: Doug Young 3855 Nordin Ave. Ogden, UT 84403 Station copies should be mailed to KRCL 230 S 500 w, Suite 105 SLC, UT 84101 Attn.: Music Director Format: Cut Artist Album Label MONDAY BREAKFAST JAM PLAYLIST FOR April 26, 1999 I DON'T FEEL LIKE DANCING SPARK JULIAN DAWSONGADFLY PLEASE DON'T ASK ME TO DANCE THANKSGIVING BOO HEWERDINECOMPASS MIGHT AS WELL DANCE ANGELS RUNNING PATTY LARKIN HIGH STREET DANCE ME TO THE END OF TIME MORE BEST OF LEONARD COHENCOLUMBIA CASEY, ILLINOIS THREE WISHES ERICA WHEELERSIGNATURE SOUND GASOLINE AND COFFEE WOMEN IN PRISON EVIE SANDS TRAIN WRECK SAD PARADISE PLASTIC WONDERLAND GINA NEMOOMEN EVERYBODY'S FREE TO WEAR SUNSCREENSOMETHING FOR EVERYONE BAZ LUHRMANN CAPITOL I HAD TO TELL YOU WHERE THE PYRAMID MEETS THE EYE - A TRIBUTE TO ROKY ERICKSON (various) POI DOG PONDERINGSIRE ALL FALL DOWN LITTLE BROWN BOOK REES SHADSWEETFISH CAROLINE RAYVIGNETTES THE WINSTONS CLAWD OVER AND UNDERI DON'T MIND WALKING JULIE ADAMS THE RHINO BOYS GADFLY THE MARK OF CAIN CHURCH OF THE FALLING RAIN THE STONE COYOTESRED CAT SWF SEEKS ANYONE PLACES WILL HOPPEY BAG O CATS ALL ALONE MAMA'S KITCHEN THE CULTIVATORS HAYDEN FERRY BURNING BED SOUTHERN LINES THE BACKSLIDERS MAMMOTH GO AWAY LITTLE BOYTHIS WORLD IS NOT MY HOME LONE JUSTICE GEFFEN DOWN THE LINE HALF MAD MOON THE DAMNATIONS TXSIRE SO LONESOME PRAYER BONES THE FLATIRONSCHECKERED PAST TUMBLE INTO LOVE DRIVE CHRIS WEBSTERCOMPASS WAIT A MINUTE BLUE RAMBLER II THE LAUREL CANYON RAMBLERS SUGAR HILL AFTER ALL WALKIN' IN MY SHOES THE KATHY KALLICK BAND LIVE OAK BANJO BOY SIMPLIFY RYAN SHUPE AND THE RUBBER BAND TYDAL WAVE EMIGRANT EYES EMIGRANT EYES GERALDINE AND DANNY DOYLEREGO EXHILARATING SADNESS SING A POWERFUL SONG THE SAW DOCTORS SHAM TOWN DO WHAT I HAVE TO DO PEARLS FROM THE OYSTER THE OYSTER BAND COOKING VINYL TABASCO LULLABY WOODEN NICKELS DOUG WINTCH LUDELLA LOVE ME TENDER BEAUTY SHOPCHECKIN' IN DOUG WINTCH LUDELLA NOT THE GOOD OLE DAYS NOBODY SAID LOVE ANDY MONACO ONESSA TAKES YOU BY SURPRISE CIRCLE OF FRIENDS JOHN MCVEY BWE SHADOW OF A DOUBT 1998 EP JOHN MCVEY self-release CONTRABANDISTAS JACKALOPES, MOONS AND ANGELS KIMMIE RHODESJACKALOPE TAKE ME DOWN WHAT I DESERVE KELLY WILLIS RYKODISC I HAVE A RIGHT TO CRY I'VE GOT A RIGHT TO CRY MANDY BARNETTSIRE FOR YOU NORTH AMERICAN SONGWRITERS(various) KAREN CAPALDIDCN SALIVATION
Joe, Marc'sBrother
Jim, kinda smilin' Any of the Nashville folks have an opinion on a band called Joe, Marc'sBrother? I haven't seen them yet, but have heard rave reviews. I guess they're poppy, no alt-country leanings at all. A few people who don't usually like pop told me that they love this band. I actually met one of the members at a bbq a few weekends ago (look at me name-droppin' like a pro). I can't remember his name, of course. Maybe Ronni does. Anyway, he was a really nice guy, fwiw. Had some interesting comments on being a pop band from Nashville. There's a big Kinks tribute show here this Thursday night. Joe Marc's Brother is on the bill. I'll give you a report on Friday. marie
Re: Goose Creek Symphony
On Mon, 26 Apr 1999, Bob Soron wrote: I'd rather have a 5-minute guitar solo than a 20-second drum solo. Hey! What's wrong with "Wipeout"!? :-) --Hiroshi
Subliminal messages?
This bounced because I used the word "get" to start my message. Let's see if it goes through this time. Get a load of this I just got the new Hick'ry Hawkins CD in the mail. It smells like diapers. Not dirty diapers (thank god) but clean diapers. I'm sure of this because I'm *very* familiar with the smell. So, what exactly should I read into this? Are they dipping their raw CDs in some diaper smelling agent? Is this some sort of subliminal message? And what about those other CDs that smell like Maple Syrup? Anyone noticed that? Are they supposed to exude a wholesome family feel? Asking the hard-hitting questions, just like TV... steve -- == Steve Gardner * Sugar Hill Records Radio Promotion [EMAIL PROTECTED] * www.sugarhillrecords.com WXDU "Topsoil" * A Century of Country Music [EMAIL PROTECTED] * www.topsoil.net == -- == Steve Gardner * Sugar Hill Records Radio Promotion [EMAIL PROTECTED] * www.sugarhillrecords.com WXDU "Topsoil" * A Century of Country Music [EMAIL PROTECTED] * www.topsoil.net ==
Re: questions, news and a rave
Jim Caliguiri asked: I'm pretty sure that it's been mentioned here, but what's the general opinion on the new Fountains of Wayne CD? I though there were a couple of pretty good tunes in the Cheap Trick/Cars pop/rock vein. My opinion of UTOPIA PARKWAY is that it's not as immediately accessible and catchy as their fab first record, but it sounds better with each repeat listening. It's more "produced' than the first record, and there's a lot of 70's pop references here that are done right rather than sketchily. g The lyrics reward close repeated listens and are as clever and funny as you'll find. I'm very jazzed on the record, and it's right there with the best new pop this year. b.s. n.p. Tennessee Ernie Ford SIXTEEN TONS
RE: bluegrass whatever
Sorry, I didn't hear it that way at all. Man, you folks are all up in arms over a nice introduction to BG 101 taught by Ricky Skaggs. The woman asked him questions. "Why would you want to sing like that?" means as "opposed to other styles" re: where did it come from. There was nothing wrong with the segment at all.
RE: bluegrass whatever
On Mon, 26 Apr 1999 14:27:15 -0400 Matt Benz [EMAIL PROTECTED] wrote: Sorry, I didn't hear it that way at all. Man, you folks are all up in arms over a nice introduction to BG 101 taught by Ricky Skaggs. The woman asked him questions. "Why would you want to sing like that?" means as "opposed to other styles" re: where did it come from. There was nothing wrong with the segment at all. This was gonna be my reply but Matt beat me to it. The question was more like "Why is the 'high lonesome sound' high" meaning why is it that there are there those exquisite high harmonies as opposed to low harmonies, and what does it mean musically. RS then went on to explain the gospel influences on bluegrass and so on. I thought it was an astute question. Man, all this hippie/NPR-bashing has me grumpy. William Cocke Senior Writer HSC Development University of Virginia (804) 924-8432
Re: Oliver Lake - Fred Hopkins-- Julius?? Hello!!
Excerpts from internet.listserv.postcard2: 26-Apr-99 RE: Oliver Lake - Fred Hopk.. by "Ph. Barnard"@eagle.cc.u Yeah, I've been enjoying this thread too. I'm chiming in late, but hasn't anyone mentioned Julius Hemphill? He was my fave of the bunch. Saw him a lot over the years and followed him from his B.A.G. days in St Louis to his New York phase and untimely death three years or so. It's not crucial, but I always thought Julius was the initial organizer of the WSQ. You'll get no argument from me Junior. I wish I'd seen him before he died. BLATANT PLUG WRCT plays lots and lots of folks like WSQ, Dave Douglas, Sun Ra, Fred Hopkins, Kahil El'Zabar and the like (also Mingus, Ella, Chet Baker). Saturday evenings between 4-10pm and Sunday mornings between 7am-noon are most reliable, but there are at least half a dozen such shows on our schedule, and most any MP3 player can play them at www.wrct.org./BLATANT PLUG Carl Z.
Re: questions, news and a rave
I'm not from Nashville but I saw them in Nashville and they were great! Poppy-mod and fun-melodic. They backed up Radney Foster at SXSW to fine effect. I have their CD if you wanna borrow it... -- From: [EMAIL PROTECTED] To: "passenger side" [EMAIL PROTECTED] Subject: questions, news and a rave Date: Mon, Apr 26, 1999, 12:34 PM Any of the Nashville folks have an opinion on a band called Joe, Marc's Brother? I'm pretty sure that it's been mentioned here, but what's the general opinion on the new Fountains of Wayne CD? I though there were a couple of pretty good tunes in the Cheap Trick/Cars pop/rock vein. Two tidbits of info gained this weekend. The next Trish Murphy record is now due in July. Jesse Dayton has signed to Columbia and is also expecting to release a record in July. OBTwang: The upcoming Marty Stuart record could be the country record of the year. It's an ambitous project that melds all kinds of country into a very listenable whole and features guest appearances from Emmylou, Ralph Stanley, Johnny Cash and George Jones. Jim, kinda smilin'
Re: Interlochen
You're joking right? Stuart? I thought we paid big bucks to send a kid there to learn cello, now I discover this? g Wait until her father finds out. Deb
Re: questions, news and a rave
[EMAIL PROTECTED] wrote: Jesse Dayton has signed to Columbia and is also expecting to release a record in July. Is there still a label called Columbia? -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
RE: questions, news and a rave
Joe wonders: Is there still a label called Columbia? They're still putting stuff out with that mark - last year's Tribute To Tradition is on Columbia, the Dylan 1966 album is on Columbia, and Deryl Dodd's new album (this year, I think) is, too. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
Argent
Well, I took some time digging through the KOCH WWW site and their catalogs this morning. I couldn't find the Argent album I have let alone another record. Hmm...their address is: www.kochint.com So, I'm not sure what the answer is, but I'm betting only _All Togehter Now_ has been reissued. Might have to check out Argent's and Blunstone's first solo albums if they are akin to their ealrier Zombies material. Did anyone pick up that Zombies box set that came out late last year? I've only heard good things about it. Adios, Jerry NP: Jim Lauderdale - Persimmons On Mon, 26 Apr 1999, stuart wrote: I always liked that first Argent album, that was more Zombies and less bombastic 70s rock band. My vinyl of it is shot. Did Koch reissue this one by any chance?
RE: Oliver Lake - Fred Hopkins-- Julius?? Hello!!
On Mon, 26 Apr 1999 11:48:49 +, Ph. Barnard wrote: Yeah, I've been enjoying this thread too. I'm chiming in late, but hasn't anyone mentioned Julius Hemphill? He was my fave of the bunch. Saw him a lot over the years and followed him from his B.A.G. days in St Louis to his New York phase and untimely death three years or so. It's not crucial, but I always thought Julius was the initial organizer of the WSQ. Hemphill's biggest role in influencing the direction of the WSQ was in his compositions. In the early days, Lake and Murray did a little composing, and Bluiett was responsible for that incredible signature tune Hattie Wall, but Hemphill did about 90% of the writing. I would say that most of the tunes folks knew them for, with the exception of Hattie Wall, were Hemphill compositions - Steppin, Bordertown, My First Winter. My personal favorite Hemphill record was recorded in 1993 - Five Chord Stud. While recent heart surgery prevented him from playing, he did all the composing and conducting for a saxophone sextet featuring Tim Berne, Marty Erlich, and James Carter. That is one excellent record. Kids, can you say "Blues-Drenched"? ~Greg ___ Get your free, private email at http://mail.excite.com/
Re: HATCH SHOW PRINT ==Re: bluegrass whatever
In a message dated 4/26/99 4:14:36 PM !!!First Boot!!!, [EMAIL PROTECTED] writes: So, that's my PSA for the day. If you're in town stop by and say Hey! Jim is one of the nicest guys in town. It's a living museum folks!! Kudos, P2-ers whom have stayed at my place will testify that I have a fondness for hatch Show posters, as my flat is graced with them, including the famous "Roy Acuff For Governor" poster. Whenever in Nashville, it's one of my prime stops. Mitch Matthews Gravel Train/Sunken Road
Re: Goose Creek
Coming home on the Bainbridge Ferry from a gig @ the Tractor in Seattle, Me and Dan parked right in front of one of the fiddlers from Goose Creek. (Small world.) I ain't seen Dan so star struck since John Hartford came to a show. Ditto that "not aged well" sad to say. Dan tells me they were really something when he saw them open for Ralph Stanley @ the old Armadillo way back when. ___ Mark Rubin POB 49227, Austin TX 78765 http://markrubin.com
NYC Willis/Robison
WowI'm honored that Barry was so charmed by us list people that he barely mentioned the supremely adorable Ms. Willis for whom we all gathered. It was heartening to find some country-loving allies in Gotham, and the show was a treat. I must say, though, that in the aftermath it was Bruce Robison's solo opening set that really stayed with me the most. His songs and voice have such a sad and human warmth to them. They really resonate for me in a way that hers don't, much as I enjoy her. Again, nice to meet some of you, Micah _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
Re: Argent
Jerry Curry writes: Well, I took some time digging through the KOCH WWW site and their catalogs this morning. I couldn't find the Argent album I have let alone another record. Hmm...their address is: www.kochint.com So, I'm not sure what the answer is, but I'm betting only _All Togehter Now_ has been reissued. Might have to check out Argent's and Blunstone's first solo albums if they are akin to their ealrier Zombies material. Did anyone pick up that Zombies box set that came out late last year? I've only heard good things about it. Yeah, it's superb; excellent packaging, a whole bunch of rarities, unreleased songs, demos, a whole disc of BBC sessions, etc., great sound quality, and the whole nine yards. The first Argent album is pretty similar in mindset to the Zombies. Blunstone's "One Year" even more so in some respects since Argent is the backing band on a few songs. "One Year" is a pretty short album, but it's a near-masterpiece in my book, with some of the best singing and writing of the man's career. There's a nice collection of Sony called "Some Years" that collects material from Blunstone's first three solo albums, including most of "One Year." --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
Re: questions, news and a rave
yup, one of them Sony products. Joe Gracey wrote: [EMAIL PROTECTED] wrote: Jesse Dayton has signed to Columbia and is also expecting to release a record in July. Is there still a label called Columbia? -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: Oliver Lake - Fred Hopkins-- Julius?? Hello!!
Excerpts from internet.listserv.postcard2: 26-Apr-99 RE: Oliver Lake - Fred Hopk.. by "Greg Harness"@excite.co My personal favorite Hemphill record was recorded in 1993 - Five Chord Stud. While recent heart surgery prevented him from playing, he did all the composing and conducting for a saxophone sextet featuring Tim Berne, Marty Erlich, and James Carter. That is one excellent record. Kids, can you say "Blues-Drenched"? Tim Berne (who used to release records on Columbia) now leads Bloodcount, which WSQ/Lake/Hemphill fans might enjoy. Carl Z.
Re: HATCH SHOW PRINT ==Re: bluegrass whatever
P2-ers whom have stayed at my place will testify that I have a fondness for hatch Show posters, as my flat is graced with them, including the famous "Roy Acuff For Governor" poster. Whenever in Nashville, it's one of my prime stops. Is there a web site for the place? Stick np-Hank Williams Jr. -Can't You See
Re: Joe, Marc'sBrother
Review I know the guy's. Great guys, OK band. They're a three piece with Brit-pop leanings. (Elvis Costello/ kinks meets a touch of acid jazz). Definitely leader's in the Nashville pop scene. Each time I see them they change, I mean evolve. Might be a little to hip for their own good. No alt-country at all. Wouldn't know Wilco from Willie. Worth checking out. Definitely pop. Enjoy Dutch -- From: Marie Arsenault [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Subject: Joe, Marc'sBrother Date: Monday, April 26, 1999 12:50 PM Jim, kinda smilin' Any of the Nashville folks have an opinion on a band called Joe, Marc'sBrother? I haven't seen them yet, but have heard rave reviews. I guess they're poppy, no alt-country leanings at all. A few people who don't usually like pop told me that they love this band. I actually met one of the members at a bbq a few weekends ago (look at me name-droppin' like a pro). I can't remember his name, of course. Maybe Ronni does. Anyway, he was a really nice guy, fwiw. Had some interesting comments on being a pop band from Nashville. There's a big Kinks tribute show here this Thursday night. Joe Marc's Brother is on the bill. I'll give you a report on Friday. marie
Hatch Show Prints Twangfest
We are selling Twangfest 3 Hatch Show Prints this year. They will be available at Twangfest or from the Twang Gang after Twangfest. Also, we'll have several autographed Hatch Show Prints (from various artists) available at the Twangfest on-line auction. We'll be posting more details about the auction within the week. marie
Re: Goose Creek
Mark Rubin writes Coming home on the Bainbridge Ferry from a gig @ the Tractor in Seattle, Me and Dan parked right in front of one of the fiddlers from Goose Creek. (Small world.) OK, well, I guess I'll share my small world Goose Creek story, too. I had never heard of them until 2 or 3 weeks ago when a friend of a friend sent me a tape of some recordings of theirs from the 70's --she said the fiddling reminded her of me (I'm not sure why, because I have a different style and I'm not that competent anyway). But anyway, the very next day my fiddle teacher was talking about an Ernest Tubb sighting that he had had on a particular trip to Nashville back in the 70's when he played fiddle in this band called Goose Creek Symphony. He is not part of the current group, though. Still, this early stuff that I heard isn't quite my cup of tea, although they seem to have had a strong influence on some people back then (this friend in particular). Anyway...my teacher, Jim Tolles (apparently formerly known as Cactus Jim) has a new CD out with his Magic Truck String Band, called Voyage of the Magic Truck, which I like a lot--it is mostly old-time contra influenced original songs with a couple of traditional tunes. If anyone is interested in following the evolution of former Goose Creek members, you could get this CD. If you want to buy it, I think you can reach him at [EMAIL PROTECTED] or you can write to me and I'll put you in touch with him. No, he didn't pay me to say this. Dina
James McMurtry Hadacol
Thinking about driving up to Kansas City tuesday nite to see this show and was wondering if anyone else from the list was planning to attend? John Flippo
Cold Mt. Music NPR
This must be the day to promote old time and bluegrass music on NPR. This afternoon on All Things Considered Dirk Powell and Tim O'Brien will talk about Cold Mountain and the cd Songs from the Mountain. Jamie NP Bluegrass Mandolin Extavaganza (Produced by Ronnie McCoury David Grisman)
Playlist: Tennessee Saturday Night #30
Howdy, And welcome to another exciting playlist... Sure reading a playlist isn't everybody's idea of fun, but some folks seem to enjoy it. Some scan the list in a hurry looking for their band's latest release, others look for ideas when putting together their own shows, and some (I suppose) just read and hum along recreating the magic of the actual event in their head...kind of like my old Strat-o-Matic baseball game. At any rate, as usual, I offer up this sacrificial playlist to keep everyone up to date on what I'm up to when I'm volunteering my services in the nearly mythical WDVX camper. By far, this week featured the most off the wall request I've ever received. The song itself wasn't out of the ordinary-- "Doin' My Time" by Flatt and Scruggs -- but, the location of the caller was. This particular request was called in at the end of show by one of the air traffic controllers at Knoxville's airport. Seems the folks helping the big planes take off and land at McGhee Tyson enjoy pumping the sounds of Tennessee Saturday Night into the control tower. So, if you're ever landing in Knoxville and wonder why your plane seems to be coming in unusually fast...consider the soundtrack the control tower is using to set the mood. That being said, here's what made the radar screen this week. Contact information, as usual, follows. Tennessee Saturday Night -- Show #30 -- 6 PM to 9 PM WDVX-FM -- Clinton/Knoxville, TN -- April 24, 1999 Tennessee Saturday Night -- Red Foley w/The Cumberland Valley Boys -- Heroes of Country Music, Vol. 2 -- Rhino Ed Scales in the Sunset -- Eddie and Martha Adcock -- Talk to Your Heart -- CMH South -- Spade Cooley the Western Swing Dance Gang -- Shame on You -- Bloodshot Revival/Soundies Shine, Shave, Shower -- Lefty Frizell -- Look What Thoughts Will Do -- Columbia Little Lisa -- Wayne Hancock -- That's What Daddy Wants -- Ark21 Take It Away Leon -- Leon McAuliffe His Western Swing Band -- Hillbilly Boogie -- Columbia That's What Daddy Wants -- Wayne Hancock -- That's What Daddy Wants -- Ark21 Who's Gonna Mow Your Grass -- Buck Owens -- The Very Best of Buck Owens, Vol. 1 -- Rhino Root Beer -- George Jones -- She Thinks I Still Care -- Razor Tie Detroit City -- Bobby Bare -- The Essential Bobby Bare -- RCA Sheik of Araby -- Cluster Pluckers -- Just Pluck It -- (Independent) Any Old Time -- Jimmie Rodgers -- The Singing Brakeman -- Bear Family When My Blue Moon Turns to Gold Again -- Wiley Walker Gene Sullivan -- Columbia Country Classics -- Columbia George Jones (Has Never Sung About My Girl) -- Slim Chance the Convicts -- Bubbapalooza, Vol. 1 -- Sky Drink My Wife Away -- David Allan Coe -- Recommended for Airplay -- Lucky Dog Read 'Em and Weep -- Junior Brown -- Long Walk Back -- Curb Just Like Two Drops of Water -- Cornell Hurd Band -- Texas Fruit Shack -- Behemoth Sal's Got a Sugar Lip -- Johnny Horton -- America Remembers Johnny Horton -- TeeVee Norman in the Woodland -- Jason Carter -- On the Move -- Rounder Columbus Stockade Blues -- Doc Richard Watson -- Third Generation Blues -- Sugar Hill Cowboy Man -- Lyle Lovett -- Lyle Lovett -- Curb/MCA Gonna Marry Me a Cowboy -- Rex Allen -- The Last of the Great Singing Cowboys -- Bloodshot Revival/Soundies I Want to Be a Cowboy's Sweetheart -- Patsy Montana the Prairie Ramblers -- Columbia Country Classics -- Columbia Be With Me -- James McMurtry -- It Had to Happen -- Sugar Hill Family Tree -- Darrell Scott -- Family Tree -- Sugar Hill Paradise -- John Prine -- John Prine -- Atlantic The Way We Make a Broken Heart -- John Hiatt w/Rosanne Cash -- The Best of John Hiatt -- Capitol Almost Persuaded -- David Houston -- Super Hits of the 60s -- Epic Highway 40 Blues -- Ricky Skaggs -- Country Gentleman -- Epic Waymore's Blues -- Waylon Jennings -- The Essential Waylon Jennings -- RCA The Real Mr. Heartache -- Johnny Paycheck -- The Real Mr. Heartache -- CMF Don't Worry -- Marty Robbins -- A Lifetime of Song -- Columbia Heartaches by the Number -- Ray Price -- The Essential Ray Price -- Columbia The Jet Set -- George Jones Tammy Wynette -- Super Hits -- Epic My Wedding Ring -- Jean Shepard -- Honky-Tonk Heroine -- CMF T and J Waltz -- Hot Club of Cowtown -- Swingin' Stampede -- Hightone Little Sadie -- The Sadies -- Precious Moments -- Bloodshot Midnight Ramble -- Speedy West Jimmy Bryant -- Stratosphere Boogie -- Razor Tie Across the Alley from the Alamo -- Pine Valley Cosmonauts w/Robbie Fulks -- Salutes the Majesty of Bob Wills -- Bloodshot Georgia Boogie -- Curley Williams His Georgia Peach Pickers -- Hillbilly Boogie -- Columbia Honey Song -- Spade Cooley the Western Swing Dance Gang -- Shame on You -- Bloodshot Revival/Soundies Mr. Lonesome -- Heather Myles -- Highways and Honky Tonks -- Rounder Bears -- Lyle Lovett -- Step Inside This House -- Curb/MCA Whiskey in the Jar -- Hazeldine -- Orphans -- All Swoll Memories of You -- Bill Monroe Doc Watson -- Live Duet Recordings -- Smithsonian Folkways She's No
Beatniks?
What would be the equivelant word usage for beatniks in the 90's...anyone know for sure daddy o ?
RE: Cold Mt. Music NPR
Jamie said: NP Bluegrass Mandolin Extavaganza (Produced by Ronnie McCoury David Grisman) and I'm sure looking forward to hearing this, but I have to say I think it's unfortunate that they couldn't find room on a double CD for at least one cut from Dempsey Young of the Lost Found. Sure, they had to leave folks out, but he's every bit at the level of the guys who are on there, including Jesse McReynolds and Bobby Osborne, and is the best under-appreciated mandolin player around. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
Re: Beatniks?
In a message dated 4/26/1999 6:22:22 PM Eastern Daylight Time, [EMAIL PROTECTED] writes: beatniks in the 90's.. Slackers
Re: Beatniks?
scenester -- From: bill bubb [EMAIL PROTECTED] To: "passenger side" [EMAIL PROTECTED] Subject: Beatniks? Date: Mon, Apr 26, 1999, 5:42 PM What would be the equivelant word usage for beatniks in the 90's...anyone know for sure daddy o ?
Re: Beatniks?
hipsters slackers scenesters bohos playas post-grads middle-managers ... in the 90s there are no beatniks. ... in the 90s, everyone's a beatnik. carl w.
Re: Cold Mt. Music NPR
In a message dated 4/26/99 5:25:46 PM Central Daylight Time, [EMAIL PROTECTED] writes: NP Bluegrass Mandolin Extavaganza (Produced by Ronnie McCoury David Grisman) I got this a few weeks ago. It is excellent, and very comprehensive although a few folks are naturally missing. All the mando you can hando. Slim
RE: Cold Mt. Music NPR
from Dempsey Young of the Lost Found. Sure, they had to leave folks out, but he's every bit at the level of the guys who are on there, including Jesse McReynolds and Bobby Osborne, and is the best under-appreciated mandolin player around. Wait, I thought we agreed that it was Hootie...g Todd (really writing just to ask Dave Purcell whether he happened to watching NBC between 5:30 and 8:00 yesterday...say it with me again: MVP)
Re: Jon Emery on KUT Radio
Bill Gribble wrote: Actually, any KUT DJ can host Live Set. They sort of rotate. Overnight DJ Jeff Johnston asked the Barkers to do a Live Set on May 30, which we're pretty excited about. Another show to listen to is Folkways, on Saturday morning. Great show. There is also a great show on Sunday nights right after "Live Set" by my old compadre Larry Monroe that features Texas artists. Larry also does a blues show on Monday night and a show on Thursday night. Saturday night is Paul Ray's great oldies RB show. KUT is one of the best NPR stations around. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: Floyd Tillman comp/ Jimmy Wakely
John Flippo wrote: Don't know if anyone has mentioned it yet but there is a new cd that just came out on Glad called Herb Remington Instrumentally Salutes Floyd Tillman. I believe Remington was in the Texas Playboys. I haven't heard it yet but it sounds awful interesting. Flippo Herb was one of Will's greatest steel players. He was in the same band as a very young Johnny Gimble, and you can hear him on the MGM (?) stuff playing "Remington's Ride". He uses only a couple of pedals and plays more in a pedal-less style. He's one of the great ones. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: single most influential, cont.
[EMAIL PROTECTED] wrote: Joe Gracey writes: .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... Harrumph. Shoulda known that. This is the guy who gets to hear Kimmie Rhodes sing in the shower every morning. g Joe X. I love singer's voices. Marcia Ball has one of the nicest speaking voices. In fact, I think if I were forced to admit what it was I actually do well, I would say record singer's voices, because I understand them. I sort of take aural showers in them. Recording The Willie was monumental for me because his voice goes to tape so spectacularly. I think that was one reason I loved Jimmy Day's steel so much- he played the steel like a voice, singing. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: Beatniks?
and perfesser [EMAIL PROTECTED] wrote: hipsters slackers scenesters bohos playas post-grads middle-managers ... in the 90s there are no beatniks. ... in the 90s, everyone's a beatnik. carl w.
Alejandro Escovedo, Johnny D's, 5/6
Hi folks, By any chance will anyone from RI be heading up to Somerville, MA for Alejandro Escovedo at Johnny D's on 5/6? I'm hoping to go but would prefer not to go alone and everyone I know is going to the Lucinda show at Lupo's that night. You may reply off list if you prefer. Thanks, Karen Without music, life is a mistake--Friedrich Nietzsche
Common Thread 4-25-99 Play list
Howdy Play list 4-25-99 10:00PM -Midnight Common Thread - Thom Wodock WDVR 89.7 PO Box 191 Sergeantsville NJ 08557 Jim Roll - Old Love - Ready to Hang The Gourds - Money Honey - Dem's Good Beeble The Backsliders - Never Be Your Darling - Lines Alejandro Escovedo - I'm Drunk - Borbonitus Blues The Silos - Northern Light - Heater Uncle Tupelo - Still Be Around - Still Feel Gone Uncle Tupelo - Acuff Rose - Anodyne Golden Smog - Radio King - Keys EP Son Volt - Diving the View - Wide Swing Tremolo Wilco - Passenger Side - A.M. Moby Grape - 8:05 - Moby Grape Old 97's - Oppenhiemer - Fight Songs Walter Clevenger and the Dairy Kings - Love in Your Eye - Love Songs to Myself Jim Roll - Double Time - Ready to Hang Beaver Nelson - Forget Thinking - The Last Hurrah Billy Bragg and Wilco - Hesitating Beauty - Mermaid Ave Richard Buckner - Good Bye Rye David Bielanko - Living on the Road - Camp Black Dog David Bielanko - Streets of Philadelphia - No Electric Guitars Marah - Formula, Cola Dollar Draft - Let's Cut the Crap . The Mekons - Ballad of Sally - I Have Been to Heaven and Back Sally Timms - It Says Here - To the Land of Milk Honey The Mekons - Club Mekon - Mekons Rock n Roll Sally Timms - Old Flames Can't Hold A Candle - Cowboy Sally Mekons - Lucky Star - I Have Been to Heaven and Back Sally Timms - Reason to Believe - It Says Here EP Billy Bragg and Wilco - California Sun - Mermaid Ave Send back the time The time we lost typing out these play lists Do we really need guns? Have Fun Thom
Re: NYC Willis/Robison
OK. Well, the highlight for me was probably the Bruce Kelly duet on that ol' Louvin brothers number, whose title I do not recall, but a version of their duet's on his CD "Wrapped'...Beyond that, I've been waiting for a chance to see Ms. Willis do a varioed, cross-her-whole career set, and that's what we got, so I had a good time with the music and was very pleased with what I heard--Kelly touched on country ballads, alt.country rock, some popabiloly post-rockabiloly like her buddy Monte Warden do, etc. For those who found what she was doing something of a letdown, I kind of understand that too; none of the moments in the very practiced, last date on the tour set, except maybe that duet, was as touching and heart-rending and sexy as what I saw her do at the SXSW songwriter's conference--if Jim Catalano's around he can back me up--but there, alone, she just plain sang with an acoustic guitar, from all of her parts, and that's,uh, an invigorating and memorable experience. Barry
Re: Floyd Tillman comp/ Jimmy Wakely
..and I in fact got hold of that new Collectoir's Music/Sony Tillman comp--and it's alredy set to be up there among the reissues of the year for me. Interesting side point: Floyd is an early practitioner of blues jazz vocal-influenced baroque folk singing...he regularly irregularly bends and breaks and takes notes in almost always interesting and affecting directions, and he usually does it in keeping with the rhythm of the produced number, not even strictly by the lyric meaningthat's part of what would someday be the mid-sixties Dylan singing approach. (And there HAS always been one!) Barry
Re: single most influential, and Tillman, cont.
I think that was one reason I loved Jimmy Day's steel so much- he played the steel like a voice, singing. Joe Gracey Which reminds me--besides the blues vocal tradition influence on the way Floyd Tillman would sin it struck me listening to the Columbia recordings since yesterday that he did the opposite of what Joe just said about Jimmy Day: Tillman slides around notes singing like a steel player playing--and must have been influenced by that sound. (Sometimes it's even kind of Hawaiian!) Barry ..
Re: Joe, Marc'sBrother
Marie Arsenault wrote: Jim, kinda smilin'>Any of the Nashville folks have an opinion on a>band called Joe, Marc'sBrother?I actually met one ofthe members at a bbq a few weekends ago (look at me name-droppin'like a pro). I can't remember his name, of course. Maybe Ronni does. Nope, I don't remember his name, either. Could it be Joe or Marc??? g> The only thing I remeber was that he said he was from New Jersey. Interesting guy tho. Ronni
Alejandro In Toronto (was Re:Al @Johnny D's, 5/6)
Before he hits Johnny D's, he's here Saturday night at Ted's Wrecking Yard. Any Toronto P2'ers planning to go? It's an early door--8pm--not sure if there's an opener. And, in the same venue, last Saturday, Stacey Earle knocked out an almost full house. She's way better than the last time I saw her (twice about 6 months ago--and she was pretty good then). She's got her husband Mark Stuart (formerly of Steve's band) backing her up on guitar, and she sold CD's to probably half the people in the audience. Go see her if she hits your town. Randi.
Re: Meat Puppets (was Re: Speaking of Noise)
I'm in "Day Late and Dollar Short" mode, I'm afraid. Steve Kirsch said: Yup, and I'd suggest further that from the second album (MP2) onwards they never really released a clunker until that horrible No Joke record. They were a hell of a band. I'm skeptical about the new lineup without Cris and Derrick, but we'll see. You have reason to be skeptical, judging from the new lineup's performance at Liberty Lunch during SXSW. They were disappointing at best, mediocre at worst, and not very much like the Meat Puppets, really. It was an unfortunate way for us to close out what had been a pretty solid, if not breathtaking, string of shows at SXSW, and an unfortunate reminder that the Meat Pups now belong to the past. --Amy
Hot Club Of Cowtown
New England Schedule: April 26 - 28 (Mon-Wed) Rodeo Bar10 PM (NYC) April 29 (Thurs) Johnny D's 9 PM (Boston) Kat in CT (Home is where you hang your @)
Re: Meat Puppets (was Re: Speaking of Noise)
In a message dated 4/26/99 8:11:06 PM EST, [EMAIL PROTECTED] writes: You have reason to be skeptical, judging from the new lineup's performance at Liberty Lunch during SXSW. They were disappointing at best, mediocre at worst, and not very much like the Meat Puppets, really. It was an unfortunate way for us to close out what had been a pretty solid, if not breathtaking, string of shows at SXSW, and an unfortunate reminder that the Meat Pups now belong to the past. Do you include the Bottle Rockets, who played right before the Pups at that same venue, in your string of breathtaking shows? I'm curious because I thought the were pretty awful, as well as arrogant as hell, refusing to play *any* old material at all and practically taunting they they were twangless. What was left was southern and crotch rock not unlike Radar Gun, which is the band at its worst. imho. And then there was that one song that was so rudimentary in its rhymes that you had to wonder if it was real. Me and Copetas sure had fun playing "guess the next line" during that one, which I don't think was the reaction the band had intended. Suddenly venomous, Neal Weiss
Fender amp page!
For those on the list who follow the periodic equipment threads, I've happened onto a pretty thorough and useful site for Fender amp identification and info. Very good links and a thorough (although still not complete, as far as I can tell) catalog and guide to all the different models and years, etc. Well worth checking out, if you haven't already seen it, at: http://www.zen.org/~ware/ffg/ffg.html --jr.
PLAYLIST: Fear Whiskey 4/26/99
This is the Fear Whiskey playlist for this week's show. Fear Whiskey can be heard every Monday from 7-10pm ET on 88.3fm in Pittsburgh and on AudioActive, Winamp and pretty much every mp3-based program via http://www.wrct.org. Past playlists are available at http://www.andrew.cmu.edu/~cz28.fear.html. ARTISTSONG world saxophone quartet (sittin' on) the dock of the bay jim o'rourke something big alejandro escovedoamsterdam red star belgrade favorite thing sonic youth candle victor krummenacher's great laugh all right joel phelps at el paso bob mould anymore time between tom waits big in japan friends of dean martinez spoonie low i remember son volt holocaust tarnation there's someone yo la tengo tom courtenay godspeed you black emperor! moya beta band dr. baker mekonsorpheus wilco can't stand it ricky skaggs lonesome night swingin' doorsjaco steve earle the del mccoury bandcarrie brown freakwaterwaitress song old 97s jagged handsome family weightless again waco brothers corrupted nova mob old empire mark eitzel cold light of day graham parker just like joe meek's blues richard buckner rainsquall jack logan bob kimbell look to the future richard thompson the ghost of you walks sam prekopso shy david sylvian midnight sun grifters eureka iv scott4philly's song elvis costellopossession holly golightly want no other love alone again or fleetwood mac the green manalishi steve wynnmy midnight televisionfriction crawlin' low band hoosegow
Re: bluegrass whatever
Hey there, I hate to be all hippie, but isn't music supposed to be unifying and all that? What the hell is with all this snide divisive shit? Let damn Darius Rucker play the mandolin fer chrissakes. It's an instrument, not the holy grail. cherilyn. I (heart) Cherilyn. 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: New York P2ers rise again!
Will the new and improved NYC contingent be at the Damnations/Elena Skye show next Sunday at Maxwell's? Hope so, 'cause I'm making the trek up from Philly and it'd be nice to see some of you folks pre-TFest. I'll be there, you betcha. (Oh, sorry, thought I was still in Minnesota for a second there.) I don't know that I'm going to make it to the Damnations' Mercury Lounge show the preceding Monday; they are my favorite new band but sheesh, Monday night shows...But I will be at the Maxwell's show no matter what. As far as I understand it, there aren't advance tix for that one. That appears to be correct, and I'd recommend getting there early. I doubt that Maxwell's will actually sell out, but the Damnations are a "buzz band," so you never know. And besides, everyone should get there early to see Ms. Skye Co. I know I'm looking forward to finally getting to see them. I'll second Barry's sentiments about the newly thriving NYC P2 contingent and note that I too was delighted to meet Nina, Micah, and (briefly) Jason, especially since I left without having the chance to mention this to them in person. I had to get my husband home, since as I was sure he would be, he was falling asleep at a table in the bar--though he assured me that he had only been napping for a minute and that he had seen and enjoyed the entire show until the encore. He agreed with me that Ms. Willis was as captivating and charming a performer as I had figured she would be. There were a few stumbles, and on the other hand a couple of moments of excessive slickness, but overall, it was an excellent show. And Mr. Kelly Willis did a pretty gosh-darn captivating opening set himself. --Amy np: Real: The Tom T. Hall Tribute. I haven't been able to get Kelly Willis's version of "That's How I Got to Memphis" out of my head since hearing her do it beautifully on Saturday night.
Re: Meat Puppets (was Re: Speaking of Noise)
Neal: Do you include the Bottle Rockets, who played right before the Pups at that same venue, in your string of breathtaking shows? I'm curious because I thought the were pretty awful, as well as arrogant as hell, refusing to play *any* old material at all and practically taunting they they were twangless. What was left was southern and crotch rock not unlike Radar Gun, which is the band at its worst. imho. And then there was that one song that was so rudimentary in its rhymes that you had to wonder if it was real. Me and Copetas sure had fun playing "guess the next line" during that one, which I don't think was the reaction the band had intended. I was afraid that sentence would be read wrong; I should have said "a pretty solid, *though* not breathtaking, string of shows" What I meant, in fact, was that very little that I saw at SXSW knocked my socks off. I thought Hayseed was wonderful, even though I left in the middle to go see the Damnations), and Hillbilly IDOL, who I saw only at an in-store, were a highlight, as were Slobberbone, Amy Rigby, the Meat Pervs, and a few other acts. But I saw a lot of fine-but-ordinary shows too. And though I didn't feel as venomous about them as Neal did, I thought the Bottle Rockets were definitely "off" at Liberty Lunch that night. Robbie Fulks, who preceded them, was a pleasure, as always, and Reckless Kelly, who preceded him, were much better than I'd expected. But the BRox were a big letdown, as were the Meat Puppets. --Amy
Re: See Ya
Rick Cornell, abandoning us, writes: Stay in touch. You do the same, Rick. I've enjoyed your all-too-rare contributions to the list, and I'll miss those as well as the playlists. Try to make it back when you can. --Amy
did you say COOK!!??
Hello Nicholas, Neal Weiss is my brother in law. He sent me an e-mail from you saying you were looking for some help. Perhaps I could be of assistance to you. Where are you located? I have been cooking for over 12years in all kinds of restaurants. Give me a ring and we can chat about it. If I don't fit your needs, I know of several folks who might be interested. Thanks Kevin Morrissey 707-334-2120
Re: Alejandro In Toronto (was Re:Al @Johnny D's, 5/6)
Stacey is supporting Greg Brown on his upcoming tour of the Northwest, and will appear solo at a house concert in Salem, OR later in May. Christopher Adams [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: Before he hits Johnny D's, he's here Saturday night at Ted's Wrecking Yard. Any Toronto P2'ers planning to go? It's an early door--8pm--not sure if there's an opener. And, in the same venue, last Saturday, Stacey Earle knocked out an almost full house. She's way better than the last time I saw her (twice about 6 months ago--and she was pretty good then). She's got her husband Mark Stuart (formerly of Steve's band) backing her up on guitar, and she sold CD's to probably half the people in the audience. Go see her if she hits your town. Randi.
Re: Beatniks?
Hey why not a 'new' term? krebbster Richard -Original Message- From: stuart [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Tuesday, 27 April, 1999 11:14 Subject: Re: Beatniks? and perfesser [EMAIL PROTECTED] wrote: hipsters slackers scenesters bohos playas post-grads middle-managers ... in the 90s there are no beatniks. ... in the 90s, everyone's a beatnik. carl w.
Re: Joe, Marc'sBrother
At one time a friend of mine from Memphis, Rick Clark, was their producer. Power pop is what they like to be known as. Nancy
Re: Beatniks?
What would be the equivelant word usage for beatniks in the 90's...anyone know for sure daddy o ? Mom?Dad???
