Burning London, the Clash tribute album
I know I was going on the other day about how dated the Clash sound nowadays, but jeez, they certainly didn't deserve this abominable "tribute" album. It kicks off with a cheesy rendition of "Hateful" from No Doubt and then gets worse. The Urge's version of "This Is Radio Clash" is laughable, Ice Cube should never, ever have attempted "Should I Stay Or Should I Go," Third Eye Blind do a typically faceless, limp version of "Train In Vain," the Indigo Girls transform "Clampdown" into gag-inducing coffeehouse f*lk, the Mighty Mighty Bosstones sound like they're goin' through the motions on "Rudie Can't Fail," 311 turn "White Man In Hammersmith Palais" into harmless pop-ska, Silverchair do what sounds like a Spinal Tap parody of "London's Burning," and Heather Nova and Moby join forces for a sparse piano-and-synth dirge version of "Straight to Hell." Rising above the stink are the Clash-inpired Rancid's gutsy, straightforward version of "Cheat," and Cracker's countrified version of "White Riot." Otherwise, this "tribute" album has to be one of the worst tribute albums ever released by a major label. Blech!--don
Re: Rappin' Radney
On Thu, 29 Apr 1999 [EMAIL PROTECTED] wrote: I hope he does well with it, even if the list Dad disses it. Well, I also hope he does well with it, even if I don't care for it. Radney's a swell person, as is his awesome wife Cyndi Hoezle. Back when she was the Gavin mainstream country editor, she turned me on to the Starkweathers, along with regularly giving updates about reissues from country greats. She really knows her shit, which is more than you can say about too many other folks in the biz.--don
Re: Same Old 97s?
On Wed, 28 Apr 1999 [EMAIL PROTECTED] wrote: Picked up the new Old 97s record "Fight Songs" yesterday and I dig it alot. But I think those early reviews about it being a radical departure are a bit overstated. There are new song structures and more multi-tracked vocals and harmonies on great new tunes like "Oppenheimer", "Murder" and "19". But their signature sound is still there in the galloping beats and weird "strangled" guitar sound on many of the tracks. I'll buy that. Songs like "Jagged," "Indefinitely," and "Let The Idiot Speak" are very much in the mold of what they've done before. There's a bit more musical subtlety employed, but Fight Songs is still very much a 97s record. The songs are also damn good, which for me anyway, is the bottom line.--don
Re: Rappin' Radney
On Wed, 28 Apr 1999, Darren Stout wrote: Radney's new album isn't going to be "CMT kaka". I have only heard one song off of the album and it is worth the price of the disc alone. His new album isn't going to be promoted country radio either from what I have heard. That's not surprising, 'cuz it sounds like he's left country music behind -- it's Radney's "adult rock" record, and no doubt the plans are to work it to AAA radio. Who knows, they might even like it -- it's certainly bland enough. I've tried to listen to it a coupla times, and have yet to find a memorable tune. It definitely has that nondescript, vaguely rootsy sound favored by the adult rock crowd, and there's even a duet with the equally nondescript Abra Moore. I'm not sure if I'm the one to ask about it though, 'cuz most music of that ilk bores me -- as rock music, it's too tame, too polite, and too sterile, and as roots music it's pretty rootless.--don
Re: Rappin' Radney
On Wed, 28 Apr 1999, Darren Stout wrote: That was the song that I thought was so great. Did you hear Radney's last album? I think this song is a lot more promising than anything on it. I don't remember that one doin' a whole lot for me either. The last album of his I really dug was his solo debut, Del Rio Texas 1959.--don
Electric Shaver
After one listen, it's already my favorite Shaver album since Tramp On Your Street. He's still recycling some old songs, but the new tough versions of "When The Word Was Thunderbird" and "Lately I've Been Leanin' Toward The Blues" are definitely worth having, and there's lots of other highlights, like "Try and Try Again" (where Billy Joe is seized by near-evangelical fervor), the bluesy acoustic rendering of "New York City," the blistering roadhouse stomp of "You Wouldn't Know Love (If You Fell In It)," the lilting, tex-mex flavored "Manual Labor," the bluesy love ballad "I'll Be Here," the rowdy dancehall sound of "Way Down Texas Way," and the sweet acoustic country of the album closer, "She Can Dance." The only real misstep is the somewhat-silly "People and Their Problems," but ragging on one song seems like quibbling when the rest of the album's so strong. Billy Joe's craggy voice keeps sounding better with age, and Eddy plays with some welcome restraint, even when he's tossing out some scorching licks. And don't be misled by the album's title -- it ain't nearly as electric as that raucous live album from a few years back. There's some lovely acoustic tunes, along with some more fiery numbers. Overall, it's a near-perfect blend of country, blues and rock 'n' roll, and unlike some of the other combinations of the above offered up by more genteel types, Billy Joe's roots-music brew delivers a helluva kick. You sure won't find it on your local radio station sandwiched between Bruce Hornsby and Shawn Mullins. Electric Shaver's due out next Tuesday May 4th on New West Records.--don
Re: info on Billy Jack Wills?
On Tue, 27 Apr 1999, Ph. Barnard wrote: I've been hearing some enthusiastic comments about a Western Swing CD re-release: Billy Jack Wills / "Crazy, Man, Crazy" / on Joaquin Records?? Although it's possible I've heard this guy on a compilation, the name of *this* Wills isn't ringing a bell for me. Anyone know about this? A California act, and apparently this recording is a radio transcription from the early 50s. Billy Jack was the younger brother of Bob. He played drums and bass for the Texas Playboys for awhile and then started his own band. His music was more rooted in the jump blues of the day than Bob's was, which puts Billy Jack a bit closer to rock 'n' roll. His band was a hot one, featuring the likes of Tiny Moore on electric mandolin and fiddle, the underacknowledged steel guitar wizard Vance Terry, and trumpeter Dick McComb. Not only did they play with a lot of energy and excitement, but they were also pretty musically sophisticated, and they put out some complex swing stuff that came close to be-bop. I'd start with Joaquin's first volume of radio transcriptions (titled Billy Jack Wills and his Western Swing Band), and then if you can't get enough, go for Crazy, Man, Crazy.--don
Swingin' Doors, 4/22/99
Last night's show was a hoot. The Souvenirs dropped by to give a sneak preview of a coupla songs from their upcoming debut album -- it ain't comin' out until the Fall, but it's gonna be a good 'un. After the show, we headed to the Showbox for BR5-49, who blew poor Cesar Rosas off the stage. The sun is shining, Faron Young's on the radio, and the Souvenirs are at the Tractor tonight. Life is good. Dwight Yoakam - Same Fool Bob Woodruff - Hard Liquor, Cold Women Warm Beer Mandy Barnett - Falling, Falling, Falling Carl Smith - Before I Met You Hank Snow - (Now and Then, There's) A Fool Such As I Lefty Frizzell - Time Changes Things Paul Burch - Monterey Alejandro Escovedo - I Was Drunk The Pinetops - So Lonesome I Could Fly Kelly Willis - Talk Like That Robbie Fulks - God Isn't Real (request) BR5-49 - Out Of Habit (last night at the Showbox) Carl Sonny Leyland - The Honky Tonk Wine Jerry Lee Lewis - Singing The Blues Hank Williams - Hey Good Lookin' Slim Willet - Offshore Drilling Rig Souvenirs - Tired Of Missing You (tonight at the Tractor) Allison Moorer - Easier To Forget George Jones - A Good Year For The Roses (request) Mel Tillis - Life Turned Her That Way Scottie Sparks - Old Railroad Track Dale Ann Bradley - Rain On The Roof Blue Highway - Good Time Blues Johnson Mountain Boys - A Sweeter Love Than Yours I'll Never Know Jimmy Martin - Don't Give Your Heart To A Rambler The Gourds - Fine Leather Truck Little Sue - Warning Trains Old 97s - Alone So Far Souvenirs - Hideaway Souvenirs - Excuse Me (I Think I've Got A Heartache) (live) Souvenirs - Anna Marie Don Walser - Green Snakes On The Ceiling Cynthia Gayneau - Last, Last Time Deke Dickerson - Mexicali Rose (5/9 at the King Cat w/ Mike Ness) Merle Travis - Blue Smoke Slim Whitman - Love Song Of The Waterfall The Backsliders - The Lonely One Hank Williams Jr. - Whiskey Bent and Hell Bound Gerald Collier - Understatement Of The Year Dallas Frazier - Son Of Hickory Holler's Tramp Charley Pride - Is Anybody Goin' To San Antone Big Sandy his Fly-Rite Boys - What A Dream It's Been Spade Cooley - South Port Arthur Jubileers - Teeny Weeny W. Lee O'Daniel his Hillbilly Boys - Lonesome Road Blues Neko Case - Rated X (request) Picketts - Same Town, Same Planet (Different World) (5/7 at the Tractor) Mike Ireland Holler - Some Things You Lose (request) Cisco - The Bum You Say I Am Merle Haggard - White Line Fever (request) Doyle Lawson Quicksilver - Mis'ry River Dirk Powell/Tim O'Brien/John Herrmann - Cluck Old Hen Buell Kazee - The Wagoner's Lad Swingin' Doors can be heard Thursdays from 6-9pm on KCMU 90.3FM in Seattle. Email me if you have any questions about the music played.--don
Re: BR5-49
Oops, almost forgot to mention -- Deborah was talkin' to one of the BR5-49 boys last night after the show, and there was another girl standin' there who said she was from Lawrence, Kansas, so Deborah asks her if she knows Junior. The girl replied, "You mean *Phil Barnard*?!" We'll just leave it at that.g--don
Re: Northwest P2 party!
On Fri, 23 Apr 1999, Dave Purcell wrote: How sweet of the Yates Gang to honor my 33rd birthday in style. Are you gonna fly me out? We'll be sure to play some Moonshine Willy in your honor.g And if you're really lucky, maybe by the end of the night some unfortunate NW P2er will be assuming the Purcell position in front of our toilet bowl.--don
RE: Mandy B
On Thu, 22 Apr 1999, Don Yates wrote:
On Thu, 22 Apr 1999, Jon Weisberger wrote:
The definite oldies are "I've Got A Right To Cry" (Hank Jr.), "Give
Myself A Party" (Don Gibson), "Trademark" (Carl Smith), "Falling,
Falling, Falling" (Ray Price). I assume that the Newbury and Bryants
tunes are not new, but I dunno who the original performers would be.
The Newbury tune was a minor hit for Gibson. The original version's
pretty swell, but Mandy tops it. "I'm Gonna Change Everything" is an old
Jim Reeves song. "Who (Who Will It Be)" and "The Whispering Wind (Blows
On By)" are both new ones written by the same songwriters (L. Russell
Brown and Pat McLaughlin). *Someone* here has to know who did the
Boudleaux and Felice song ("Don't Forget To Cry"). Margasak sez "With My
Eyes Wide Open I'm Dreaming" is an old pop tune, so we'll take his word
for it. That leaves "Mistakes" (Edgar Leslie/Horatio Nicholls) and "Ever
True Evermore" (Kermit Goell/Theodore Rhodes). If I was to stereotype
songwriter names, I'd suggest they were both written by old-school pop
songwriters.--don
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. That means we've managed to figure out the sources
for all of her obscure covers, 'cept for that damn Boudleaux and Felice
tune. I thought it might be easy to track that one down, but then I took
a look in the BMI on-line database at all the songs written by the Bryants
-- good god! I knew the Bryants were pretty damn prolific, but they were
songwriting machines!--don
RE: pumpskully for postcard2@u.washington.edu; Fri, 23 Apr 1999 16:02:07 -0700
On Fri, 23 Apr 1999, Jon Weisberger wrote: Wow, The Legend Returns... Now, where'd that Gary Wilson get to? We can only wish! Jeez, first the leather-clad Norse God pokes his nose in here today for the first time in months, and now the Original Singer-Songwriter's Friend. Are Roy and Jon gonna pick up where they left off and engage in another epic rhetorical battle? Does this mean there's gonna be hell to pay the next time I engage in indiscriminate f*lkie-bashing? Or are the rumors true about Roy abandoning coffeehouse music in favor of HNC heartthrobs like Deana Carter? Ooh, this is gonna be fun!--don
Re: Mandy B
On Wed, 21 Apr 1999, Terry A. Smith wrote: pps it's been a great week; discovered via the library, Solomon Burke and Lloyd Price. How'd I ripen into my 40s without having heard these guys? Mysteries of life. Yeah, right -- it's 'cuz you live in that cultural backwater known as the American Midwest.--don (who coincidentally played Solomon Burke on the Roadhouse last night)
RE: Mandy B
On Wed, 21 Apr 1999 [EMAIL PROTECTED] wrote: I want to add that I hope Mike is right with his observation that some country stations are leaning towards actually playing country music again. I had to stop the other day to find out what song was playing on a local station cos it sounded almost "alt.country." Turned out to be the latest Dixie Chicks single. Anyone else heard that one? I haven't heard it yet, but I love Joy Lynn's version of it. And there ain't nothin' "alt" about it -- unless the Dixie Chicks rocked it up a bit. Oh, wait -- that's what HNC folks are s'posed to do. Now I'm all confused.--don
Re: Dixie Chicks/Joy Lynn White song
On Thu, 22 Apr 1999 [EMAIL PROTECTED] wrote: As a Joy Lynn White fan who doesn't listen to the Dixie Chicks (or radio in general, except NPR), I'm curious - what song are we talking about? "Tonight The Heartache's On Me"
Crappy alt-country at SXSW (was Re: Updates
If you were to ask any hard working country musician the difference they would tell you its all about the sincerity of the performer. Any 99% percent of these bands got no heart. And this is the only part of the anonymous diatribe that I might disagree with, or at least amend. It's not *all* about the sincerity. There are also some awfully sincere alt-country bands that are just, well, awful. No doubt that white-trash minstrel show shit rubs me the wrong way, but I'm also not a fan of the painfully earnest ones who have nothin' else goin' for 'em except their sincerity. Dull as dirt is not much better than a superficial schtick. Anyway, it's too bad the person who wrote that essay spent so much time with the cartoon crowd down there -- he/she must've missed James Hand, Justin Trevino, Don Walser, Paul Burch, Dale Watson and all the other hardcore traditionalists types that played this year.--don
Re: Updates
On Thu, 22 Apr 1999, Dave Purcell wrote: Nice rant, Mark. Just to clarify, it wasn't written by Mr. Rubin (or so he sez, and I don't see any reason to doubt him). He attributed it to an anonymous "insider."--don
RE: Mandy B
On Thu, 22 Apr 1999, Jon Weisberger wrote:
I've got to say, though, I like "Who (who will it
be)" the best. Is that an old tune?
With a co-publisher named "Twenty Second Century Music," I doubt it g.
The definite oldies are "I've Got A Right To Cry" (Hank Jr.), "Give
Myself A Party" (Don Gibson), "Trademark" (Carl Smith), "Falling,
Falling, Falling" (Ray Price). I assume that the Newbury and Bryants
tunes are not new, but I dunno who the original performers would be.
The Newbury tune was a minor hit for Gibson. The original version's
pretty swell, but Mandy tops it. "I'm Gonna Change Everything" is an old
Jim Reeves song. "Who (Who Will It Be)" and "The Whispering Wind (Blows
On By)" are both new ones written by the same songwriters (L. Russell
Brown and Pat McLaughlin). *Someone* here has to know who did the
Boudleaux and Felice song ("Don't Forget To Cry"). Margasak sez "With My
Eyes Wide Open I'm Dreaming" is an old pop tune, so we'll take his word
for it. That leaves "Mistakes" (Edgar Leslie/Horatio Nicholls) and "Ever
True Evermore" (Kermit Goell/Theodore Rhodes). If I was to stereotype
songwriter names, I'd suggest they were both written by old-school pop
songwriters.--don
Re: SXSW stuff
On Thu, 22 Apr 1999, James Gerard Roll wrote: I don't really think the guy had to name names, he certainly said enough to identify who he was talking about. Obviously not a big fan of insurgent/punk attitude. Perhaps. But the writer also made clear that combining country and rock isn't necessarily a bad thing, and I can think of plenty of bands who do a good job of it. Then again, I can also think of plenty who don't.g--don
Re: Updates
On Thu, 22 Apr 1999, M Rubin wrote: Ah, but that's the point. Those artists aren't "alt." anything. They are country and western artists, period. Let's get that established once and for all. Oh, I'm well aware of that -- I was just pointing out that it seemed silly for our anonymous essayist to waste a lotta time seeing bands he/she couldn't stand when there were plenty of folks playing down there that they probably would've enjoyed a helluva lot more. Many of 'em weren't playin' the official showcases, but they were still pretty easy to find. Sorry kids, I can't take credit for it. I only agree wholeheartedly. It came from a conversation with said "insider" at the back of the dance floor at the Broken Spoke. It all started when we noticed how nobody was paying attention to "Hayseed," who we both agree is the real deal. "Nobody" paying attention? Maybe from your vantage point shmoozing in the back of the Spoke.g Where I was sitting (literally at Hayseed's feet), the crowd was in rapt attention. Sorry about the "deep throat" nature of the author. If I revealed the source, he'd be out of a job quicker than you can say "first amendment protection." I was just tickled pink to know I am not alone in my assessments. I think you've been away from P2 for too long -- there wasn't anything in the rant that hasn't been said here many times. And even from folks with their real names attached!g Not that it wasn't fun to toss that rant into the mix. Still, as a critique of a musical style it was kinda wishy-washy. It would've been more useful if specific bands were cited.--don
Northwest P2 party!
It's still a ways in the future, but I wanna make sure Cox isn't able to duck out by making some lame excuse about "important other plans" (which for Jim usually means something like watching Scott McCaughey eat dinner at Mama's). Deborah and I are gonna be havin' a li'l party for P2ers on Saturday May 15th, beginning sometime in the early evening. I'll be makin' margaritas, and she'll be whippin' up some tasty snacks. I'll post more details when we get closer to the date, but get ready to have some good, clean fun. (heh heh) We'd also love to meet some of you NW lurker types who have kept to yourselves so far, so don't be shy. P2ers from other parts of the country (and the world) are also welcome, if they're crazy enough to travel to Seattle for a party. Anyway, I'll post an update with directions, etc. in early May -- if you don't see it, just email me.--don
Re: Updates
I think we know who gets this year's Fowler Award at Twangfest for Most Embarrassing Private Post Sent To The List this year. Good one, Junior!g--don
Re: Crappy alt-country at SXSW
And here's my own version of Anonymous's alt-country rant, posted to P2 way back in '97. Looks like I also didn't name names in this one, but those who were around back then may remember some folks that I was railin' against at the time.g I believe Mr. Weisberger may also have alt-country rant or two in the archives...--don -- Forwarded message -- Date: Wed, 28 May 1997 22:22:58 -0700 (PDT) From: Don Yates [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: It's A Mighty Thin Line Between Love And Hate I'm beginning to wonder if the buzz about alternative country is nothing more than a plot to make the world once again safe for Poco. Not a day passes it seems without some stale folk-rock record ending up on my desk, accompanied by obnoxious press material claiming the harmless mediocrity in question is the true inheritor of the Hank Williams legacy. Shania Twain has more Hank in her than most of that impotent shit. Combine those somnolent folk-rockers (and their acoustic coffeehouse brethren) with college rockers pretending they're the salt of the earth (when they're not using country music as a weapon of ridicule against the working class), and sooner or later, it's bound to generate a backlash -- and a well-deserved one at that. The Bottle Rockets, Gillian Welch and Dale Watson are OK by me, but as for the alternative country movement, I hope it soon withers away, before the glut of mediocrity discourages talented artists from making innovative, heartfelt music on the margins of country music. Bah, humbug.--don n.p. Johnny Paycheck -- Sings Jukebox Charlie
RE: Mandy B
On Wed, 21 Apr 1999 [EMAIL PROTECTED] wrote: Jon is obviously confused. The main reason you aren't hearing Mandy Barnett on your local country radio station is because it is on a label that is not based in Nashville. You really think that's the main reason? Then why didn't her first album do anything on country radio? Not only did it contain a number of fine songs, but it was obviously more HNC-friendly than her new one. I think Jon's main point is that the powers-that-be that control country radio (the folks who own the stations and the consultants who help program them) are primarily responsible for what you hear on country radio. That seems pretty obvious to me. Sure, the Nashville-based major labels are the source for the great bulk of what's heard on country radio, but it's the stations who ultimately decide what they are and aren't going to play from those labels. Hence the lack of airplay for Mandy's first Nashville label album, and hence the awfully lackluster airplay (one high-charting single, and a couple of great ones that bombed) for songs from The Key. If the country radio world ran according to Jim's logic, the almighty MCA would've been able to run whatever they damn well pleased from the megapopular Vince Gill up the country radio charts. That's obviously not the case. As for mainstream country radio not playing anything but stuff from the big country major labels, please tell me how this is different than the way it works in *any* commercial radio format.--don
RE: Mandy B
On Wed, 21 Apr 1999 [EMAIL PROTECTED] wrote: My point, and I think we keep missing each other, is that country radio (which is NOT based in Nashville) and the country music labels are in bed on this together. Believe it or don't, the BIG labels pay the consultants (who control many stations) to get their records on the air. It's not like they send them a Fedex each week with cash in it, but there are under the table deals made in all formats that control what gets played. I know this kinda sounds like the X-Files, but it's true. The more money you throw at the consultants and their ilk, the better response you get. If Sire REALLY wanted to get Mandy Barnett on the radio, they'd hire a big time radio promoter, who would pay some consultant to add her record to his stations and then you'd hear her on the radio. Sire doesn't have the kind of money it takes to play that game at the same level as MCA or Arista. All right then -- let's assume Jim's conspiracy theory is actually the way it works. (I'm not so naive to believe shit like that doesn't happen, but I very much doubt it's the overly simplistic, pay-for-play scenario described by Jim above.) Then what happened to The Key, Jim? You think Tony Brown decided all he wanted was one hit single from the album? If it's all a matter of consultant payola, then it shouldn't have been a problem for MCA to turn the followup singles on the albums into a few more megahits for Vince. That didn't happen, and the PRIMARY reason those singles stiff is that those MCA Made-In-Nashville products were deemed too-country-for-country-radio BY country radio. It's not because Tony Brown forgot to pay a few consultants. Like most conspiracy theories, Jim's may be attractive for those who like simple explanations for the complicated doings of the real world, but that doesn't make it right.--don n.p. James Hand - "Did You Forget Last Week's Payment, J.P.?"
Re: Artist of the Decade?
On Wed, 21 Apr 1999 [EMAIL PROTECTED] wrote: What does everybody think of Rolling Stone's typically head up their ass selection of Kurt Cobain as Artist of the Decade? Well, I'd take him over Alejandro Escovedo, that's for sure.g--don
Re: carl sonny leyland
On Tue, 20 Apr 1999 [EMAIL PROTECTED] wrote: don't know if anyone has mentioned it but his new one, "im wise" on hmg/hightone, contains some of the finest jerry lee pumping piano that you'll ever hear. while he can play pretty much any style out of the pop songbook(as witnessed by his fine stylings with big sandy) he seems to have somehow got ahold of whatever the killer's been swiggin' all these years. not a bum song in the bunch, i can't get the thing outta my player. to these ears, on the finest albums of the year. It's a good 'un. I like it much better than the new Big Sandy EP *and* the new Ronnie Dawson album. Strong originals and killer covers, including a red-hot version of Al Dexter's "Wine Women Song."--don
Ned Sublette's new album
I love hard country and latin dance music, and I'm always interested in offbeat fusions of seemingly disparate musical styles (like Greg Garing's blend of country and electronic dance music), but Ned Sublette's new album is... odd. Titled Cowboy Rumba, it's an audacious fusion of hard country and various styles of latin dance music. The man definitely knows his latin stuff -- he runs the supercool Qbadisc label, and he's worked with latin musicians for years. He's got an all-star lineup of 'em backing him up here (along with Lloyd Maines), and they sound excellent. I'm not so sure about the hard country part of the equation, which pretty much consists of Sublette's Texas twang and yer typical hard country lyrical subject matter -- unrequited love, drinkin', cheatin', etc. There's occasionally some other country elements in the mix (like Maines's pedal steel or dobro on a few tracks), but more often than not, you get a limited (but not unpleasant) hard country vocalist backing a hot latin band. It's done well, but does it work? Danged if I know.--don n.p. Ned Sublette - "Feeling No Pain" (and directly quoting "There Stands The Glass")
Re: Single Most Influential 20th Century Pop Musician
On Mon, 19 Apr 1999 [EMAIL PROTECTED] wrote: it's a great list, david, but i pick brown (as i did in an earlier post), if only because he all but birthed soul, funk, and hip hop--hell, you can probably throw disco in there as well. i know that by making such a claim i leave myself open to all kinds of nitpicking (sp?), but jb cut a mighty wide swath through his half of the century. He sure did, and while he definitely gave birth to funk, I think it's an overstatement to say he did the same for soul and hip hop. Clyde McPhatter was most likely the original soul man (goin' all the way back to 1950 when he cut "Do Something For Me" with the Dominoes), and Ray Charles was the music's most influential early force. His earliest gospel-influenced recordings date a few years before JB's earliest stuff. As for hip hop, sure JB was (and still is) a major influence, but I think it's a bit of a stretch that he gave birth to the form -- it didn't really come into being until Kool Herc and Afrika Bambaataa started rappin' over the breaks while spinnin' discs at block parties in the South Bronx during the mid-70s.--don
Cash, etc. (was Re: Remember, its Denver
There just aren't many artists in any genre as influential as Cash Not to begrudge Cash his due, but I can think of at least a half-dozen country performers who have been more influential, at least as far as country music is concerned: Jimmie Rodgers, Bob Wills, Bill Monroe, Hank Williams, George Jones and Merle Haggard. As for Dylan's influence on pop music, I'd bet Bob would choose the Big E. over himself any day.--don
Re: Krebs
On Fri, 16 Apr 1999 [EMAIL PROTECTED] wrote: I can't stop playing the bugger. Don, Jake, anyone up that way... will ya testify? I'm sorry, but I refuse to respond to a query with the words "bugger," "Don" and "Jake" all in a row.--don
Re: criminally underappreciated albums of the '90s
On Fri, 16 Apr 1999, William T. Cocke wrote: And why the hell wasn't "The Northeast Kingdom" on more year-end lists last year? It seemed liked the mainstream media gushed over it for a few weeks and then promptly forgot about it when it came to votin' time. Of course, that wasn't the case here... Probably 'cuz it came out in January. Most critics have short attention spans.--don
Re: Frosting On The Beater(was re: criminally underappreciated albumsof the '90s)
On Fri, 16 Apr 1999, William F. Silvers forwarded this: Here's a clip from Scott Miller, of Game Theory/Loud Family anonymity, that doesn't exactly speak for me, but says it well: The Posies probably shape my ongoing impression of '90s music more than any other group. I loved Nirvana, but to me most grunge bands seemed kind of purposefully backward-looking--a cross between early seventies Black Sabbath and mid-eighties abrasive hardcore stuff like Big Black. And nothing like "low-fi" or "electronica" or any of the hip-hop variations has struck my ears as being new and innovative. OK, that does it. Power pop has to be one of the most retrogressive rock styles imaginable. Most power pop bands pale in comparison to the old bands they obviously emulate and most often rip-off, the Beatles, Big Star, etc. It doesn't surprise me that popheads like Scott Miller can't find anything new or innovative in hip hop, or in much anything else it seems besides his own little musical world. What's most hilarious is that *real* pop music left him in the dust decades ago. That's 'cuz -- unlike power poppers -- most folks have no problem appreciating modern black music. Jeez, talk about an insular musical universe -- most popheads act like black music doesn't even exist, or if it does, it's certainly not as "new and innovative" as their pasty-white Beatles imitations. Whatta buncha self-deluded nonsense. Hell, at least the Beatles knew that pop also encompassed black music (one important point that passes most power poppers by). And compared to the ultra-lilywhiteness of the power pop world, country music looks almost culturally adventurous with its bluesy borrowings. As for the Posies, we always thought they were a buncha wussies up here in the NW, even when they pretended to "rock."--don
Re: RantPowerpop/Rant
God, it sure is fun baiting Curry.g--don n.p. The Raspberries - "Go All The Way"
Re: Frosting On The Beater(was re: criminally underappreciated albums of the '90s)
On Fri, 16 Apr 1999, William F. Silvers wrote: Well, there's always a lot more mediocre or worse purveyors of whatever form than interesting ones."Retrogressive" or "rip-off" are value-loaded expressions, and it seems you don't place much value on this genre. I mean, aren't (to name just a few) Paul Burch or Wayne Hancock or Dale Watson or the Derailers (or most any bluegrass artist true to that genre) "retrogressive" or "rip-offs" by the same token? Well sure, but Miller was the one using "new and innovative" when he praised the Posies (the *Posies*, f'r chrissakes!) and slammed an entire genre of music -- one where you'll find plenty of examples of records that are a helluva lot more "new and innovative" than anything the backward-looking Posies ever did. I was mainly objecting to his ridiculous dismissal of hip hop as not "new and innovative" and thought I'd turn the tables on his silly argument. Besides, how in the hell could I have something against retro stuff -- I'm the guy in love with Mandy Barnett.g--don
Re: RantPowerpop/Rant
OK, I can't resist: On Fri, 16 Apr 1999, Jerry Curry wrote: I also believe Miller is couching his opinion, not in terms of creative originality, but in terms of sonic originality (i.e. production). One would have to admit, that there is an awfully wide variation in the production of pop powerpop music. Thus generating terrific arguments over say, the dramatic differences between one Posies album to the next. Perhaps, but certainly no more so than the awfully wide variation between, say, Afrika Bambaata's "Planet Rock," LL Cool J's "Rock The Bells," Run DMC's "Sucker MCs," Public Enemy's "Rebel Without A Pause," and De La Soul's "Plug Tunin'," just to name five early examples of the "awfully wide variation" of hip hop production. Before I get into the ethnic *purity* arguement, let me address the same-old, tired-ass, application of the "wimp" label to powerpop bands. That's the kind of Bullshit that makes most popgeeks feel some kind of inferiority complex. But they are inferior, aren't they?g--don
Re: Kiss Kiss Hug Hug
On Wed, 14 Apr 1999 [EMAIL PROTECTED] wrote: Anyway, as long as I'm using bandwidth, it dawned on me that three of the albums I'm currently enjoying -- Pete Krebs, Gerald Collier and Marc Olsen -- all are singer-songwriter types from the Northwest. What's up with that? It's about time you wised up.g--don
Re: List troubles
On Wed, 14 Apr 1999, our tireless defender of sensitive artists wrote: I have suspected Yates of having some f*lkie kill file for me, but every now and then I can sneak one through, so maybe not. Well, you managed to get this one by the f*lkie filter by mentioning Mandy.g--don
Re: Old 97s review
On Thu, 15 Apr 1999, Dave Purcell wrote: For the weasels with advance copies is the new record any better than the last (which was terrible)? I think it's the best thing they've ever done (then again, I thought the same about the last one, so what do I know?g). Hardly any twang, but still recognizably the Old 97s. Much more subtle (musically and lyrically) than previous albums, and jampacked with some of the best songs they've ever written.--don (who thinks that anyone who considers songs like "Time Bomb," "Salome," and "Niteclub" to be mediocrities should have to sit in a corner at Off-Broadway with a duncecap on their head during Twangfest)
Re: Mandy Barnet, again
On Thu, 15 Apr 1999, Wynn Harris wrote: I had been paying not so close attention to the Mandy Barnet thread, but did anyone mention the obvious kd lang/owen bradley/shadowland comparison? If I am being redundant, please forgive me for I am not all together, together.g If not let the expounding begin... I'm not sure if anyone's mentioned it yet, but I've considered bringing it up. Not only is Mandy's new one the best album of its kind since Shadowland, but for my money, it's much better. And I like Shadowland quite a bit. (Did anyone else see Mandy backed by a slew of old-school all-stars on Letterman last night? Oh my!)--don
Re: weird Muzak experiences
On Thu, 15 Apr 1999, Jennifer Sperandeo wrote: Am I the only one in love with this Pinetops record? Aren't you the only one working it?g--don
Pinetops (was Re: weird Muzak experiences
Seriously though, that li'l record has been growin' on me quite a bit. Kinda jangly roots-rock with a few songs adding some lovely country flavor.--don
[hillbilly] Workin' Man Blues (book) (fwd)
From the hillbilly list: From: August Zapadowski [EMAIL PROTECTED] Has anyone heard of a book called Workin' Man Blues by Gerald Haslam (University of California Press). Pulse! - Tower records' freebie magazine - says it covers the history of California's country music and its makers - from the Crocketts in the '20s right through to Dwight Yoakam and Big Sandy. They also say "Buck and Haggard connoisseurs may dislike the breezy prose; Haslam succumbs to keeping those artists' myths alive without offering much new insight." So, what I would like to know, is: has anyone read it (those of you who will admit to knowing how to read ;-)), and what are your thoughts and feelings about the book? Since no one on the hillbilly list has responded, I thought I'd see if anyone here has read it, and if so, how is it?--don
Re: Curry and the Clash (was Re: Weller's Prime
On Tue, 13 Apr 1999, Carl Abraham Zimring wrote: Speaking of Murvin, I only know of one of his albums, the 1976 LP which "Police Thieves" came from. Does he have anything else out, and is it any good? He's released a number of albums, but since I'm not a Murvin expert, I wouldn't know which one(s) to recommend.--don
RE: Delmore Brothers recommendations
On Tue, 13 Apr 1999, Jon Weisberger wrote: County Records' two collections, Brown's Ferry Blues and Sand Mountain Blues, are pretty widely available (MoM lists them both in their catalog, and I just found them in stock at both CD Now and CD World). The former covers recordings from the 30s and early 40s, the latter is a selection of King recordings made between 1944 and 1949. There's also a British import called Freight Train Boogie that's in the same vein as Sand Mountain Blues, but with a few more cuts. The earlier stuff is prettier, the King stuff more rockin'. In general, perhaps, but the bulk of the songs on Sand Mountain Blues are more in the vein of the earlier recordings found on Brown's Ferry Blues (and I believe the estimable Charles Wolfe even sez so in his liner notes). They're generally more traditional sounding, with much less emphasis on the rockin' boogie. Freight Train Boogie rocks much more than both of the others. As for which to recommend, I'd say it's a tossup between Freight Train Boogie (on Ace Records, and easily found in roots-savvy US stores) and Brown's Ferry Blues. Personally, I wouldn't want to be without any of 'em.--don
Re: Curry and the Clash (was Re: Weller's Prime
On Tue, 13 Apr 1999, BARNARD wrote: I'm not so hard on Sandanista as Don (even though, as a rule, I do generally do prefer alcohol records to reefer records...g). I think it had to be something stronger than reefer that convinced Strummer that he could rap. He could very well be the least funky white guy to ever attempt to perform contemporary black music -- he makes Pat Boone look like Soul Brother Number One in comparison. I heard one of my DJs play "The Magnificent Seven" the other day, and I was horrified. I thought I knew that stuff hadn't aged well, but I had no idea. Not only were the lyrics awkward as hell, but Strummer's clueless rapping was an embarassment. I doubt a more inept rap song was ever perpetrated by anyone, black or white or whatever. Listening to that lame shit could almost make one appreciate Vanilla Ice.g And sure a number of their reggae experiments were better, but I don't think they were nearly as good as some folks will tell you. Junior Murvin kicked their ass on "Police and Thieves." I definitely prefer the early stuff, but even their best albums (the first one and London Calling) are occasionally marred by Strummer's lyrical clumsiness. I think all of their albums have dated to one degree or another -- the earlier ones less so (since they at least more or less stuck to music they could convincingly play), but still too much for me to get much use out of 'em in 1999.--don n.p. King Tubby on KCMU
Re: Asylum Street Spankers looking for musicians
On Tue, 13 Apr 1999 [EMAIL PROTECTED] wrote: JP, you completely misconstrued Weisberger's meaning here He sure did, and managed to insert a pretty big foot in his mouth in the process. I love ya, ya hot-headed cajun, but jesus christ, you might wanna think twice before levelling a stream of personal insults at someone over something that you obviously misunderstood. And speaking to the group in general now, please try to be civil when posting to P2 and refrain from hurling insults at your fellow P2ers. It usually only makes *you* look bad, and not your intended target.--don
Re: Psycho
On Fri, 9 Apr 1999, [iso-8859-1] André Kopostynski wrote: Thanks Don and Bill. Now, my next question: What Leon Payne album(s) would you recommend? They guy has obviously written songs that I find very intriguing. Good luck finding any. I think he put out some for Starday in the '60s, but I don't have any of 'em.--don
Re: Psycho
On Fri, 9 Apr 1999 [EMAIL PROTECTED] wrote: ditto. payne also recorded, in the '40s, for bullet, a nashville label that put out a lot of great gospel, blues, and rb stuff. Yeah, I've got a couple of his Bullet recordings on those Boppin' Hillbilly collections (the earlier vinyl-issue ones, not the recent CD comps). And "I Love You Because" is on one of Rhino's Heroes Of Country Music (formerly titled Hillbilly Fever) collections. That's about it though.--don
Re: Wilco's new horizon
On Fri, 9 Apr 1999, Jezzy Larue wrote: I have lurked around this lovely P2 land of make believe for long enough-now I must speak! I just picked up SummerTeeth and I am amazed the closed mindedness of many of the "critical reviewers" that make this place their cyber home. Sometimes I wonder if these occasional out-of-nowhere outbursts from Wilco fans aren't part of some record-label PR ploy.g What in god's name are you referring to, Jezzy? I don't recall any recent dissing of the album. Are you sure you aren't referring to the Postcard list? Regardless, it's always a good idea to include specific examples of what you're talkin' about, instead of lumping folks together as part of some nebulous close-minded alt-country conspiracy.--don, a harder-than-hard country fan who actually likes (gasp!) the new Wilco
Re: Wilco's new horizon
On Sat, 10 Apr 1999, Stevie Simkin wrote: Never have I had such a strong impression of critics' band-wagon-jumping as I have done with this cd. Instead of maligning those who have a different opinion about the CD, you might just wanna chalk it up to different tastes. I very much doubt the likes of David Cantwell (who did an excellent job in the latest ND of articulating why he found the album so enchanting) are mindlessly jumping on any kind of critical bandwagon.--don
Re: Wilco's new horizon
On Fri, 9 Apr 1999, JP Riedie wrote: Don, my love, you must admit there's a creepy unanimity among the critics regarding this release. There a definitely lemmings afoot. Hmmm. Well, I always find it interesting when folks perceive a "lemmings" affect when the music in question is something they don't personally like. I hope I'm not off-base here, John, but I assume you don't care for the new Wilco?g And to put the shoe on the other foot -- I've no doubt that Stevie saw absolutely no lemmings when Trace was being praised to the skies, and most likely the same went for John when Sign O' The Times was being universally toasted. I assume both of 'em just chalked it up to the good taste of the reviewers (who were, after all, affirming their own good taste.g).--don
Re: Jerry Byrd, was: Boudin Barndance
On Fri, 9 Apr 1999, Brad Bechtel wrote: I agree that a comprehensive overview of his contribution to country music is sadly lacking. I never see such classics as "Steelin the Blues" on compilations; You can find it on one of Rhino's Legends Of Country Guitar compilations. I think I have it on some other comp, but I could very well be hallucinating. After all, it is 5pm on Friday. YIPEE! I'm outta here!--don
Re: Best So Far - 99
On Wed, 7 Apr 1999, Christopher M Knaus wrote: Thee Michelle Gun Elephant This Japanese band was described in a local paper as 'the aural equivalent of a wasabi nasal inhalant' or something like that. They meant it in a good way. So what's up with it, Don? Japanese garage punk band with a ferocious sound that's reminiscent of our own beloved Sonics. The lead vocalist even "sings" like Jerry Roslie.g--don
Re: Japanese hipsterism....
Good lord! That's the *last* time I mention any Japanese bands on this list.g--don
Chesnutt (was RE: Stephen Bruton's new one
On Thu, 8 Apr 1999, Jon Weisberger wrote:
Speaking of which, I was just listening to Mark Chesnutt's remake of
"Pride's Not Hard To Swallow (Once You Chew It Long Enough)." Hot damn,
it's enough to make me forgive that horrible Diane Warren number. Well,
almost.
And of course we all know who did it first.g ("Pride's," not the Warren
tune.) And anyone thinkin' of dippin' into Chesnutt's catalog could do
worse than pickin' up his Wings album, where you'll not only find the song
mentioned above, but lots of other hardcore honkytonkers. Hell, Smilin'
Jim might even like it.g Anyway, it's much better than his latest.--don
RE: Chesnutt (was RE: Stephen Bruton's new one
On Thu, 8 Apr 1999, Jon Weisberger wrote:
Sad but true; I count two good songs on the new one, and that's being
generous ("That's The Way You Make An Ex" makes it by any standard).
Chesnutt is, in my opinion, an awesome talent, and it's sad to see him
cranking out so many pop-country throwaways; when he does what he ought
to do, like "Pride's," or "Ex," or "Too Cold At Home," or "That Side Of
Me," there's hardly anyone can touch him.
Indeedy. Unfortunately, the new one's probably his best-seller in quite
awhile (maybe even ever), which means we may be getting more of the same
on his next one. Then again, maybe he's thinkin' the label will cut him
some slack after this one, and he can get back to the hard stuff.--don
Re: Chesnutt (was RE: Stephen Bruton's new one
On Thu, 8 Apr 1999 [EMAIL PROTECTED] wrote: Doubtful. Everytime I hear his voice, I think of his little chipmunk face and cringe. g Heck, it's funny you mention that, Jim, 'cuz I was thinkin' that he seems to bear more than a passing resemblance to you. Whenever I hear him sing, my mind's taken over by your grinnin' mug.--don
Re: Swing West
On Thu, 8 Apr 1999 [EMAIL PROTECTED] wrote: Don't know if it's been mentioned here or not but Razor Tie is releasing 3 separate CD's (this week, I think) of swing and country music all recorded in California from the 40's through the 60's, called Swing West. Vol 1 is Bakersfield, Vol 2 is Guitar Slingers and Vol 3 is Western Swing. Whoo hoo! Ice lists the release date for all three as May 18th. You damn writers get stuff way too early.g--don
Re: Rosie (was Best So Far - 99)
On Wed, 7 Apr 1999, Ph. Barnard wrote: Since John brings up his best so far, I thought I'd mention I recently got the new Rosie "Dance Hall Dreams" and am a bit disappointed. You ain't the only one. There's a coupla strong rockabilly kickers, and a whole bunch of mediocre songs. Hmmm. Ah well, guess I'll just have to wait for the Kirchen and Derailers and such... I don't know about the Derailers' new one, but unfortunately I didn't find Kirchen's new one to be much better than Rosie's. A coupla decent songs, and that's about it. I think he's a guy who does best when he doesn't rely so much on his own material.--don
Re: Best So Far - 99
On Wed, 7 Apr 1999, P2's reigning Singer-Songwriter's Friend wrote: I fully expected "The Mountain" to stake a claim at the top of my "best of" list for 99, and it is up close, but surprisingly (to me, anyhow) it has been replaced by another great album that I just can't stop listening to... Terry Allen's "Salivation". It is indeed a good album, but these are the ones that are really doin' it for me so far this year: 1. Mandy Barnett - I've Got A Right To Cry (Sire) 2. Kelly Willis - What I Deserve (Rykodisc) 3. The Damnations TX - Half Mad Moon (Sire) 4. Old 97s - Fight Songs (Elektra) 5. Steve Earle the Del McCoury Band - The Mountain (E-Squared) 6. Mike Henderson the Bluebloods - Thicker Than Water (Dead Reckoning) 7. J.D. Crowe the New South - Come On Down To My World (Rounder) 8. Tom Waits - Mule Variations (Epitaph) 9. Wilco - Summerteeth (Reprise) 10. Ricky Skaggs - Ancient Tones (Skaggs Family) Honorable mentions: the Gourds, Thee Michelle Gun Elephant, the Del McCoury Band, David Olney, the Roots I believe I've commented on most of 'em, 'cept Waits's new one (still experimenting, but also more based in blues and gospel than he's been in awhile, and the songwriting's as strong as ever). And I have no idea what all that bluegrass is doin' up there -- good thing the year's still young.g In fact, the whole list is pretty tentative -- #1 is head and shoulders above the rest, but I could see me switchin' most of the others around tomorrow if I was in a different mood. Anyway, three of 'em aren't even out yet -- Mandy's new one hits the stores next Tuesday the 13th, and the Old 97s and Waits albums come out two weeks later on the 27th.--don
Re: Best So Far - 99
On Wed, 7 Apr 1999, Ph. Barnard wrote: If Don's list is any indication, perhaps Sire's efforts in the Americana vein are finally starting to pay off. Well, it's one thing to put out good records. It's quite another to figure out how to sell 'em.g--don
Re: Swingin' Doors 4/1/99
On Mon, 5 Apr 1999, Todd Larson wrote: Don, is the new Dwight from a new album or from a soundtrack or something? It's from the tribute record to Kinky Friedman, titled Pearls In The Snow. Dwight's is the standout cut. After that, it's a mixed bag.--don
Swingin' Doors 4/1/99
The first hour of last night's show is once again already up on the KCMU web page, thanks to the speedy KCMU webmaster. Check it out at: http://www.kcmu.org/listen.htm You'll hear new songs from the Old 97s, the Pinetops, Dwight Yoakam, Sheri Barr Walker and others, along with some cool old stuff. Speedy West Jimmy Bryant - Lover T. Texas Tyler - Follow Thru Cisco - Crazy Ones The Backsliders - My Baby's Gone (Chip Robinson 4/12 at the Tractor) Old 97s - Let The Idiot Speak The Pinetops - Jesus Spoke Dwight Yoakam - Rapid City, South Dakota Kelly Willis - Fading Fast Souvenirs - Tired Of Missing You (4/23 at the Tractor) Steve Young - Old Memories (Mean Nothing To Me) Flatt Scruggs - Flint Hill Special Steve Earle the Del McCoury Band - Long, Lonesome Highway Blues The Del McCoury Band - Get Down On Your Knees and Pray Ricky Skaggs - Walls Of Time James Hand - If You Can't Tell The Difference Sheri Barr Walker - The Other Girl In Town Wylie the Wild West - Hello Heartache (4/3 at the Tractor, 7pm) Connie Smith - Then and Only Then Big Sandy his Fly-Rite Boys - Buddy, I Ain't Buyin' (6/11-12 at Tractor) Bob Wills his Texas Playboys - Across The Alley From The Alamo (request) Hank Penny - Talkin' About You Cliff Bruner his Texas Wanderers - Old Joe Turner Blues Ana Egge - River Under The Road (4/8 at the Tractor) The Gourds - January 6 Damnations TX - Black Widow (request) Blue Mountain - Wink Gerald Collier - A Tale To Tell (tonight at the Tractor w/ Supersuckers) Willie Nelson - I Gotta Get Drunk Gene Watson - You Could Know As Much About A Stranger Tom T. Hall - I Flew Over Our House Last Night Merle Haggard - I'll Break Out Again Tonight Mandy Barnett - Give Myself A Party Don Gibson - Sea Of Heartbreak Jim Reeves - Blue Side Of Lonesome (request) Wanda Jackson - This Gun Don't Care (4/16 at the Tractor) Dave Dudley - There Ain't No Easy Run Cynthia Gayneau - No Tears BR5-49 - You Flew The Coop (4/22 at the Showbox w/ Cesar Rosas) Biller Wakefield - Biller Barges In Jimmy Dawson - It Took An Older Woman Jerry Irby - Drivin' Nails In My Coffin Jeff White - I Wonder J.D. Crowe the New South - I Don't Know Doyle Lawson Quicksilver - She's Walking Through My Memory The Louvin Brothers - The First One To Love You The Browns - Here Today and Gone Tomorrow Hadacol - Pappy The Waco Brothers - Red Brick Wall Supersuckers - Dead In The Water (request)(tonight at Tractor w/Gerald C.) Flatirons - High Lonesome Moon Jon Randall - Cold Coffee Morning Conway Twitty - Baby's Gone Johnny Bush - I Can Feel You In His Arms Swingin' Doors can be heard Thursdays from 6-9pm on KCMU 90.3FM in Seattle. Email me if you have any questions about the music played.--don
Re: More Mandy (was RE: PLAYLIST: Fear Whiskey 3/29/99
On Thu, 1 Apr 1999, vgs399 wrote: anyone know who first recorded the title song? (And no fair lookin' in your Billboard book, Jong.) Hint: It's the title track of an album that came out in 1971, and I played another song from that album during the first hour of Swingin' Doors last week (the hour that's up on the KCMU web page).--don I'll take a stab at this. Was it Hank Williams, Jr.? What do I win? You are correct! Proving that Mandy has infinitely better taste than all those kneejerk alt-country Bocephus-bashers.g You win either a date with Jerry Curry or a chance to be toasted onstage at the upcoming Twangfest. Choose carefully, Tera.--don
awwwww...
I know Mary Lou Lord rubs some folks the wrong way, but I find her
wide-eyed fandom of different kinds of music to be pretty darn endearing.
She just finished singin' her Peter B. rewrite of "His Indie World" ("His
ND World") live on KCMU, and I was just beamin' when she managed to work
in references to Ernest Tubb and Bob Wills during the last verse. I mean,
how many other indie princesses give a goddamn about ol' ET? Naturally,
morning-guy John forgot to tape the damn thing -- it woulda made a cool
intro to Swingin' Doors tonight. Oh well...--don
Hank Jr. (was Re: More Mandy (was RE: PLAYLIST: Fear Whiskey
On Thu, 1 Apr 1999, Bob Soron wrote: Well, do you think Hank Jr.'s current work is as good as the stuff he released through the '70s to the mid '80s? That was a pretty long period of sustained good releases. He's quite the caricature of that, though, these days. Yeah, he sure hasn't done much worth defending in the past 15 or so years. Still, as Bob sez, he had quite a good run, and it's unfortunate to see him set up all the time by some alt-country types in some unfair juxtaposition with Hank Sr. (who was lucky enough to die young before fading into irrelevance). And now some kneejerk know-nothings even throw Hank III against him (whose total recorded output so far is one necrophilic abomination pairing him and Jr. with Sr.). Like I've said before, the day Hank III starts waxing stuff like "(I've Got My) Future On Ice," "Living Proof," and "Whiskey Bent and Hellbound," then he can start comparin' himself to his daddy. He's got a long ways to go though before he gets to that level, let alone Hank Sr.--don
Re: awwwww...
On Thu, 1 Apr 1999 [EMAIL PROTECTED] wrote: By the way, you might want to check KCMU's rockabilly library to see if the new Raging Teens CD is on hand. Mary Lou co-wrote a couple of songs on the album (her boyfriend, Kevin Patey, is the group's lead singer). I think Amy, their lead guitarist, also played keyboards in her road band for a while. Yep, we have it. In fact, they're playin' KCMU's annual Shake The Shack rockabilly ball this September.--don
Re: Twangin'! No Joke!
Cool! Thanks for gettin' Twangin' goin' again, Cheryl. Some of those contributors are a mite suspect (just kiddin' guys), but it sure is nice to have that feisty Cline perspective around again.--don
new Tweedy interview
There's an excellent in-depth interview with Jeff Tweedy in the latest issue of Addicted To Noise: http://www.addict.com/issues/current/html/lofi/Cover_Story/Wilco/ It could very well be the first post-Tupelo Tweedy interview I've ever read where he isn't whining about No Depression, alternative country, etc. It's nice to see him spend so much time talking about his music for a change.--don
Kelly Willis article in Nashville Scene
Sense of Self
Deserving singer finally comes into her own
By Michael McCall
After nearly a decade in the music business, Kelly Willis is finally
hitting her stride. The Austin, Texas-based singer has always made good
records, but it's only recently that she has been able to determine her
own musical identity. As she intones pointedly on the title track of her
new album, What I Deserve, "I have done the best I can, but what I've done
is not who I am."
Those lines pretty much sum up Willis' experience on Music Row in the
early '90s, when over the course of three critically lauded albums for MCA
Records, she failed to score a single country radio hit. Listening again
to those albums, it's evident that Willis was an unusually capable country
vocalist, and that the work she created ranks among the most interesting
Nashville records of the period. But in retrospect, it's clear that she
never settled into a style that was completely her own.
At their best, Willis' MCA releases displayed her knack for putting a
souped-up twang into rockabilly tunes and for summoning complex emotions
on certain ballads. But these albums ultimately came off as failed
attempts at finding a middle ground between the songs she wanted to do and
the songs that might get her airplay on country radio.
Truth is, Willis isn't the kind of singer modern country radio likes;
she's far too complicated for that. Unlike straight-ahead belters Trisha
Yearwood and Martina McBride, she owns a vinegary, twangy voice that needs
room to slur words and slide delicately through its range. Hers isn't a
voice meant for putting across clear-spoken emotions or fist-pumping
anthems; Willis is better at expressing hidden things.
That's why What I Deserve ranks as the first true Kelly Willis album of
her career--or at least the first record that capitalizes on her strengths
rather than compromising them. The new collection completes a journey that
Willis started in 1993, when MCA cut her from its roster, just as it had
released her third album. "It was a real blow," she says. "I was real
hurt. I wasn't prepared for the timing of it. I was so attached to
everyone there, and suddenly it was like we weren't family anymore."
Eventually, she saw her severance as a blessing. "I was feeling lost
musically, says the soft-spoken Willis, whose youthful shyness of a decade
ago has evolved into a kind of quiet, reserved strength. "So I thought the
best thing to do was just start over, as if I had never had a career,
hadn't put any records out, and had the freedom to be whoever I want to
be."
She spent a couple of years writing songs, letting her feelings lead her
to new musical ground. Signed by AM Records, she spent time in the studio
with several leaders of the mid-'90s alternative country movement,
recording songs backed by Son Volt, Sixteen Horsepower, and members of the
Jayhawks. "For the first time, I didn't feel any pressure in the studio,"
Willis says. "I experimented with different elements and got to figure out
how I wanted to sound."
Those sessions led to the release of a striking four-song sampler, Fading
Fast. Before she got to release a complete album, however, AM underwent
the first of many corporate shakeups. Teresa Ensenat, the executive
guiding Willis' career, left the company. The singer was cut soon
afterward.
"I didn't feel as scared as you might think," she says of losing her
second record contract. "I had kind of dealt with it before, and I wasn't
as freaked out about it. Besides, I figured I would land on my feet."
She did. Quickly snatched up by Rykodisc, a leading independent record
company, Willis revisited the tapes she'd created for AM. She retooled a
few songs and recorded several more with a hand-picked group of musicians,
including guitarists Mark Spencer, Chuck Prophet, John Dee Graham, and
Lloyd Maines. The result is What I Deserve.
"I found out that I can be myself and still make a record," she says. "For
the first time, I'm not pretending to be anything I'm not. I found out
that I can be completely in control of my own recording, and I never had
to do that before. Now that I know I can do that, I feel really
comfortable with it."
At this point, Willis has left her early rockabilly influences behind. In
search of a more mature sound, she has chosen to record songs about
searching for love, for identity, for a reason for being. "I'm 30 years
old now, and I feel real good about presenting these songs at this time in
my life. I feel like they're songs you can grow old with."
They include an ambitious range of covers, including songs by Nick Drake
("Time Has Told Me"), Dan Penn ("Real Deep Feeling"), Paul Kelly ("Cradle
of Love"), and Paul Westerberg (The Replacements' "They're Blind"). But
the most memorable work comes from closer to home: Two of the best songs
were written by her husband, Bruce Robison, including the wonderful
"Wrapped," a sprightly mid-tempo tune about a woman's conflicting emotions
as she
Corey Harris (was Re: Music Makers Relief Blues Artists
On Tue, 30 Mar 1999, William T. Cocke wrote: Now I'm fired up for the Corey Harris CD release show here this Friday. They've been playing cuts off his new album all week on the radio and it sounds like a winner. It sure is. He really branches out on this one, but still remain deeply rooted in the delta blues. Some songs incorporate reggae and mambo rhythms, bits of jazz and funk and gospel, and there's also some primal, hardcore delta stuff like "Sweet Black Angel." If you're lucky he'll be playin' with his band. I saw 'em in New Orleans last month, and I was entranced.--don
Re: British CMA
On Wed, 31 Mar 1999, Andy Benham wrote: INTERNATIONAL Male Vocalist Vince Gill Female Vocalist Reba McEntire Group/Duo The Mavericks Rising Star Dixie Chicks Artist on an independent label Heather Myles Bluegrass band Alison Krauss Union Station Album _The Key_ Vince Gill Which is a helluva lot better than what the American CMAs usually end up with.--don
Re: Corey Harris (was Re: Music Makers Relief Blues Artists
On Thu, 1 Apr 1999, Rob Russell wrote: I was fortunate enough to be filling in as the vocalist for Blues Hangover (featuring Deborah Coleman -- she's hot!) at the Carolina Blues Festival in Greensboro last summer, and we followed Corey Harris and his band -- they were awesome! Still, I gotta say that I like hime solo best... definitely different from the run-of-the-mill blooze! Caribbean rhythms, a unique feel, great playing, great voice ... they are based out of Charlottesville, VA, I believe! Corey's based in New Orleans.--don
More Mandy (was RE: PLAYLIST: Fear Whiskey 3/29/99
On Wed, 31 Mar 1999, Jerry Curry wrote: NP: Mandy Barnett's first release - and if the 2nd is better than this one, color me impressed! You are not gonna *believe* how much better it is. Imagine every song *at least* as good as her version of "Planet Of Love," and many of 'em surpassing her singing on that one. It totally screwed up my productivity yesterday. It was all I could listen to yesterday afternoon, and when I got home after a long meeting, I had to play it twice more. Mike's justifiably impressed by the knockout title song -- well, every single other song on it is also an aural treat, and every time I listened, something else about it floored me. Buddy Emmons' otherworldly pedal steel on the closing track just about made me break down and cry like a little girl. I know I'm raving, but dang it, it's *that* good. BTW, anyone know who first recorded the title song? (And no fair lookin' in your Billboard book, Jong.) Hint: It's the title track of an album that came out in 1971, and I played another song from that album during the first hour of Swingin' Doors last week (the hour that's up on the KCMU web page).--don
Re: your worst fears realized
On Wed, 31 Mar 1999 [EMAIL PROTECTED] wrote: Well, I can vouche for LA Weekly being a credible journalistic voice. (I used to write for them, how could they not be? g) Heads would roll in the halls of that there publication if this article was a fraud. Well, it wouldn't surprise me if it was real. Then again, I'm a cynical bastard.g BTW Neal, what's the cover date for that issue? Just curious.--don
Re: your worst fears realized
On Wed, 31 Mar 1999, Jon E. Johnson wrote: There are a bunch of clues littered throughout the article. Indeed there are. I'd rule out some of the labels Jon mentioned though and focus on the ones whose presidents are based in LA. I doubt the LA writer flew out to New York or Nashville to interview a label head when she lives in Weasel City. I bet some LA insiders have a damn good idea who it might be. Get on it, Weiss, and do some detective work -- your LA weaselcred is in jeopardy.g--don
Re: Do not DElete!! this really works!!
On Mon, 29 Mar 1999 [EMAIL PROTECTED] wrote: If there is anything that should result in permanent banishment from P2, this is it. Don't you worry -- anyone who send chain letters, get-rich-quick schemes, porn-site ads, or other obviously inappropriate commercial spam gets immediately placed in the P2 "ignore" file.--don
Mandy Barnett's I've Got A Right To Cry
What a gorgeous album. Devoid of the little concessions to HNC that marred her otherwise-excellent debut album, I've Got A Right To Cry evokes the glory days of Patsy Cline and the Nashville Sound, while also occasionally delving into the more hardcore honky tonk sounds of a decade earlier. Backed up by a host of great pickers (including former A-Teamers from the golden years like Pete Wade, Buddy Emmons!, Pig Robbins, Hal Rugg and Buddy Harman) and featuring the last production work of the late Owen Bradley, this classy album of soulful torch songs, snappy country-pop, heart-rending honky tonk ballads and spirited hillbilly romps could be the best damn thing I've heard all year. It's not due out for another coupla weeks (April 13th on Sire Records), but I suspect a number of P2ers are gonna be slobberin' all over it (and no doubt arguin' over the merits of Owen and Harold's proudly retro country-pop production).--don
Re: Extra recommendations from SXSW
On Fri, 26 Mar 1999, Barry Mazor wrote: Continental Drifters Saw their really strong set at the Music Hall and their appearance at the ND/Miles of Weisses Broken Spoke event--where they finished off with an exhuberant version of the Fairport Convention arrangement of Matty Groves...This is maybe the most talent almost utterly unheard bunch of folk rock pros (if I can use that term; it seems right) that ought to be stars again I can think of. They rock and they sing. And the former Miss Cowsill was surley the only one at SXSW with Top Tens Hits when she was five... You're forgettin' Bobby Bare Jr., Barry. He had a #2 country hit with his daddy at the age of five. (And yeah, he missed his showcase, but he played SXSW at some schmoozy Sony party.)--don
Re: This time, there's a REAL Net Virus warning...
Well, sure -- there ARE real computer viruses. Still, you can't get 'em (and that goes for this Melissa virus) by opening plain ol' email. You can only get 'em by opening attached files (like the Word file attachment that's spreading the Melissa virus). In other words, NEVER open an attached file (unless it's from a source you trust), and you'll never have to worry about gettin' computer viruses by using email.--don
Re: Clip-Wacos Saturday night
On Sat, 27 Mar 1999 [EMAIL PROTECTED] wrote: No jaded hipsters standing 20 feet back Bullshit. Me and Bill were right about 20 feet back looking tres jaded and hip! And Yates was off to one side doing his part also. Speak for yourself, Buster. Deborah and I were as close as we could possibly get without trampling people (roughly about 5-10 feet from the stage).--don (who appreciates the greater attention paid to songwriting on the new Wacos album and likes it just fine)
RE: Steve 'n' Del
On Sat, 27 Mar 1999, William T. Cocke wrote: Incidentally, I thought "Hillbilly Highway" was the most successful "bluegrassed up " of Steve's songs. That's the one that should be a festival staple. Now I coulda *swore* some bluegrass band has covered this (either that or I had a dream about it). Help me out here, Weisberger.--don
Swingin' Doors, 3/25/99
The first hour of last night's show is already up on the KCMU web page. Check it out at: http://www.kcmu.org/listen.htm You'll hear new music from the Gourds, Old 97s, Gerald Collier, Justin Trevino, James Hand, Big Sandy his Fly-Rite Boys, the Souvenirs and Mandy Barnett, along with the usual assortment of old chestnuts. Jerry Byrd - Three String Swing Tennessee Ernie Ford - Country Junction Beaver Nelson - Landed In The Mud The Gourds - Gangsta Lean (3/28 at the Tractor w/ Jon Dee Graham) Old 97s - Crash On The Barrelhead Gerald Collier - Long Distance (4/2 at the Tractor) Justin Trevino - Loud Music and Strong Wine Cal Smith - The Lord Knows I'm Drinking Hank Williams Jr. - (I've Got My) Future On Ice Mel Street - This Ain't Just Another Lust Affair Mel Tillis - Commercial Affection James Hand - Shadows Where The Magic Was Little Jimmy Dickens - I Wish You Didn't Love Me So Much Billy Jack Wills - Rock-A-Bye Baby Blues Biller Wakefield - Grinding Gears Big Sandy his Fly-Rite Boys - First and Last Blues Souvenirs - Last Chance (4/23 at the Tractor) Mandy Barnett - I've Got A Right To Cry Patsy Cline - Three Cigarettes In An Ashtray (request) Bill Anderson - Three A.M. George Jones - You Comb Her Hair Damnations TX - Kansas David Olney - JT's Escape Steve Earle the Del McCoury Band - The Mountain Ana Egge - Talco Girl (4/8 at the Tractor w/ the Austin Lounge Lizards) BR5-49 - Goodbye Maria (4/22 at the Showbox w/ Cesar Rosas) Wylie the Wild West - Ol' Montan (4/3 at the Tractor) Rex Allen - Out Where The West Winds Blow Eddie Dean - On The Banks Of The Sunny San Juan Jon Dee Graham - Soonday (3/28 at the Tractor w/ the Gourds) Pinetops - Evil Town Cisco - Callin' Me Back Kelly Willis - Talk Like That Cynthia Gayneau - Out Of Line Clay Blaker - Heart Of Glass (request) Charley Pride - (I'm So) Afraid Of Losing You Again Johnny Rodriguez - That's The Way Love Goes (request) Five Bucks - You Must Be From Nashville Tom Leach - I Like Booze Little Sue - Strong J.D. Crowe the New South - Come On Down To My World Jeff White - This Lonely Heart Of Mine The Del McCoury Band - She's Left Me Again The Stanley Brothers - If I Lose Ricky Skaggs - Boston Boy Jimmy Murphy - Shanty Boat Blues The Delmore Brothers - Blues Stay Away From Me (request) Hank Williams - Honky Tonkin' (request) Carl Smith - Are You Teasing Me Red Foley - Peace In The Valley Terry Allen - The Doll Hayseed - Wild Horses Swingin' Doors can be heard Thursdays from 6-9pm on KCMU 90.3FM in Seattle. Email me if you have any questions about the music played.--don
You wanna talk about bombs? Well, here's one (was Re: NATO bombs
On Fri, 26 Mar 1999, Stuart Munro wrote: Sorry, but how does it follow from Rebecca's objecting to the wholesale slaughter of Bosnians and Kosovians that she's "full of hate?" And what in her post--which was quite civil, by my reading--suggested the same? Again, if y'all wanna talk about Kosovo, please take it to private email. Or find a more appropriate mailing list or newsgroup. I'm tired of hearin' from people who have unsubbed from P2 due to an abundance of totally off-topic posts. I'm happy to let threads stray occasionally, and I think it's wonderful when we connect the more specific concerns of this list to larger cultural, social or political issues, but the above has nothing whatsoever to do with P2. Please, people, show some courtesy, and quit abusing this forum and your fellow P2ers' valuable time.--don
RE: majordomo/listproc change in P2?
On Wed, 24 Mar 1999, Bob Soron wrote: At 2:30 PM -0600 on 3/24/99, Ferguson, Dan wrote: 150 attachments is damn scary. Hopefully this is only a temporary thing. Anyone care to shed any light on it? Listmeister?? It would certainly explain why he's been so damned cranky for so long. g I've no idea what those fine folks over at UW computing are up to. I'll email 'em and see if I can get some answers. And I'm *not* cranky -- only sleep-deprived.g--don
Re: Change in ListProc digest format (fwd)
Jeez, a single week in Texas, and I had completely forgotten about that. I'm afraid I may have left more brain cells down there than I had realized.g Anyway, thanks Laura.--don the dumb one
Re: P2 web postings? (was Re: majordomo/listproc change in P2?)
On Wed, 24 Mar 1999, Robert Wray wrote: Can someone send me offlist the URL for the webpage where P2 is posted? I have all email attachments directed to /dev/null (where they belong), but now I can no longer read P2 after the changes to the listproc. The P2 mirror site web page seems to have been discontinued, so you'll need to make do with getting the email version. I forwarded Bob the instructions for switching back to the old digest format, and I'll do the same whenever some other poor soul on digest posts about not bein' able to read P2.--don
Off-topic posts (was RE: NATO bombs
Dear Rebecca and everybody else who wants to jump into this: THIS IS NOT THE KOSOVO MAILING LIST. Please be more considerate and stop using P2 for totally off-base discussions. At least Alexander was just trying to let his P2 friends know that he may be out of commission for awhile. Your followup post was a perfect example of what NOT to post to P2 -- it was totally unrelated to this mailing list's topics of discussion. Please refrain from doing so in the future.--don (oh yeah, I'm backg)
Re: Junior's FCC note wasn't a hoax...
On Sun, 14 Mar 1999, Bob Soron wrote: ... but it was vague and late. It took a while to find some confirmation of this -- http://www.wired.com/news/news/business/story/18420.html -- but I didn't want to say anything until I had it. Although I'm glad Dave posted CIAC's hoax page URL, and everyone should check it out before sending out that sort of thing, it's also good to make sure it *is* a hoax before labeling it one. Sermon over. The recent hubbub between phone companies notwithstanding, that thing Junior posted has been goin' around the internet for years -- so much so that it's on the CIAC hoax page. Maybe you should complain to the CIAC about them labelling it a hoax.--don
Re: Junior's FCC note wasn't a hoax...
On Sun, 14 Mar 1999, Bob Soron wrote: ... but it was vague and late. It took a while to find some confirmation of this -- http://www.wired.com/news/news/business/story/18420.html -- but I didn't want to say anything until I had it. Although I'm glad Dave posted CIAC's hoax page URL, and everyone should check it out before sending out that sort of thing, it's also good to make sure it *is* a hoax before labeling it one. Sermon over. Also just happened to run into this while perusing the Postcard digest: Dan and Scott have both pointed out that this is a hoax - I by NO means want to start a debate about this, but I want to clarify the issue here. The FCC and phone companies are NOT trying to tax the Internet, and Congress will not approve anything of the sort. The issue is specifically using the Internet to make "long distance phone calls". It's pretty easy to imagine: people with microphones and Real Audio feeds can talk to each other, albeit at a delay, without having to dial a long distance number. This is what has the phone companies up in arms and this is why they're leaning hard on the FCC. That seems to sum it up pretty well.--don
Austin-bound
I'll be leaving Tuesday morning for Austin and won't be back until next Monday night. If you have any P2 subscription problems/questions while I'm gone, email the fantabulous listmom Laura at [EMAIL PROTECTED] Looking forward to seein' lots of ya in Austin -- don't forget about Cherry Lou's P2 BBQ on Thursday! (And that means you, Weiss Bros.)--don
Re: Terry Allen (was Re: Alejandro (was: need info)
On Fri, 12 Mar 1999, Terry A. Smith wrote: Yeah, I know this is songwriting analysis 101, but I just cringe to hear AE thrown in with the pejorative "snooze-rock guys" phrase. Or "overly polite and artsy." Well, anyone who covers the Stooges probably isn't too "overly polite."g I was referring more to the likes of Bruton and McMurtry. I picked up Terry Allen's re-released double record -- two of his earlier records combined as a double CD -- a couple years ago, and was bored to tears. The songwriting was right there, but the tunes were, um, damned slow. This is music we're talking about, not poetry. Not even beat poetry. Pick up the tempo, Terry. Even though they contain a few good songs, those are probably two of his weaker records. Try Lubbock (On Everything) for prime Allen, or more recently Human Remains and Salivation.--don (gettin' ready for another round of on-air begging. Ugh.)
Old 97's (was Re: gourds
On Sat, 13 Mar 1999 [EMAIL PROTECTED] wrote: FWIW, If you wanna see me get excited about something new, ask me about the Old 97's. g Ooh, yeah. The twang is definitely de-emphasized (as is the rawk), but it's nice to see the band takin' a more subtle tack and succeeding gloriously. Rhett's grown into quite the tunesmith.--don
Re: Terry Allen (was Re: Alejandro (was: need info)
On Sat, 13 Mar 1999, Carl Abraham Zimring wrote: Can someone who covers Kinky Friedman (McMurtry) be accused of being "overly polite"? Sure, if he smooths 'em out like McMurtry does.--don
Re: Gerald Collier
On Thu, 11 Mar 1999, Doug Niman wrote: For those Gerald collier fans out there, the Official Web Site is up and running! Please visit us at http://www.geraldcollier.com The new CD is available exclusively from this site And a damn good one it is. Gerald was kind enough to drop one by yesterday, and I'm happy as a pig in shit to have recorded versions of some of those new barroom ballads he's been singin' lately. When all the major-label alleged alt-country types are doin' their bosses' bidding and excising whatever twang used to be in their respective sounds, it's refreshing to see someone stick to their guns and dig deeper into country music. Low Tar Taste is just a five-song EP, but it'll give you a good idea of what Gerald's up to nowadays. On the back of the CD you'll find this disclaimer: "This record has been deemed unsuitable for corporate release." Considering today's short-sighted, scared-shitless music industry, I can't think of a better recommendation.--don n.p. Jimmy Murphy - "I Get A Longing To Hear Hank Sing The Blues"
Bill Anderson article
Here's an excellent article on Whisperin' Bill's resurgence from this week's Nashville Scene: On the Right Track Straight-shooting Anderson maintains solid career after four decades By Michael McCall No other performer spans the growth of the Nashville music industry in quite the same way as Bill Anderson. His career goes back 40 years, starting in 1958, when he wrote "City Lights" for Ray Price. Mere months later, he became a hit-maker in his own right. What's even more impressive is that these days he's a successful songwriter once more, turning out tunes for a whole new generation of artists. "I first started coming here at the tail end of the hillbilly era," recalls Anderson, who was a 19-year-old college student in Georgia when he penned "City Lights." "I remember seeing them pull their Cadillacs up to the old Clarkston Hotel and strap the bass on top and take off. I did some of that--I've ridden in a car with a bass fiddle on my lap." After "City Lights," Anderson wrote hits for Jim Reeves, Eddy Arnold, Kitty Wells, Porter Wagoner, and dozens of other country stars. By 1960, he had joined such luminaries as Harlan Howard and Roger Miller in helping to build the city's booming publishing business. Besides the often-recorded "The Tip of My Fingers," which became a top-10 hit for the fourth time when Steve Wariner revived it in 1992, Anderson created such country classics as Connie Smith's "Once a Day" and Lefty Frizzell's "Saginaw, Michigan" (the latter cowritten with Don Wayne). As a performer, he worked with producer Owen Bradley, blending rural homilies and Southern morals into smooth, contemporary musical settings. With hits like "Still," "Po' Folks," and "Mama Sang a Song," he drew on classic country themes yet gave them a modern sheen. With Bradley's help, Anderson learned how to use his limited vocal range to convey the quiet emotions packed into his well-crafted lyrics--hence his nickname, "Whisperin' Bill." His countrypolitan sound played a big part in moving country away from the raucousness of Webb Pierce, Faron Young, and Carl Smith toward the smoother sounds that dominated the '60s. Then, as now, Anderson owned a conservative, low-key style and "didn't hang out as much as some of 'em," he says. Cordial and helpful, he carried a poise and a sense of responsibility that set him apart from many hard-living country music types. That's why, in addition to recording 37 top 10 songs between 1961 and 1978, he was able to adapt so well to television. Besides hosting a syndicated country music show, Anderson struck away from the pack and started appearing regularly on daytime TV. He began with appearances as a guest on Match Game, Hollywood Squares, and Family Feud. From there, he became the first country star to host his own game show, The Better Sex, as well as the first with a recurring role on a soap opera, One Life to Live. "I never started out to do any of that," Anderson says with a shrug. "But the opportunities were there, and I said, `Why not?' " Such work not only augmented his career--it extended it. In 1982, after 23 years, Anderson left MCA/Decca, and he decided to give up songwriting. "The industry was into a real pop kind of sound," he says. "I had a little trouble identifying with that. So I quit writing." Instead, he used his television experience to become a central figure on The Nashville Network, then a fledgling cable station. He hosted a music-trivia game show, Fandango, and helped develop the You Can Be a Star program. He eventually became host of the Saturday-night Opry Backstage show, on which he is still a regular. Several years ago, when Wariner scored a hit "The Tip of My Fingers," Anderson felt "inspired to get back into writing again." It was the right move: Anderson has become one of Music Row's hottest, and most unlikely, hit tunesmiths of the late '90s. In addition to cuts by Vince Gill, Bryan White, Lorrie Morgan, Wade Hayes, and Rick Trevino, he currently has two of the fastest-rising songs on the country charts: Mark Wills' "Wish You Were Here" and Steve Wariner's "Two Teardrops." Moreover, his newfound resurgence earned him the chance to record a major-label album for the first time in over 15 years. His recent Warner Bros. release Fine Wine features classic Anderson-style recitations, along with reflections on the values of love and the pitfalls of modern life. "I'm having so much fun," he says. "I had never written like they do today. They make appointments and meet at the office at 10 a.m., write for a while, go to lunch, come back. It's like punching a time clock. "Writing used to be a lonely profession; it was something you did at night with the shades pulled down. You'd see how miserable you could get, then you'd write a song. I didn't cowrite much, because I thought nobody would understand me because I was weird. But it turns out it's fun to get with people and see that they're coming from the same place you are."
Terry Allen (was Re: Alejandro (was: need info)
And here's an interesting contrast to the overly polite and artsy "roots rock" types: Terry Allen's an arty Texas singer-songwriter who also just happens to be thoroughly immersed in various roots styles. He does more than just name-check roots music greats in his publicity sheets (a la Bruton) -- his music is identifiably based in country, cajun, tex-mex, etc. There's also an edginess to his sound that's noticeably absent from that of the polite snooze-rock guys. His new album's definitely gonna make some folks uneasy, and others even downright mad. Titled Salivation, the album takes dead-aim at religion, skewering its hypocrisies with irony and irreverence while also demonstrating that Allen's lost none of his ability to tell a powerful tale. Terry Allen doesn't make background music, and thank god for that.--don
RE: Reading between the lines
On Wed, 10 Mar 1999, Bob Soron wrote: Note to Nicholas Petti: You were supposed to send Don the cough syrup, not the cod-liver oil. Now he's cranky, sick, and *sober*. Rush up the good stuff so we can get the old Don back, OK? Jeez, I shoulda known better than to mention "phlegm" around you smartasses.g Anyway, after goin' home early and sleepin' all afternoon and evening, the lungs have cleared up a bit (they no longer creak when I breathe), so hopefully I'll be in tiptop shape by the time I hit Austin. Then again, the KCMU pledge drive starts today, and I'll be incessantly beggin' for dollars for the next few days, along with seein' Neko Case tonight and the Damnations/Buckner on Saturday. I sure hope this old body makes it--don
Re: SXSW update II
On Thu, 11 Mar 1999, William T. Cocke wrote: I don't think I'm blowing anyone's cover here, but I've known Wynn for a long time and can attest to the fact that she's a she g. And a scrappy one at that.g--don
