Rolling Stone Network: Live - Asylum Street Spankers
Date: Wed, 28 Apr 1999 00:40:52 -0500 From: Vickie Lucero [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] Organization: Propaganda Media X-Accept-Language: en MIME-Version: 1.0 Subject: Rolling Stone Network: Live- The Asylum Street Spankers Status: Music the way God intended it. Asylum Street Spankers Mercury Lounge, New York, April 18, 1999 It takes considerable balls for a band to face a packed New York City club and play an entire show without a single mic or amp on stage. It takes even bigger cajones to ask that crowd to sit down on the grubby, cigarette-strewn floor for the length of two entire sets. But for the Asylum Street Spankers, it was just business as usual. The Spankers are a ten-member-strong collective of musicians from Austin, Texas, that specializes in a hybrid mix of swing, jazz, country and lounge. The band members, ranging in age from twenty to fifty-something, include (among others): a portly old ukelele and guitar player in overalls named Pops; an even older, skinny cat with a clarinet and cool beat poet's rasp; a blond siren with a huge tattoo on her back and voice that moves from Betty Boop to Bessie Smith in a heartbeat; a guy with a huckster suit, shades, kazoo and Sammy Davis Jr. vocal chops named Mysterious John; and a long-haired washboard-and-harmonica-playing loudmouth named Wammo. Then there's their real gimmick: everything, including vocals, is delivered completely sans amplification. "Music," proclaimed Mysterious John, "the way God intended it." That's assuming, of course, that God's got a stoner sense of humor bluer than Cheech and Butthead in a barrel of skin mags. The Spankers do a lot of things very well, but they excel at lowbrow bawdiness. Pops sang about funny cigarettes and Whitehouse politics, wherein "you gotta go down to go up." Wammo, who earlier had pointed out that his parents and family doctor were in the house, invited audience participation during a sing-along about his scrotum. Mysterious John hammed through a paean called "Fanny," which closed with the band leaping into the chorus of Spinal Tap's "Big Bottom." And during the last song of the evening, "Shave 'Em Dry," Christina Marrs grabbed her crotch through her long black dress and salaciously boasted, "I got fat from fucking!" Juvenile? Hell yes, but the Spankers pull it off like vaudevillian pros and back it up with serious musical talent. For every tribute to sex and drugs, there was a straight-up tribute to giants like Benny Goodman, Al Jolson, Django Reinhardt and Hank Williams. Several of the bandmembers took turns on lead vocals, but the standouts were Marrs and clarinetist Stanley "Cool Pops" Smith. Marrs stands out on one level as the lone female in the bunch, but it's her extraordinary vocal range that stole the show tonight. She would sing one song in twee sex-pot caricature, and belt out the next in a full-bodied, sultry roar which made it perfectly clear why the Spankers get along just fine without microphones. And when Smith took the spotlight to blow a solo, sing-speak a verse or even just snap his fingers to the beat of the stand-up bass and brushed snare drum, the shenanigans ceased and the Spankers snapped into class. It was announced that Smith would be leaving the group in the immediate future, and his loss to the band will be a great one. That's not to say Smith's departure will cripple the band. Not by a long shot. As evidenced tonight, there's too much inventiveness in this group to go around for it to hang together by any single talent. The opening song, "It's a Sin to Tell a Lie," was all about Marrs' high, sweet voice and ukulele, until Wammo cupped his hands over his nose and mouth and began to scat like a warbled old 78 record being piped in straight from either Mars or 1925 while the band kicked in behind him. Things would only get weirder as the Spankers went on to play for two and a half more hours, but after that opening flash of inspired, lunatic brilliance, the rest was all gravy. RICHARD SKANSE (April 22, 1999)
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.
Re: All The Way Down
. They are making white music for white people. Nothing wrong with that, but it ain't hip-hop. Dude. Dude. Dde. Put on "Liscence To Ill." There are some major f*cking beats and grooves on that record, which a black man should be so lucky to put together. Just because your black does not mean you've got "dope moves" or "mad game" floating around your head. Conversely, just because you're white, does not mean you don't. I mean, I do g Geez. I never said they sucked. I said their audience is overwhelmingly white. And i said they are not making music from a hip-hop cultural perspective. Of course I used more words than that...
Re: All The Way Down for postcard2@u.washington.edu; Fri, 23
WRONG. Read Nelson George's new book HIP HOP AMERICA and get yourself schooled...Def Jam records/russell simmons/rick rubin/NYC b-boying/breaking ground ZERO...while you're at it read BOMB THE SUBURBS by William Upski Wimsatt... See you at the Eminem show is Austin next week! xojns -- From: JP Riedie [EMAIL PROTECTED] To: "passenger side" [EMAIL PROTECTED] Subject: Re: All The Way Down Date: Fri, Apr 23, 1999, 3:44 PM And i said they are not making music from a hip-hop cultural perspective Why don'y you quit reading that pencil dick stuff and go find some people to teach you how to dance? Anyone who claims License to Ill is hip-hop is fronting - I don't care who they are. Such claims are revisionist history. At the time of its release it was widely recognized as a jokey joke from a gang of upperclass brats. If the Beasties had not dug down deep, found their muse and gone on to artistic triumph with Paul's Boutique the urge to re-cast them as hip-hop all along would look even silllier than it already does. Now I know a couple of hip-hop guys who disagree with me. And everybody rightly respects the Beastie Boys. But it does not invalidate their accomplishments to get real and face up to the fact that they did not come from a hip-hop scene - look at their music prior to License to Ill... And just because they thought the Soul Sonic Force was cool doesn't mean a thing. Hey, I love Prince, but no one could say that I'm anything close to funky, or that I know where he's coming from. Carpetbagging ain't nothing to be ashamed of. And nope, I ain't gonna waste my time at the Eminem show, even if the chance of seeing you there is tantalizing
Re: Tom Petty's roots are showing (real twangy)
I want insight into why the only people I meet wh0 hope for a resurgence of "Southern Rock" are all from north of Virginia ( a state still quite suspect) John Friedman writes: Jon Johnson: *One* guitar player?!?!?! Hell, John, why don't you just tell us they were recruiting for the Socialist Worker's Party while you're at it? Hm, if that's a sarcastic remark, which is cool, my guess is that you're not familiar w/Molly Hatchet. My point was that Molly Hatchet with fewer than three guitar players onstage is...well, just not right. It doesn't live up to one's expectations. I'm plenty familiar with their stuff, by the way. They were never a patch on Skynyrd, but who was? Hatchet's first couple of albums were about as good as the genre got if your band's name wasn't Lynyrd Skynyrd. I keep expecting to see a southern rock revival at some point, though despite noble attempts by the likes of Raging Slab and Pride and Glory, I don't think it's gonna happen. Saw Marshall Crenshaw open a show at the Paradise in '92 with a bitchin' cover of "Flirtin' With Disaster," by the way. --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
Re: Artist of the Decade?
Pushing aside the arbitrary (and silly) nature of this shellgame, tell me why it shouldn't be: Perry Farrell (who commercialized the most interesting aspects of Nirvana's "revolution") Dr. Dre (who made rap safe for white people; God bless Eminem) U2 (who legitimized dance music for young suburban moms with ZOOROPA) Prince (who led artists with committed audiences to the realization that record companies are superfluous while still making vital music) PS: his next record is on a major label ...and it is mind-blowing. Miles Davis said that the greatest musician he ever met was named Prince. Red Hot Chili Peppers (who brought tattooing to the heartland) Hootie and the Blowfish (who brought yuppies away from John Tesh to something approximating rock and roll) PJ Harvey (because she actually made great records, ignored her press and finally had a sandwich) Cesaria Evora (who didn't even know she was making beautiful records for consumerist dissection) Trent Reznor (who tried unsuccessfully to avoid the traps of the celebrity culture while commenting upon it AND fucking fashion models; and making great music) Master P (the first black man since Berry Gordy to keep most of the money; of course he treats his artists like shit) Don Yates (a master of disguise)
RE: Artist of the Decade?
Seriously - It's Dr. Dre. With NWA he took rap music from party music to street poetry with a documentarian stance. Unlike Public Enemy he got his message across without being pedantic. This legitimized "gangsta" rap to the critical establishment AND opened the door for hip-hop's dominance of teen culture. With Ice Cube he revolutionized sampling and rap production- creating an aural cinema of the urban wasteland. His record "The Chronic" stands as perhaps the most influential hip-hop record ever. Inspiring The Roots, Outkast and Nas. He produced several classics, especially "DoggyStyle". And he brought Eminem to the world. (Though a potential strike against him due to its content, "Slim Shady" points toward the inevitable future of white dominance of rap music) Nuff said. I'm right, you're wrong. Na, na, na, nahhh. NP: The Barkers - Burn Your Piano
Re: Artist of the Decade?
Unfortunately, I think we're gonna have to include Garth here. Hie's touched alot of lives and his sales alone prove that. I think he's sold more records/discs than The Beatles or some unfathomable figure. Let's see if those records are selling thirty years from now. I don't think you get considered artist of the decade for your marketing skill alone. As for most influential artist of all time you gotta include the "gloved one" I had a dream a few nights ago after seeing some footage of the Jackson 5. In my dream Michael jackson grew up, maturing into a soulman a la Marvin Gaye. No surgery, no wierdness. He became an elder statesman of R B, making credible records, getting the respect of the hip-hop nation. I'm not kidding, i had this dream. Consider what amazing music he could have made. When you see him at twelve you see such soul, charm and talent. What a waste.
RE: Artist of the Decade?
On the rap tip, The Sugar Hill Gang pretty much invented it, so Also, for the 90's The Beasties deserve a shout out... -JF The Beasties have made a couple of great records. But they have more in common with Pearl Jam than with any rap artist. You can make rap music and still have no idea what hip-hop is. The Tibetan concerts are alterna fests because that's the Beasties audience. They have zero influence on the hip-hop community.
RE: Artist of the Decade?
In my dream Michael jackson grew up, maturing into a soulman a la Marvin Gaye. No surgery, no wierdness. Er, ah, "a la Marvin Gaye" and "no weirdness" don't belong in the same paragraph. Good point. but Marvin was more "troubled" than "weird". Still, I hope you got my drift.
Re: Artist of the Decade/singles/influence
Now that's an erudite summation. But I still can't get my head around Cobain as artist of the decade. His creative achievement, though jarring and influential, doesn't compare to that of the other serious contenders. Besides, the eight year old who runs my house, his seventeen year old babysitter and all her friends, the kids at the sub shop down the road, my ex-girlfriend's 14 year old son and my eighteen year-old sister's boyfriend are all white kids whose primary musical touchstones are rap and new jack, even if they own a couple of Garth Brooks records. These same kids know (but don't neccessarily love)The Beatles, Stones, Zeppelin, Bowie, U2 and Prince - all artists of lasting influence whose catalogs are continually discovered by successive waves of college freshman. I asked my babysitter if she liked Nirvana and she said "didn't they have that song with the cheerleaders in the video?". The eight year old looked at me blankly when queried. And my sister's boyfriend was like "that's the guy who killed himself, right?" Before y'all kill me on anecdotal evidence charges, realize that I'm trying to illustrate that the only people listening to Nirvana are critics and white folks between 28 and 40. Unless someone can convince me that teenagers 20 years from now will find Nirvana's music revelatory for themselves (like Abbey Road kicked my ass in 1987, or like my babysitter really getting into Bowie now) I cannot accept his coronation. It's more likely he'll be remembered for being Rolling Stone's Artist of the Decade than he will be for his music. The discussion here breaks down along the atomization of markets since the mid80s, so it makes sense to say that Gill, Dre, Malkmus (Pavement does make sense as the key 90s indie band, though only because they democratized Sonic Youth's late-80s innovations) and the Beasties (who, for various sentimental-social reasons, I actually would love to win the crown, but really can't) all rule different roosts. And the one figure I think transcends that is Cobain: Nirvana's breakthrough changed the music scene irrevocably by destroying the previous loyal opposition and thus altering the basic lines of battle that had stood since 1977, and pretty much everything that's happened on pop charts since has been a chain reaction from Smells Like... Cobain is also pretty much the sole zeitgeist-defining personality in 90s pop (I'm not sure there is a *single* such figure in hip-hop this decade, though there are some contenders, and in country, well, that's Garth - which is a whole other story). As well, Nirvana combined quality and commercial success at an incomparable level for the decade - if The Key had sold like a Garth Brooks album, Jon W's assertion would hold up better, methinks. (AOTD for the 80s by the way is, to my mind, unquestionably Prince.) A thread tie-in I meant to throw into the mix yesterday: Smells Like Teen Spirit is also, on a craft level, one of the few singles of the decade that seems to me to stand up on every level to anything in the afore-bandied-about Golden Age of Singles - throwing down a gauntlet that pretty much all of Nirvana's imitators were far too chickenshit to pick up. By the way, I assume the Cobain-jeerers are willing to discount every other overdose and/or suicide in rock history on the same knee-jerk moralism, right? Janis, Jimi, Ian Curtis, etc. etc., all useless whiners. Carl W. Terry Smith-esque P.S.: David C., altho you're basically right about Madonna, it seems to me the ground had already been created for her to stand on before she arrived - by Patti Smith, Chrissie Hynde and others. (If I had my druthers I'd give all credit to Patti but I don't think we can get away with that...) Yep, Madonna would rank pretty high on the influence scale, but she seems to me more a visionary opportunist than a revolutionary. HOWEVER: Your question about whether Aretha rather than Joni was the key gender-revolutionary in sixties pop was already creeping into my head as I wrote that last post. I'd certainly *prefer* to say it was Aretha - but I wonder if she had the same women-can-be-auteurs impact? Perhaps, but this requires further thinking and historicization; I've just realized that maybe before deciding exactly whose gender-bar-breaking was the most definitive (and I do think this is, as Music Trivia games go, an important one), I should read one of those late-90s books about women-in-music that I've been semi-avoiding. Any recommendations for the best one?
RE: Artist of the Decade?
The Beasties have made a couple of great records. But they have more in common with Pearl Jam than with any rap artist. You can make rap music and still have no idea what hip-hop is. The Tibetan concerts are alterna fests because that's the Beasties audience. They have zero influence on the hip-hop community. I diasagree. They are alternafests because of the *other* bands in the lineup and probably because that's what the majority of fest-going-kids look like. The lineups for those silly concerts are filled with white altern-acts because those people are the Beasties social peers. If the band hung out with The Roots or Mystikal, don't you think that's who'd be playing the show? Do you know any black people who listen to the Beasties? Do other rap acts give them shout-outs on record? They are making white music for white people. Nothing wrong with that, but it ain't hip-hop. Actually, I was suggesting that The Beasties are influential artists, not rappers perse. I think in terms of their videos, clothing line, and music they've permeated the culture to a degree which has not yet been acknowledged or realized. FYI, some of their hip-hop is more authentic than "authentic" hip-hop. Do you know the difference between rap and hip-hop?
RE: Most albums sold, per RIAA
Jon, Do you think that we could say with some confidence that this prove's Garth Brooks makes music according to the lowest common denominator? BTW - does anyone know how well Garth boy does internationally? Garth also made deals with certain chains (very large ones - Target,if I remember correctly) to double weight reports to Soundscan on sales of his double albums sold, which artificially boosts his total sales numbers. I don't think that's right. There was some controversy when the boxed set came out because each of the CDs was being counted as a unit, but that's true for all the RIAA-certified sales (it's specifically mention in the gold/platinum criteria grid). So a double album counts as two units whether it's Double Live or one of those Beatles Anthology sets. And while it's true that Elvis started out in a singles-oriented market, Elvis albums were coming out almost from the beginning. But even after accounting for Elvis's handicap in that regard, Brooks' sales record is still astonishing, given that he didn't make his first album until 1989, and his name is surrounded by the names of folks who have been selling for 2 or 3 times as long; the only one who comes even close to matching him is Mariah Carey, whose first album came out in 1990, and she's only sold half as many units. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
Re: Artist of the Decade? (My first Beasties rant)
The local hip-hop promoter is a buddy of mine. He has lectured me over chronic many times about the difference between rap and hip-hop. As far as I can remember hip-hop is a cultural movement (analogous to rock and roll in the fifties) while rap is simply a form of music. The primary elements of hip-hop seem to be cultural cross-pollination, societal marginalization and opposition to the dominant culture. There's also a lot of talk of racial harmony, anti-consumerism and weed as well as more than a hint of spirituality (surprisingly often Islam) and talk of social change. Of course every one of Dave's homies has his own variant on this and they aren't all so positive. The only constant is the marginalization. I might be going out a a limb, but 3 rich Jewish kids from Manhattan are probably not gonna qualify. Not that anybody I know is wasting their time figuring out who's keeping it real and who's not. It's just that the Beasties spend a lot more time with Sean Lennon and Billy Corgan than they do with the Wu Tang and Dr. Dre. Mike D. isn't guesting on many No Limit productions. And the social change they advocate is fairly innocuous and harmless to the status quo. That's not to say they don't make great records. Paul's Boutique is behind only Abbey Road, Sign O' the Times and Gone on my list of all time faves.
SPANKERS (was Re: Mountain Stage Concert Schedule)
Just an additional heads-up ... Getting this was a real coup for the Spankers. If you've seen them and have friends in the Huntington area, please alert them to this show. If you haven't seen them, be sure to tune in. April 25--7pm Joan Edwards Playhouse Huntington, WV PATTY GRIFFIN BILL MILLER ASYLUM STREET SPANKERS ANSON FUNDERBURK AND THE ROCKETS WITH SAM MYERS ADVANCE TICKETS $8.50 AT THE DOOR $12.00
Re: My Bing-a-Ling
In a message dated 4/20/99 1:07:06 PM Central Daylight Time, [EMAIL PROTECTED] writes: Wondering when we're going to start debating the Artist of the Millennium, Mozart or Prince. slim Do you need a favor from me or something?
RE: Kiss Kiss Hug Hug
...then you can make fun of my hair... Us follicly-challenged folks generally stay away from that. Besides, John, I'm the one who makes fun of your hair. Do try to keep your p2 nemeses straight. g --Amy Now if I could only remember what YOU look like... g
Re: Swingin' Doors, 4/15/99
Damn, Don, you're playing so much James Hand that I'm worried you'll be sick of his voice by the time the new album hits your mailbox.
Re: Kiss Kiss Hug Hug
In a message dated 4/14/99 1:14:26 PM EST, [EMAIL PROTECTED] writes: Thanks Jon. I'm sorry for taking it so personal. I'll buy you a drink in St. Louis, then you can make fun of my hair and I'll keep very quiet. Why wait til St. Louis? Describe your hair to us so we can start making fun now. What else are friends for? NW Well, I haven't decided what I'm gonna do with it yet. I'll let you know. JP
RE: Asylum Street Spankers looking for musicians
Interested musicians must be incredibly badass. In fact, unless you have chops to burn, don't bother. Gee, and here I thought that feeling would have to be the number one qualification Would you please go find a life. I have a band in crisis here and I certainly don't need every middle-aged mediocrity's two cents. Unlike you and your ilk, these are world-class players and all the "feeling" in the world is not gonna allow a half-assed player to keep up with this band. Though you might be more interesting if you spent your time doing something other than taking swipes at every post that comes down the pike, you're not nearly as clever as you think you are. So, please tell me what purpose your post serves. It certainly doesn't help me or this great band. What it does is illustrate your sullen smugness and beg the question of why you don't have better things to do. And if you or anyone out there takes issue with my tone, tough. My post set out some pretty stringent qualifications. Unlike Weisberger I don't have time to waste by qualifying everything I say for the consuption of lameasses who can't handle a little direct communication. I'm over here doing things rather than taking shots at people who do things.
Re: Spankers dates...givin' folks what they need
If you're going to Kerrville DO NOT MISS the Spankers there. They always pull out all the stops at Kerrville. Their last performance there received an extremely long standing ovation that convinced Rod to break with his strict protocol and allow the band to play well past their allotted time. If you've been there you know its a major feat to get all the f*olkies hootin' and hollerin' between songs... They are also scheduled to close out this year's Kerrville F*lk Festival on Sunday June 13... the line up for that evening: Kimberly M'Carver (Houston, TX) Lowen Navarro (Los Angeles, CA) Anne Hills (Bethlehem, PA) James Keelaghan (Calgary, Canada) Carrie Newcomer (Bloomington, IN) Mickey Newbury (Springfield, OR) Asylum Street Spankers (Austin, TX) Another interesting evening at Kerrville this year is Sunday the 6th when Kinky Friedman and Ray Wylie Hubbard are both scheduled... Chad ** Chad Cosper Dept. of English Univ. of North Carolina at Greensboro 336-275-8576 http://www.uncg.edu/~cscosper
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 Don, my love, you must admit there's a creepy unanimity among the critics regarding this release. There a definitely lemmings afoot.
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 I was too wasted to notice the critics when Sign O' the Time was released. I just listened to it for 6 months straight. Actually, and I realized I should have mentioned this first, Summerteeth is my favorite Wilco album. To me its a logical extension or companion to Mermaid Ave (which I think is wonderful) Being There sucked and A.M. was underwhelming. What bothers me is the lack of any real criticism (e.g. critical thinking) regarding this record. Instead we get universal raving "reviews" which sound like the writings of a cadre of wild eyed publicists. Or maybe Jenni Sperendeo. She's gonna kill me for that.
RE: Stephen Bruton's new one
Anyone notice how excruciatingly boring this record is?
Sapnkers dates
Ask around and you'll be told that this is one of the most amazing live acts you'll ever see. So go and then tell me how much fun you had. 4/2 Shim Sham Club - New Orleans 4/3 Shim Sham Club - New Orleans 4/4 Hi-Tone Lounge - Memphis 4/5 Hi-Tone Lounge - Memphis 4/7 12th and Porter - Nashville 4/8 Schuba's - Chicago 4/9 The Hideout - Chicago 4/10 Automatic Slim's - Green Bay 4/11 The Mill - Detroit 4/12 City lounge - Toledo 4/13 Little Brothers - Colombus, OH 4/14 The Grog Shop - Cleveland 4/15 Bloomfield Tavern - Pittsburgh 4/16 Bloomfield Tavern - Pittsburgh 4/17 Lyric Center - Richmond. VA 4/18 Mercury Lounge - NYC 4/19 Mercury Lounge - NYC 4/22 The Iota - Arlington, VA 4/23 Lynaugh's - Lexington 4/24 Mountain Stage 5/1 Moulin Blues Festival - Ospel, Holland 5/6 Howlin' Wolf - New orleans 5/7 Rudyard's - Houston 5/8 Hootenanny - San Antonio 5/13 Son's of Herman - Dallas 5/14 Big Texan Steak Ranch - Amarillo 5/15 The Redfish - Boulder 5/16 Icabob's - Salt Lake City 5/17 Tom Grainey's - Boise 5/20 Vancouver 5/21 Bellingham, WA 5/22 Berbati's Pan - portland 5/23 Tractor Tavern - seattle 5/28 - Freight and Salvage, Berkeley 5/30 Winters opera House, Winters CA
Howdy
Hey Don, hope you had a great time. It was good to see you. Looking forward to June. Now, how do I get back onto P2. Were you in on the plot to drop me from the list while SxSW had me distracted?
Re: SXSW update II
Don't I qualify as an Austinite? I realize I've only lived here for twelve years Or maybe I don't qualify as a P2er... Well, either way, I'll be around and looking forward to seeing everyone everywhere I go. James Hand: Wednesday, 10 PMBroken Spoke Thursday, 6PM Under the Sun Saturday, 3pm Cheapo Discs Asylum Street Spankers Saturday, 1AM Pecan Street Ale house At the request of Barry Mazor, who's leaving shortly for his all-expenses-paid, staying-at-the-swanky-Omni trip to Austin, I'm posting the updated list of P2ers at the Best Li'l CSRF in Texas. Lots of folks piped up to let me know they'd be there after my last call. If you're going and you still haven't let me know, you have until Monday to do so; after that, I'll be gone. Marie Arsenault Austin Motel Junior Barnard I'm sure Junior mentioned where he's staying, but I fergit Doug Baxter and his wife, Christine Doug wisely omitted mention of where he's staying Dan Bentele Austin Motel, I think Rusty Berther (upping the Australian P2 quotient to 2) accomodations ??? Sophie Best staying at Smilin' Jim's Jim Catalano staying at an accomodation to be named later Jim Cox staying in some generic apartment he rented John Flippo Austin Motel Richard Flohil staying at Erica Wissolik's Randi Fratkin staying at Erica Wissolik's Wynn Harris staying at his dad's Steve Kirsch staying at Smilin' Jim's Chris Knaus Meshel Watkins Austin Motel Jake London Austin Motel Barry Mazor Omni Hotel Alex "I Can't Believe I Left Him Off the Last List Since the Party Is In His Room Every Night" Millar Austin Motel Linda Ray accomodations to be determined Jim Roll and Laura Eckenrod staying at a friend's house Bill Silvers Austin Motel Deb "Numbers" Sommers staying somewhere, I'm sure Tiffany Suiters Southard House Jamie Swedberg Austin Motel Stacey Taylor, I think Austin Motel (er, is Stacey still planning to attend? Someone let me know, please.) Jeff Weiss Corrie Gregory Homegate Neal Weiss Colleen Morrissey Austin Motel Don Yates Deborah Malarek staying at Laura Fowler's me and my husband Eric Austin Motel and of course, the Austinites: Jim Caligiuri Jayne Cravens Jim Fagan Laura Fowler (and too, I assume?) Jerald Corder Chad Hamilton Cherilyn DiMond Slim Kelly Erika Wissolik --Amy, wishing I had the energy to make an intelligent response to Todd's and Will's UT posts but too dumbfounded by Neal's casual dismissal of Son Volt to speak. Oh, and Jay is SO cuter than Jeff--get real, Neal.
Re: SXSW query: Broken Spoke??
Does Broken Spoke do wristband admission during SXSW, or are they independent of the whole thing? I have hazy and contradictory memories on this one g --junior Although your memories are probably hazy from the drink, the Spoke's SXSW role is usually confusing. For many years they remained independent and booked their regulars during the big week. Then they relented and gave up Thursdays. Then, when the conference began programming music on Wednesdays the Spoke gave 'em that night too. But until last year Friday and Saturday were not SXSW nights. (Chris Wall traditionally played Friday) Last year Friday was given over and just yesterday Mr. White of the Spoke called me to say that Jimmie Dale Gilmore had cancelled his Saturday show (rumor had it that Dave Alvin was going to join him). So he gave the night to SXSW. This is the history of SXSW encroachment upon the last of the true Texas dance halls. This time of year is a real drag, what with everybody in town up in arms over wrist band price, music awards, showcase slots and bitching and moaning about how the conference has hopelessly lost touch with everything. I would boycott except that there's so much free food and beer. And all the women I meet leave after three days.
Re: Half Mad Moon
Because I'm in a bad mood, this whole post really pissed me off. Can it really be that your entire self-worth is predicated on The Gourds and what others think of them? That's pathetic. This is the Damnations shot. How petulant and prissy of you to stomp your feet and hold your breath because the Gourds don't get mentioned everytime somebody praises the Damnations! Lots of people consider the Damnations superior to the Gourds. Though this may never be comprehensible within your sad little worldview, it remains a fact. To sooth yourself in the face of this grave injustice is quite natural. It's just reprehensible to do so by minimizing a great band and grudgingly acknowledging contributions of Deb and Amy as some sort of footnote to the contributions of the men that surround them. It's disgusting and I hope a bunch of female musicians corner your ass someday soon. "We're Desperate" Rob and Debra sing it. Just to add alittle: I don't think Rob and Keith are getting quite enough credit. A lot of that 'uniqueness' comes from their end of the deal. Rob is the most effective and emotional guitar player I've ever seen in my life, and I've never heard anyone say he's less than their favorite. And Keith, damn, I just point to the difference he's made in The Gourds. It's pretty damn astounding. And I honestly believe even more of it comes from Jimmy and Kev (Gourds). Jim wrote "Take It on Down the Line", used to be their drummer before Keith was (he had to quit when The Gourds 'took off')--the Jimmy in "Black Widow" is guess who? And, of course, there would be nothing without Big Daddy Russell. The first gigs D-Nation ever played outside of Austin was opening for the Gourds on a Texas swing Oct. before last (Keith played with The Gourds and decided to join). I have one of those shows on video, believe it or not. Everyone has influences. The Gourds wouldn't be like they are without The Bad Livers, etc. And Amy's songs are great songs, nothing wrong with them at all. And she's an excellent bass player. And they sing beautifully. I guess, all I'm trying to say is buy GHOST OF HALLELUJAH. You can hear more of that 'uniqueness' from everyone else involved except Amy and Deborah. I'm just freightened that The Gourds are gonna be left out of this equation when The D-Nation hits it big. It's time for them to drag The Gourds along (instead of the reverse). And don't forget Mike Nicolai, too. Everyone (including the girls) is all over his stuff. --Matt Cook
Re: More new releases
Biller and Wakefield (in the spirit of Speedy West and Jimmy Bryant's hot country-jazz duets), Dave Biller is a genius. His playing all over the new Asylum Street Spankers record is sublime and his production on the upcoming James Hand record is astounding. If you ever are visiting Austin on a Monday go see his part-time band the Panhandlers at Threadgills.
Re: Buckner, free agent status?
May be old news but I just heard that Richard Buckner and MCA have parted ways. Bill Lavery http://villagerecords.com/ If you're looking for confirmation, I can tell you that Buckner is indeed the lateset victim of "Unigram"
Re: Be Like Mike (no, the other Mike)
Will Miner wrote: It's been 16 years since Thriller and 15 since Purple Rain, 12 since Sign O The Times. None of them has been snip ... influential on the hip and new in a while. Even the Prince clones are old history. Um, Beatles clones were old history a lot longer ago but does that mean the Beatles are not (for better or worse) a lasting influence? I see Prince's influence quite plainly in much new RB, trip-hop etc. (Tricky and Massive Attack are obvious cases, and you see him cited by even more wildly un-Princelike bands in interviews all the time.) Als I suspect the real impact of TAFKAP will have to wait out the annoying pomposity of the glyph-o-maniac's public pronouncements (just as late-Miles's influence has resurged among jazzers and rockers alike, now that his personal tics are fading in time's amnesia). And tho, yeah, he seems to be in a less incandescent phase, every record he puts out has enough brilliant strokes for me to be far from counting him out yet. Unless he just gets crazier and crazier with the years, in a Howard Hughes rather than Brian Wilson sorta way. As for MJ - listen to the radio, man. From Hanson on up, the people who are makin' hits were born to the sound of Thriller. Carl W. A man after my own heart! Prince has also been cited by Chuck D. as a profound influence, while Dr. Dre has pointed to the Black Album as a major influence on NWA.
FW: Epidemiological Study
This may explain the stunning mental agility displayed by folks on this list A herd of buffalo can only move as fast as the slowest buffalo, and when the herd is hunted, it is the slowest and weakest ones at the back that are killed first. This natural selection is good for the herd as a whole, because the general speed and health of the whole is maintained or even improved by the regular culling of the weakest members. In much the same way, the human brain can operate only as fast as the slowest brain cells through which the electrical signals pass. Recent epidemiological studies have shown that while excessive intake of alcohol kills off brain cells, it attacks the slowest and weakest brain cells first. Thus, regular consumption of beer helps eliminate the weaker cells, constantly making the brain a faster and more efficient machine. The result of this in-depth study verifies and validates the causal link between all-weekend parties and job-related performance. It also explains why, after a few short years of leaving university and getting married, most professionals cannot keep up with the performance of the new graduates. Only those few that stick to the strict regimen of voracious alcoholic consumption can maintain the intellectual levels that they achieved during their university years. So, this is a call to arms. As our country is losing its technological edge we should not shudder in our homes. Get back into those bars! DRINK that pint; Your company and country need you to be at your peak, and you shouldn't deny yourself the career that you could have. Take life by the bottle and be all that you can be!
Re: The East Tennessee Contigent Expands (Was: Re: The JudyBats(family tree))
In a message dated 99-02-10 18:27:31 EST, you write: On Wed, 10 Feb 1999 [EMAIL PROTECTED] wrote: I thought the KKK originated in lovely east Texas, specifically the town of Vidor. I'm referring to the area north of scenic Beaumont, near the Louisiana border. There is a trio of small towns there (Vidor being one, I can't remember the names of the other two) that are known in local medical circles as the "septic triangle". People have come out of there with the most amazing and unique genetic characteristics. So have lotsa great country artists, like George Jones.--don She's not country, but Marcia Ball's from Vidor too. JXH The towns in question are Vidor, Orange and Port Arthur. Janis Joplin and Marc Chesnutt are from this area also.
Re: Texans and odd hats
Austin Texas Gourd Kevin Russell got his 'odd hat' stolen back stage over in Europe. He didn't wear it on stage; it was only for practical, everyday use. --Matt Cook So does Matt Cook exist? Or is he a publicist's creation? Every time I see the Gourds at the Electric Lounge I ask soundguy Rche if he's seen Matt Cook. he always says yes, but he thinks Matt left for a bit or he went into the crowd. I want to see this man with my own eyes.
Re: Chuck E. Weiss other cool new shit
Don't know if this came up last week, but I just heard on the radio that Weiss is the inspiration behind Rickie Lee Jones "Chuck E.'s in Love." And it's a bit of info that Chuck's often considered an albatross. Hopefully this new album will redefine how folks think of him. It is quite a good, rollicking time. Twang content: his backing band at last week's schmoozy Viper Room record release party included Tony Gilkyson and Don Heffington. Weiss calls Gilkyson, the best guitarist he's ever played with. Neal Weiss Here's some synchronicity - a year or so ago I was in LA with a punkish band called the Adults and we opened for Chuck E Weiss at a joint called the Garage. About twenty people showed up and 18 of 'em left when the Adults were done. The reason I was thinking about this today before I check my mail was that I was telling Tony Gilkison's sister Eliza about meeting him that night and what a phenomenal player he was.
WOW.
NP: Steve Earle and the Del McCoury Band "The Mountain" Maybe it's just 'cuz it's new, but geez, I really didn't think he could top "I Feel Alright" but this seems to do it.
Re: James Hand (was Re: Chuck E. Weiss other cool new shit)
Those of you just dying to get ahold of a copy of "Shadows..." let me know and I'll see what I can do. There are very few left and distribution is more than spotty. Also, there is some debate over who controls the recording. If you can wait until June his new album will be out.
New James Hand album
In a message dated 1/21/99 4:05:46 PM Central Standard Time, [EMAIL PROTECTED] writes: James Hand's Shadows Where The Magic Was (100% hard country -- could be better produced, but shows lotsa potential), I spoke to Dave Biller a week ago, and he is producing Hand's new album. That should solve the problem. Don't know if it's on a label, but I bet it will be a goodie. slim The new album is produced by Biller, who's currently in the Spankers and formerly played with Wayne Hancock and Dale Watson, and features the following band: Dave Biller - rhythm and lead guitar, acoustic guitar Dale Watson - lead guitar, tic-tac guitar Ethan Shaw - upright bass Mark Horn - drums Chris Wall - acoustic guitar Ricky Davis - pedal steel, steel guitar Jason Roberts - fiddle Proud to say it's a Cold Spring release. Look for it in June.
Re: Americana guesswork
There's a story developing here regarding the current state of "Americana." (TM)Who's going to write it? (c'mon Mr. Slack - tell it like it is) Caution: the following are assumptions, though I suspect close to the truth: Someone probably wanted Americana to still be Americana - in other words, keeping the current reporting stations intact, which for the majority are not huge and potentially impacting, and someone else probably wanted to slick it up a bit. Maybe start a singles chart. Change the name. Blah blah blah. The circle goes round and round and you can only suspect and theorize who wants what. Bottom line: the stuff ain't selling and not many people are paying attention to it, and maybe Gavin or whoever else involved the Americana mafia are finally beginning to realize it and feel the need for changes to be made before Gavin just gives up on it. I mean, when Dale Watson's only selling appox 10,000 copies, maybe some changes should be made. Who knows. I'm just guessing...I know I wouldn't want that damn job First off, "The Truckin' Sessions" as of last week has sold less than 4000 units since its release in August. So the sales impact of "Americana" radio is even less than most assume. Anyway... I think the name "Americana" sucks. As a word it connotes a wide array of meanings, none of which immediately bring to mind the kind of music that seems to be be taking over a chart that was once dominated by folky singer-songwriter crap. My thinking is that Gavin should take advantage of the widespread disgust and disillusionment with country radio (which truly is the root of all evil - Nashville makes records according to the perceived tastes of programmers) by scrapping the folky reporting stations, renaming the chart "Alternative Country" and positioning the whole thing similarly to the way Alternative Rock was positioned in opposition to AOR ten years ago. How will this help sell records? First, changing the name from the hazy "Americana" to something with the word "country" in it will clearly define the whole raison d'etre of the format as an actual alternative to the dreck on country radio, Though my research is informal and anecdotal (my mom and her friends were the focus group) I believe lots of country fans are sick of country radio. A clearly defined format can be more easily marketed to disaffected country fans. Second, and most importantly, as alternative rock caused AOR to loosen up and start playing U2 and REM then Pearl Jam, and Soundgarden, then Rage Against the Machine, I believe even a moderately successful alternative country format will force mainstream programmers to broaden their playlists to include acts such as The Derailers, Dale Watson, and Kelly Willis and maybe even consign Shania and her ilk to some sort of Adult Contemporary Country format.Then we will begin to see sales impact. Of course, what we really need is our own Nirvana. After hearing a bit of their new recordings and considering their slight but important impact at mainstream country with "California Angel" I'm thinking maybe The Derailers are the right horse on which to bet. NP: The Trial of William Jefferson Clinton
Re: Americana guesswork
Of course, what we really need is our own Nirvana. After hearing a bit of their new recordings and considering their slight but important impact at mainstream country with "California Angel" I'm thinking maybe The Derailers are the right horse on which to bet. Therein lies the problem. The fucking thing is overhyped already. At least grunge started selling, THEN got overhyped. It's now been 6 years or so (arguably) that this genre/format or whatever gotten any attention and every year we hear the same bullshit - I remember Peter Blackstock saying "this is the one that's going to blow it open" about "Tomorrow the Green Grass." Less than a year later, he admirably put his tail between his legs in the same paper he wrote it and admitted he was wrong. And the year before that and after that it was another record. Every year it's something new that's going to blow it open. I have no idea why I am typing this. Oh well. If I'm not mistaken, Blackstock was referring to the type of music originally considered alt country - Son Volt, Jayhawks and that ilk - music more alternative than country that never had a prayer of appealing to people who listen to Garth Brooks. It was incredibly, disturbingly overhyped more as a successor to grunge at alternative radio than an alternative to Nashville. I'm talking about country music that is only alternative when defined against Nashville. Without crap like Shania Twain and Tim McGraw, The Derailers are just plain country. The format we need probably will not be pushing the stuff Blackstock to which Blackstock was referring.
Re: Americana guesswork
I'm counting on everyone to stop wishing alt-country will "blow open," since the continual frustration of that hope seems to me to be causing some of the genre's stalwarts to falter a bit. There'll be events like Lucinda's much-hyped (but not so much bought) 1998, but I think the key is the demographic point someone previously made - it is in fact a glass ceiling that's set at about knee level. Though this is a drag for working musicians, for fans it's not really so bad - the constant obsession with judging musical success by huge sales numbers seems parallel to me with the tendency to judge politics by polls, movies by box office, and justice by corporate dividends. Here's my 1999 slogan for alt-country/Americana - The Back To "No Future" Music - "The Past is Now." carl w. Hey! Don't forget that by most definitions I'm a weasel and if I don't figure out how to help them sell millions I'll never get my private jet or be able to afford several trophy wives. But seriously, nobody's judging success only by sales. Hell, I would jumped into hip-hop a long time ago if I thought that way. What I AM interested in doing is getting some bona fide geniuses as much success as I believe they deserve and maybe preserve a great musical tradition that is being bastardized as never before.
Re: Americana guesswork
But see, that's the thing...there's never going to be an "Alt-Country Nirvana" because fifteen year-olds don't generally listen to Steve Earle or Dale Watson or even the Old 97's. Let's face it, folks: this P2 bag, this Americana/Alt-Country/Roots-Rock thing that gets discussed here? It's Old People Music g. Sure, some of your more open-minded, musically curious youngsters are gonna dig this stuff but essentially this is a niche market, for the most part. I mean hell, even back in the heyday of '70's country rock, only the Eagles made any money off the music--and even then, they bagged the twangier elements of it right around "Hotel California". The Jayhawks, Uncle Tupelo, the Botterockets, Wilco, Son Volt, Whiskeytown, *none* of these bands has done/is doing the kind of sales that say, Third Eye Blind is doing, and I really don't see that changing anytime soon. In fact, rarely has there been so much media attention paid to a genre that, for all intents and purposes, is commerical death. What's my point? We shouldn't be waiting for the Unknown Act to open the Alt-Country gates wide, because it isn't going to happen. And really, is that so horrible a thing? Kip I'm not known for my optimism (is it optimistic to think that deep down Yates really likes me?) but two things make me think you're wrong 1) Before Nirvana, punk WAS "old people's music" the average punk fan before Nirvana (Kurt always claimed it to be a punk band) took it to the masses was the age of the editors at Maximum Rock and Roll - mid-thirties. I think its fair to say (though, this is from my own experience in Austin's punk scene) that punk was seen as the music of aging hipsters. Around 1988 I was among the youngest regulars on the scene. Teenagers into punk were a small subculture before Nirvana, The Offspring and Green Day broke it open. 2) I'm not talking about Son Volt et al. I'm talking about converting teenagers already into country from crapola to good country - The Derailers making Diamond Rio, John Michael Montgomery and Clay Walker look passe and silly (duh!) and eventually taking up space on mainstream radio next to Alan Jackson, Patty Loveless and George Strait. Kind of like Dwight, Clint, Randy and Steve saved country from Kenny Rogers in 1986 (of course Garth ruined all that.) From tired, cliched country to another, richer style that will also bring new fans to the genre. Like Nirvana converted Motley Crue and Poison fans to punk - a more vibrant form of the general type of music they already listened to. And remember, when AOR radio opened up to some of the acts who broke at alternative they didn't stop playing Aerosmith and AC/DC, they dropped only those acts that looked ridiculously passe and silly. As for the bands you cite, they were never in line for country radio, rather the industry expected them to break at alternative and AAA, eventually crossing into AOR possibly Contemporary Adult, but never, ever at country. An ideal alternative country format would play all the subgenres discussed here (except maybe bluegrass g) but only a few would crossover. The analogue within alt rock being that Pearl Jam is often played side by side with Led Zeppelin on mainstream rock stations but Depeche Mode didn't make it. And finally, before anyone points out that the alternative format is now hopelessly mire in the muck of mainstream, just remember, I'm discussing the format as it stood 5-7 years ago.
Re: Americana guesswork
JP writes:
2) I'm not talking about Son Volt et al. I'm talking about
converting teenagers already into country from crapola to good
country etc Kind of like Dwight, Clint, Randy and Steve saved
country from Kenny Rogers in 1986 (of course Garth ruined all that.)
From tired, cliched country to another, richer style that will also
bring new fans to the genre. Like Nirvana converted Motley Crue and
Poison fans to punk ...
ok, but how many teenagers are there who are into any kinda country?
anyone know? does Garth have a teenaged audience? did Dwight Randy?
i'm genuinely curious.
verbose this aft,
carl w.
Well, Dwight and Steve snagged me when I was sixteen and was only listening
to 70's Willie, Waylon and Merle 'cause I felt (rightly) that contemporary
country sucked.
The last two big revolutions in commercial country (The Outlaws and Dwight
et al) spurred overall growth in the genre. In fact, the outlaws record
was the first country record to ever go platinum. Maybe the next
revolution ("the Austin takeover" is what I like to call it) will energize
disaffected country fans AND bring in bored rock fans who can't seem to get
their heads around hip-hop.
As for teenagers being into country right now? There sure are an awful lot
of them showing up at Garth's shows. Yet according to a friend in Asleep
at the Wheel attendance on the George Strait tour they did last year was
overwhelmingly 30+ and predominately female. So who knows? Maybe if
Nashville gave them something with at least a whiff of rebellion
RE: CD Reviewing ethics
Isn't the title of this post oxymoronic ? g I was shocked to see a reviewer even stop and think about such things. Without blowing anybody's cover, I can say without reservation that the relationships between musicians and the writers who review and cover them are generally a whole lot closer than either party lets on
Why I love Austin
reason #235: Christina Marrs singing "Weary Blues from Waiting" with Dale Watson and his Lone Stars at Ego's Tuesday reason #236: The Hot Club of Cowtown sitting in with The Spankers last night at the Electric Lounge reason #237: tonight - Beaver at the Continental reason #238: it's 62 degrees outside and sunny NP: Kelly Willis, "What I Deserve"
