SXSW stuff
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. I would have to agree for the most part. ALthough there seems to be a market for this stuff . . . so some fans are diggin' it. There was a comment made in the (SXSW Saturday??) Statesman by the columnest on the inside cover, that named CHicago as a highly over-rated music scene in that he had never heard such bad singing and fake accents,etc. I think he named Freakwater among others . . . just reporting the facts here. -jim
Re: Welfare Music
On Wed, 21 Apr 1999, JP Riedie wrote: Shryl Crow is one of the best big mainstream stars around. Not only is her heart in the right place, her records are extremely well-crafted and listenable, her melodic sense is stronger than many better writers and at the very least she tries to express herself. If she wasn't selling tons of records she would, I think be champoined by several folks on this list. Since she needs no championing, I'll do it just to be contrary. I totally agree on all accounts here. I don't own any of her records . . . but I think this sums up my impressions of her as a person and an artist. And I have had a few instances where I have heard a song on the radio and liked and found out it was CC. Great voice too . . . one of the most expressive female voices in pop music. -jim
Re: Single Most Influential 20th Century Pop Musician
On Mon, 19 Apr 1999, David Cantwell wrote: Sure, you can trail after previous influnces forever, but I'd argue that's important intellectual work. As for the MOST influential, however, the way to look at it, seems to me, isn't to idenitfy the influences upon an act (in the way Oliver paved the way for Armstrong) but to find out how far, and how broadly, into the future a person's influence reaches. why choose Bing over Frank then?? Just wondering how your logic works . . . thanks. -jim
Re: The perfect single (was Re: Weller's Prime)
On Wed, 14 Apr 1999 [EMAIL PROTECTED] wrote: I'll chime in...cause I should be finishing this darn thesis: Marshall Crenshaw / Cynical Girl Kate. Amen. I LOVE that damn song. 'September Gurls' by Big Star is nearly as irresistable. -jim
Douglas Coupland and Shaver
On Wed, 14 Apr 1999, Morgan Keating wrote: Morgan "re-read "Life After God" recently and loved it just the same" Ah my absolute funnest author to read. Here's my Douglas Coupland order of things: 1.) Generation X 2.) Girlfriend in a Coma 3.) Microserfs 4.) Life After God 5.) Shampoo Planet 6.) never read: (Postcards from the Dead). -Jim twang content: Electric Shaver comes out in two weeks? Correct??
Re: Wilco's new horizon
What Don said. But what has really got my simple little mind all a-twist is how a band rehashing many old sounds (Beach Boys, Pink Floyd, Beatles, etc.) can be used to accuse people of being too static to accept a new horizon?? remember i am a Wilco sympathizer and applaud the new production. (although Summerteeth IS starting to bore me). But it is funny to talk of this being ground breaking when the High Llamas and a few other bands have already been copying Brian Wilson for years and when the concept itself is very retro. oh well, -jim On Fri, 9 Apr 1999, Don Yates wrote: 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: Howdy
Newly returned Greg Harness asks: 2. What's the official P2 take on the Freight Hoppers? Well there is nothing in the P2 FAQ g but I happen to LOVE the Freight Hoppers and I think that they are probably the most exciting and accessible Old Time String Band playing (and if you believe Mike Cutler of Elderly Instruments EVER). Few bands can hold up to the legecy of the turn of the century and early/mid 20th century string bands . . . but I think that the FH's do a contemporary spin while preserving the legecy of the Old Time Chops and with the energy that their lives depend on it (and from my experience their lives DO depend on it!). -jim
sxsw photos
Someone posted a URL on the list for SXSW photos and I wanted to check them out. But I of course deleted the message or something. Help? -jim
Re: BMI vs. ASCAP?
Flip a coin. I did BMI . . . -jim On 1 Apr 1999, Bill Gribble wrote: I give up trying to look at the applications and figure out which one is which. There are these songs, they are on a record, I want to collect the big $$$ when they break the Top 40, and I have no publishing affiliation... which one of these do I pick, and which forms do I fill out? Thanks, Bill Gribble
Re: BMI vs. ASCAP?
What Joe said. This is my understanding too. You pay the fee they collect the royalties. Which is why (in the 1990's-2000's) I say flip a coin. And yes Bug is a publisher . . . -jim On Fri, 2 Apr 1999, Joe Gracey wrote: Dave Purcell wrote: I seem to remember reading that it's hard to get into ASCAP unless you're a little more established, whereas BMI takes anyone. I don't think that is true. They both take anybody with the dough to sign up. The history of the two is this: ASCAP was the original New York group, Broadway, Tin Pan Alley, etc. In the old days (40s) they had become snooty and Establishment. This is no longer in any sense true, and they now actively recruit all comers. BMI arose as a response to this elitism, formed by the Nashville and rock roll cadre, who found working with ASCAP a pain because they were looked down upon. As I recall, perhaps wrongly, BMI was also the first rights org. to collect radio airplay royalties. SESAC I know nothing about. Each of them will tell you they pay the best, most promptly, etc, but as far as I can tell there is very little, if any, difference between them, results-wise. (BTW, none of this has anything whatsoever to do with publishing. Bug Music is a publisher. BMI and ASCAP are "performing rights societies" which serve as collection agencies for performance royalties only, send them to the publishers and writers, and deduct 1% of your royalties to pay their overhead. In order to collect "mechanical royalties", or money from record sales, you either have to have a publisher, be your own publisher, or at least register yourself with the Harry Fox Agency (they have a website) in order to collect your mechanicals.) -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: Drake (Re: Kelly Willis calling the shots)
On Fri, 2 Apr 1999 [EMAIL PROTECTED] wrote: Which reminds me, any minor or major Drake fan want to offer up a good starting point into that artist's catalog? I need to go buy yet another CD that I've never gonna have enough time to appreciate to its fullest. Sigh... Oh my fucking God does Nick Drake rule!! I would do the inevitable and buy the four CD box set. Personally Pink Moon and Bryter Later(sp?) are my favorites . . . but 5 Leaves Left has Cello Song (the prettiest song ever) and at least a couple of other essentials. And I am afraid I cannot listen to Kelly's cover of Nick knowing his version . . . just doesn't cut it, sorry. Just buy the box. And make sure you listen through a couple of times. The initial impressions are typically tame . . . but the payoff is one of the largest imaginable. My opinions of course . . . -jim
Re: Drake (Re: Kelly Willis calling the shots)
On Fri, 2 Apr 1999, William F. Silvers wrote: Nah, I bought FIVE LEAVES LEFT and I like it, but the corner hasn't been turned into fanaticism yet. I don't think I would have turned the corner ever with Five Leaves Left. Definitely either Bryter Layter (orchestrated) or Pink Moon (solo). I'm tellin' ya . . . -jim
Re: Drake (Re: Kelly Willis calling the shots)
On Fri, 2 Apr 1999, John Magee wrote: sweet for the song. "A troubled cure/ for a troubled mind" just doesn't sit right unless sung by the spooked Mr. Drake. "Time has told me you're a rare rare find a troubled cure for a troubled mind" fully agree. This is among my top two or three lines ever BTW. -jim
RE: PLAYLIST: Fear Whiskey 3/29/99
On Wed, 31 Mar 1999, Matt Benz wrote: [SMTP:[EMAIL PROTECTED]] Subject: PLAYLIST: Fear Whiskey 3/29/99 Music this week includes tracks from three bands who are playing April 17: Jim Roll the Deliberate Strangers at Pluto's, and the Sovines who play the Next Decade. If I can coordinate show times, I'll try to be at both events. I thought that the Sovines were LITERALLY playing the NEXT DECADE or I would have scheduled my show on a different day. Damn . . . [Matt Benz] Hmmm. Could this mark the first time -outside of Austin, of course- that 4 p2 bands play head to head (add the Polish Hillbillies, who are playing with us, into the fray)? COuld be, could be. It's Twangfest 2.5 -- -- or perhaps Twangburgh 1.7 or at the very least it has the makings of one great computer geek party after-hours. Me? I'll be at the Sovines van trying to score some perverted jokes from Pete. And yes, I will definitely be wearing a silly hat of some sort. Which reminds me that when I played with the Derailers at Mac's last year their guitar player told Jamie DePolo that he was surprised to find that I am not bald . . . he was under the impression that my hat was a deivice. I mean can't a guy wear a hat cause he likes hats?? Well Matt Benz apparently thinks it's ok . . . so I will trudge forward w/chapeau(sp?). -jim
Re: Clip: More G*rthball
It was reported last night that Garth's next desire is to tour with Kiss. I AM NOT kidding. Stay tuned . . . -jim
Re: Clip-Wacos Saturday night
All of which reminds me of my favorite comic moment from SXSW: Wacos are playing their Bloodshot Party closing set at Yard Dog and they start a song with the following piece of banter: Jon: this next tune is called 'Fire Down Below' . . . Female P2er (gesturing towards her croch): hey John I got yer fire down below . . . Jon (Without a moment's thought): you musta been who I caught it from . . . -jim
Re: shaver
By far the best show I've seen at SXSW so far -- Shaver. Brilliant and I haven't felt moved like that at a show in a long time. more soon. -jim On Fri, 19 Mar 1999, Jerry Curry wrote: On Fri, 19 Mar 1999, John Magee wrote: np: Shaver, "Victory". Nothin' like a little sangin' about Juh-heezus before I start an evening of beer and loud guitars. Hell yes.I've always liked Mr. Shaver however this record has taken that admiration to new highs. a masterpeice.. Quippingly yours JC NP: The Essential Hank Snow
re: Richard Thompson
On Sat, 13 Mar 1999, Gregg Makepeace wrote: I guess I don't buy a Richard Thompson album for the cool percussive effects or keyboard noises. Amnesia doesn't really have too much of the heavy handed stuff on it but "Mirror Blue" sure does. this sums it up perfectly. I really really agree with Gregg here. I heard richard do a live radio NPR tour prior to Mirror Blue and was blown away by the songs and looking forward to it . . . then I get the disc and it is flat, overproduced, w/bizarre drums and percussiona and a couple of stupid songs about fast food/cars that I (w/complete ignorance) blame on Froom! g This is well said -- the less production the better with a talent like RT. -jim
dreaded artist of the decade (plus Rushmore)
Well, I went and listened to 'the Mountain' (Steve Del) in the car at a decent volume and I want to ammend my earlier comments. This is a great record . . . not a good one. Really excellent performances and sounds. ANd the songwriting, while tailored to the outfit, is first rate as usual. Which leads me to the (rhetorical?) question: Can anyone top Steve Earle for artist of the decade?? When you put: Train a'comin' Feel Alright El Corazon the Mountain back to back to back to back, and then consider his far reaching influence as producer/label head/guest musician . . . I would be hard pressed to choose anyone else (Especially Alejandro, his talent not taken for granted, but just doesn't match up in my book) for this rediculous honor. I am sure people will offer many opinions, but can any single artist offer this combination of talent, songwriting, bandleading, producing, and far reaching commercial appeal?? Maybe I am a bit early for this discussion, but it is prompted by the release of The Mountain, so thanks for your patience. -jim ps -- I gave the Damnations another spin and still wasn't impressed . . . while with an additional listening of Kelly Willis 'What I Deserve' I found myself more and more pleased. Not blown away, but pleased. pps - 'Rushmore' is IMHO my favorite use of music EVER in a film. The combination of the original score and the in-your-face AND amazingly contemporary sounding Stones/Cat Stevens/Small Faces/Who stuff just makes me crazy with happiness!!
need Richard Buckner interview
Hey Bob Soron or somebody else. Can you send me a private e-mail with the recent Buckner interview where he is so surly?? -jim ps -- I posted that SPIN review of Wilco a few days ago in the midst of my rant and neither Purcell nor anyone else seems to have noticed. Damn those kill files!! g
Re: dreaded artist of the decade (plus Rushmore)
On Fri, 12 Mar 1999, Terry A. Smith wrote: guess I'd make Thompson's decade end in the mid-90s). The point is that for me these two artists are very similar -- masterful songwriters and arrangers, killer vocals and guitar, and every song makes a point. Even though critics and fans have huge expectations for these two, they seldom issue a clunker, and their albums hang together as single works of art. Two of the greatest records of the past dozen years -- Thompson's "Rumor and Sigh" and Earle's "Train a Comin'." -- Terry Smith well, I'd agree with this (re: rumour and sigh) and I gotta say that RT is one of my absolute heroes. Best show I ever saw was RT live (solo) at the Majestic Theater in Detroit in like 1992. Damn . . . But with the exception of Rumour and Sigh I don't think his records hold up as well as his songs. ANd I blame the production more than anything. I would still agree with Terry, if he had done anything that I liked in the last 5 years . . . but INdustry and a bunch of live bootlegs with Danny Thompson has left me a little wanting. Intriguing offering though, Terry. -jim
RE: Fragile Jewel Cases
On Fri, 12 Mar 1999, Hill, Christopher J wrote: I don't think it's your imagination. Ryko's eye-catching green tinged cases break the most often for me, personally. OH My God!! that is the truth. The Ryko Green cases seem to come broken about 70% of the time for me. THey are brittle plastic . . . and wouldn't it just be the green cases that break easiest!! -jim
re: Richard Thompson
On Fri, 12 Mar 1999, Gregg Makepeace wrote: A new RT album with full band called "Mock Tudor" will be released later this year. Froom only guests on keyboards. It's produced by Tom Rothrock and Rob Schnapf, the two guys are that did the latest Beck and Elliott Smith albums. Not sure what to make of that, actually. Well I am really really looking forward to that. I am a chicagoan and I would say there are two changings of the guard that I have long ached for 1.) McCaskey get's relieved of his role as GM of the Bears and 2.) that anyone else but Mitchell Froom produce RT. I am really psyched about both of these things happening!! I cannot wait for that record. Oh actually a third thing might be whomever is responsible for that crappy synth/keyboard padding on recent Springsteen cuts be relieved of their producing input. Even if it is Springsteen himself. I swear that is the cheesiest sound in the world. anyway, -jim ps -- I am slowly reversing my opinion of Summerteeth, and What I Believe to where I am loving them instead of liking them. For that matter the Joe Henry is even having its moments. I am glad I am not a record reviewer!! I would have too many regrets . . . or maybe I am just in a good mood 'cause I am leaving for Austin in 10 hours. g
Re: The Mountain (LONG w/1999 Reviews)
Just when I thought Purcell and I were from different musical planets, he writes a post that I agree with word for word (except I am not much worried about Steve Earle burning out, but that is a minor point). ALong these lines I have these impressions of my latest 1999 purchases: Kelly Willis: A little flat and slick at first impression but certain songs have really grown on me. What I cannot figure out is why her cuts on compilations (i.e. Real: Tom T. Hall Project and Rig Rock Deluxe) practically bring me to spasms of joy and are often my favorite cuts on the comps. But Her solo albums always leave me a little let-down?? Gourds: I am really digging Ghosts of Hallelujah. I love the loose live sound that they have reverted back to (sounds more like Dem's Good Beeble to me than the Waltermelon disc -- although I am a fan of both). The lyrics never reach me on a conscious level (I mean the first song comes out of the gate with the protagonist kicking a dog that is taking a shit!!) but I don't seem to care. I just love their sound and approach and voices. I can even overlook the blatant vocal tributes to Levon Helm, Garth Hudson, and Vic Chestnut. Gets funner every listen. Wilco: I want to LOVE this record. I cheer in public for Tweedy's musical idealism and ambitiousness. HOWEVER only parts of this record work for me. The sounds are interesting but to my ears they don't ALWAYS serve the songs well. To get more wicked I don't think that ALL of the songs are that strong (with the exception of a few - She's a Jar, and a few others are Great!! -- although the last line of She's a Jar is totally distracting and unnecessary IMO). Which leads me to the lyrics which alternate from sweet to morose(sp?) a little too much for my taste. It's like he is doing a musical version of that Jay McInerney book about the high class serial murderer. Except I don't really care about his characters and he repeats the I want to kill you theme a few times to where I am subconsciously wanting to kill him. But I am spinning and spinning this thing -- maybe just to figure out why he so consciously is borrowing from Brian Wilson and Sgt. Pepper's. I am perplexed by this guy and this record. Keeps life interesting. Steve and Dell -- the Mountain has some great songs and the playing is superb -- as if you would expect anything else. I don't see it as a bluegrass record at all. I like it . . . but I agree with Dave and Terry (shoot me!! g) that I prefer the ultra eclectic Steve Earle records. But that said this is fairly eclectic when you consider that he is using Del and the band for Irish tunes, pop-folk ballads, and modern storytelling. The weaknesses are that I too think I am conscious of the writing on a few songs as if (endearingly I might add) Steve is trying to write what he thinks a String Band album should have as topics for songs!! It almost makes me cry how naive and beautiful that is . . . whether it is true or not I picture this prison hardened legendary songwriter thinking about mountains because he is playing with a bluegrass band! Good Record though. Joe Henry -- well sorry but my fellow former Ann Arborite is not doing it for me with his new record 'Fuse'. I just find it boring I guess. The lo-fi hi-fi drum/bass loops with ethereal padding seems to abscure some great lyciral work for me. EVen having a cut on Felicity can't save it for me. Sorry Joe. The Damnations -- now I have the tape pre-realease and I understand that they touched some things up -- but for my money this recording is the over-hyped CD of the year. I have played on the same bill as the Damnations and really think they have great talent and live energy . . . talent to spare and deserve their live rep!! But the record is flat and repetitive and not remotely country. The only song I can remember is the Black Widow and it is too long and reminds me of Trip Shakespeare's weaker moments. The voices are great but don't resemble any of the great sibling duets that they have been compared to. I don't get any of the songs. Emperor's New Clothes . . . QUICKIES: and for what it's worth the new Terry Allen has made a nice (quirky intelligent timeless) impression on me. I don't know what my problem is but I am kind of digging the new Paul Westerberg. Mostly the sounds. and I am totally into the Ray Wiley Hubbard pre-release of the Philo record he is puttng out later this year. that's all I can think of . . . -jim (ducking -- but with a clean conscience -- and without a dictionary!!)
Re: Tweedy quote/alt.country (REAL LONG)
Actually as absurd as this is gonna sound, you are not really the pedant/intellectualizing type Terry. I am sorry. You did manage to get a little condescension in there in my opinion, but ultimately your initial post had a bit too much passion. I am sorry. g -jim On Tue, 9 Mar 1999, Terry A. Smith wrote: Roll, you're a lunatic. But I'll concede the real reason I've declined to set Uncle Tupelo on a pedestal and worship at their feet is the way they used to play rock songs. They'd get going, I'd get into the swing of things, and then they'd pull off one of those annoying stops, and then starts, and then stops, and then starts. Shit, I like my music to keep on rolling, and those guys were playing games with my ears. So there you have it. The rest of my over-intellectualizing pedantry -- advancing the stunning notion that UT fits into a continuum of music, and doesn't stand above folks like Lucinda, Dave Alvin, Neil Young, Doug Sahm, where alternative forms of country music are concerned -- is just pissiness brought on by having to stay home with the kids on -- yet another -- snow day. Now I've got to go out and intellectualize with a snow shovel. -- Terry Smith
Re: Tweedy quote/alt.country (REAL LONG)
On Tue, 9 Mar 1999, Don Yates wrote: of that's no doubt the usual hipster cooler-than-thou pose (which can be found in just about any musical subgenre you care to name), but I'd like to think that it's also an implicit recognition of the value of tradition in country music. OK, I'm foolin' myself -- so what?g--don LOL That's the most hopeful and touching thing I have read in a long time Don!! GGG You ARE an old softy deep down. I'll actually buy that explanation . . . peoples' desire to harken back to the origin of THIS movement is kinda like an emotional cowboy hat!! and an old dusty one to boot . . . -jim
Re: other country terms?
On Mon, 8 Mar 1999, Steve Gardner wrote: And I see no reason to call someone like Wayne Hancock anything but country. The man talks sense. I think that most of the people we are talking about are country. i.e. Wayne, Tom T. Hall, Merle Haggard, Emmylou, etc. I mean maybe instead of defining alt. country someone should define 'Country Music'. Seriously. It seems that we have a tendency to define everything as 'alt. country' or 'new country'. Maybe we want to feel hip or something?? g -jim
Re: Tweedy quote/alt.country (LONG and IRRITATED)
OH boy. Man Terry, you really have my blood boiling up here in Ann Arbor, and I am sure this debate has happened here before. But I am gonna bite anyways. On Fri, 5 Mar 1999, Terry A. Smith wrote: This stuff confuses me, as does the idea that a "movement" evolved around Uncle Tupelo and Tweedy/Farrar. I think you've got your head in the sand if you think that Uncle Tupelo was not at the helm of the current No Depression/Alt. Country ship. This does not mean that they are a great band or that there wasn't non-commercial country prior to UT, (much as one would have to admit there was brit-pop and skiffle prior to the Beatles -- or -- sexy Honky Tonk/RB prior to Elvis Presley). But whether or not you like them we wouldn't have the term Alt.Country or No Depression used as it is without a few select bands UT, Jayhawks to name a couple. A lot of folks, including a lot of "elderly" people on this list, have been listening to what's currently encapsuled in the alt.country category, for up to 30 years, and even longer. This reminds me of a teenager trying to take owenership of his favorite punk band or grunge band. 'I heard it first!! I heard it first". This really isn't relevant to the UT/Tweedy posts. I am 33 years old and have been listening to Hank WIlliams/Bill Monroe/Carters/Balfa Brothers/The Outlaws/Marshal Tucker/The Long Riders/Green on Red/Steve Earle/Dwight Yoakam et. al. for most of my life. Big Deal. I think the point here is not whether the knowledgeable listener appreciates the music, but rather simply from a marketing point of vew the demographic is worth a commercial major label working it. I think Tera's point was well made. The stuff that sells is adolescent/sexy hormonal . . . and Alt. Country, whether the 40 somethings own it or not, is not gong to sell on that level. It's not meant to insult the "elderly" g. Nothing started with Uncle Tupelo, except for a stampede of non-Austin rock-n-rollers deciding to twang it up for awhile, and, thereby, making it a lot more difficult for people like me to pick the wheat from the chaff in the catalogs and record stores. Well, I would somewhat agree with you here. But unfortunately there has always been wheat and chaff and posers and artists. It sounds like you resent UT in some way. Well you have that right. But you are making a senseless generalization here in my opinion. Whether you like UT or not they have had an influence and it is in many ways posistive. They are clearly not a traditional band . . . but they did turn a lot of people on to traditional music who may not have heard it. THey combined punk roots with a love for traditional music and caught people's attention. There are so many loaded words in the sentence above that I don't even want to touch it. Just remember that musicians have every right to be influenced by other music and to play what they want. And that in many cases there are people out there who think that it is a positive thing. Also, I would bet that many people take great solace in the fact that they can sort through the wheat and chaff. Some may even find it fun. What the 'non-austin' part has to do with anything I cannot even guess. IS Austin the only place where people can play Alt. Country?? So many rules to learn!! So while there may be a lot of 40-year-olds gravitating toward the alt.country category, there's a lot of us who were hanging around listening to this stuff before Jeff Tweedy was out of short pants. Uh. Well no doubt. So what?? Doesn't mean that Tweedy shouldn't play his music does it?? Does it mean that sub 40 people should ask permission to listen to him and/or the real alt. country?? I think you missed the point entirely, which is simply that the demographic is not 'Hit Record' material. Alt. Country people aren't old or over the hill -- but rather they very simply aren't teeny-bopper hit making parents'-dollar-spending major label marketing material. That's it. Whether or not you like UT (I am not even a huge fan) without them I say you don't have Alt. Country/No Depression and you may not even have the amout of re-releases that we see today. I also challenge the idea that Alt. Country suddenly includes Bluegrass, Countrypolitan, Old Time, Folk, Punk-a-billy, Cowpunk, etc. Those things existed as genres before Alt. Country and No Depression ever surfaced. I think ultimately the reason that all of those got thrown into the mix was to attempt (and one I would make too) to legitimize Alt. Country as a valid programming format for radio. And we are still losing this struggle . . . which leads back to Tera's point . . . -jim
Re: Tweedy quote/alt.country (LONG and IRRITATED)
On Fri, 5 Mar 1999, Dave Purcell wrote: reference to Tweedy because I'll gladly nominate Jack as the most overrated of the Beats. No one would've heard jack about Jack if Ginsberg hadn't tirelessly shopped and promoted his work. "On The Road" will always be a jackoff work compared to Ginsberg's best stuff. Wow, we must be of very differnt taste, Dave, because I don't think that Ginsberg (or many other people, much less Beats) have ever touched 'On the Road' (or for that matter even the last paragraph of 'On the Road'), Subterraneans, or Dharma Bums. At least we are consistantly opposed!! g -jim ps -- for me the term 'alt. country' indicates the combination of (post Nirvana) ALT-rock and traditional COUNTRY. UT/Jayhawks exemplefy this movement. I mean how can people deny UT's influence when the Alt. Country Bible (No Depression) is named after one of their albums?? Somebody help me here?? (by the way I am aware that the term 'No Depression' has its roots at the very least in The Carter Family -- but I would bet a quick survey of Peter Blackstock and Grant Alden would reveal that they used the term with UT somewhat in mind).
Re: Tweedy quote/alt.country (LONG and IRRITATED)
On 5 Mar 1999, Bill Gribble wrote: ND is *some* people's bible. Honestly I have never even seen a single issue of it. Last night I read a couple of the interviews in the ND book and I was not blown away by the writing. And I have never listened to a single Uncle Tupelo album. I saw Son Volt on Austin City Limits and they bored me. Geez, this medium sucks. I am merely stating that one of the main journals reviewing Americana music (does anyone dispute this?? I am sure there will be) is named after a UT album. If you don't accept this, than I suggest you look up the Origin of the terms Postcard and Postcard2 . . . to which you surely must agree you participate. -jim
Re: Tweedy quote/alt.country (LONG and IRRITATED)
On Fri, 5 Mar 1999, Terry A. Smith wrote: ps I think Jim might have taken my post a little bit wrong, because, I'll admit, it didn't have a great deal to do with Tera's post that was copied in that message. Her post just indirectly sparked those thoughts; I wasn't necessarily challenging her argument. Perhaps. I just find it frustrating that there is a debate as to whether on a concrete level, UT/Son Volt/Wilco can be associated with the origin of the Americana/No Depression/Alternative Country movement. To me it is a no brainer. And it seems highly relevant that both the No Depression Magazine and the Listserves 'Postcard' and the offspring 'Postcard2' are all directly related to UT songs and albums. I AM NOT CONDONING OR JUDGING THE QUALITY OR INTEGRITY OF THESE BANDS, MAGAZINES, OR ASSOCIATIONS, OR ADOPTING THEM FOR MYSELF. JUST ACKNOWLEDGING THAT THEY EXIST FOR MANY (NOT ALL) PEOPLE. I am defintely done with this topic. -Jim
Re: Tweedy quote/alt.country (LONG and IRRITATED)
On Fri, 5 Mar 1999, Terry A. Smith wrote: And how does "No Depression" as a name for a magazine prove anything about Uncle Tupe's music itself? They're the media, right? If they see Uncle Tupelo as big influential innovator, that's fine. But it doesn't necessarily prove anything. -- Terry Smith except that MY ONLY POINT was that the media has dubbed them as the originators of this movement and that THAT is what Tweedy is distancing himself from. --JR
Re: Tweedy quote/alt.country (LONG and IRRITATED)
Jeff Copetas dreamt this up: Exactly, man. The facts is the facts. Hell, I went right out and I bought a pistol right after I heard "Gun" because I worship Uncle Tupelo. And that's not all - when Anodyne came out I rented a car and drove to the New Madrid fault and slept there for a few days in my flannel t-shirt and blue jeans. I then went out a bought a house with a screen door so, I, too, could have my friends over to sing. We would all have our whiskey bottles with us and bitch about the boss and how we just couldn't rip ourselves from our hometown. Those guys SPOKE to me man. They were real. They knew the struggle of farming, just like I did. then lance davis wrote: Tee-hee, this are funny. You know, there's something about comedy that just makes me laugh. to which I add: yeah. huhuh! Especially when it sets a complete moron like me on the high road to knowing more about things. thanks Jeff, I see now. forget all that stupid stuff I said about Tweedy/UT peoples. k? I was dum . . . -jim
'Swollen Circus' -- Pre-SXSW Show
Michael Hall and Walter Salas-Humara present the 4th Annual 'Swollen Circus' at The Hole In The Wall in Austin on Tuesday night, March 16. THE FOURTH ANNUAL SWOLLEN CIRCUS 10:00 - The Naked Barbies 10:20 - Jim Roll 10:40 - Gurf Morlix 11:00 - The Brooders (Michael Hall) 11:20 - Lisa Mednick 11:40 - Tom House 12:00 - The Silos 12:20 - Willard Grant Conspiracy 12:40 - Deanna Varagona (Lambchop) 1:00 - Tom Freund 1:20 - Last Train Home
Re: Tweedy quote
I think that the bottom line is that Alt-Country is the commercial kiss of death. Nobody has really broken thru (Lucinda not excepted), and the radio format is a complete commercial wasteland. When you consider that these people (Wilco, etc.) are on major labels, and have been at this a long time, and want to keep their jobs, it shouldn't be such a mystery that they are very defensive when they seemingly cannot distance themselves from their past. Even more so when the music itself is different and people don't seem to notice. 'Being There' had more Brian Wilson in it than it did any outlaw country act. Yet it must be frustrating to have the press/fans act as if they are still Uncle Tupelo. That said, I don't really think that they would alter their style just to distance themselves . . . but rather they are in new musical territory and want new fans (hopefully without losing the old stallworts). But like Rick Nelson sang: . . . "you can't please everyone, so you got to please yourself." Well, anyway that's my take on it. -jim On Thu, 4 Mar 1999 [EMAIL PROTECTED] wrote: Yes yes, no one likes to be pidgeon-holed and many want the freedom to re-invent themselves from time to time musically. All well and good. But methinks Mr. Tweedy protests too much that
Re: Jim's Big Ego
On Thu, 4 Mar 1999, Bell/Wrightson wrote: But, Todd, there are several Jim's on the list...which one do you mean? Well he couldn't mean me or Caligiuri!! GGggg -Jim
tweedy and kerouac
I think that it would be tough to be an artist who was tabbed with a genre nickname and dubbed its founder. In the case of Jack Kerouac he distanced himself from the 'beat' tag the bast he could but in some ways was unsuccessful. He tired quickly of the trend and the other writers who rode the wave (I am paraphrasing from his letters in the January Atlantic Monthly, I believe). He just wanted to write. In many ways the tag takes over the person. Jack Kerouac -- King of the Beats. It's an easy way out for press and surface level fans to buy the short version of things . . . what about the words and stories?? I try and remember that these people were just doing their thing the best they could and suddenly they are the figurehead of a movement. Tweedy probably never chose the alt-tag for himself. It may appear ungrateful, but he probably has heard that reference 500 times a year . . . and he just wants to keep doing his thing -- music. As far as other successful fringe artists?? Well many of the people Dave named have had very successful major label releases. And maybe Tweedy doesn't want to be a fringe performer?? Nothing wrong with that in my opinion. As a fan I like that the genre remains small and accessable. But when an artist is on a major label it affords him different possibilities and different pressures. I personally don't hold anything against him for his comments or his aspirations. The quote that started this thread was something like "no matter what I do it will be labeled alt-country". If we don't take a defensive posture this statement seems pretty true and not that venomous. And is really more a comment on the mainstream press than on the alt-country fans or it's knowledgeable writers. I really think he is addressing the People magazines of the world who all too easily begin every Wilco headline with Alt-Country Icon Wilco . . . blah blah blah. And just for the record I am not a fan of 'Being There' at all (But I loved AM, Billy Bragg Wilco, and Goldon Smog). And I am really looking forward to hearing Summerteeth. Anyway I've said enough. -jim ps -- and as to why we don't cease talking about Tweedy if he's not alt-country . . . just because. g
RE: Is It or Is It Not?
On Mon, 1 Mar 1999, Jon Weisberger wrote: Actually, Hot Rize mostly got the advantage of using a single mike - the nifty "choreography" - without sacrificing the advantages of a multi-mike setup by using 3 unidirectional mikes sprouting from a single mike stand. actually along that lines, the last time I saw DL and Quicksilver they had 2 AT-4033 mics (one hi and one low) on their single/central mic stand. This was a coupl a years ago, but I would think they would still use the same set-up now. though it's possible they would have changed. -jim
Re: P2 bands @ SXSW?
Neil et. al., I'll be playing SXSW Liberty Lunch at 9pm on Wednesday March 17th, with the Silos as my band (Walter Salas-Humara on Drums!!). It should be fun. As far as other P2 related bands go, I saw the Meat Purveyors on the list. I'm sure there are more?? -jim On Fri, 19 Feb 1999 [EMAIL PROTECTED] wrote: So, in light of the SXW-bashing that went on in these parts earlier this week, are there any P2-related bands making the trek to SXSW this year? Curious for professional reasons. Neal Weiss
more good news fom the music Gods
I have a pre-release tape of the new Ray Wiley Hubbard studio album due out on Philo later this year. Very nice passionate stuff that picks up where Dangerous Spirits left off. Lloyd Maines produced with the usual cast of characters plus a bunch of greasy slide guitar from Ray himself and some nice vocals from Patty Griffin. Lots of gritty Gospel folk concerning down to earth/metaphysical dilemnas, and the small-room band sound is really appealing to me. anyways, add this to the list of great music due out later this year. -jim
matt cook -- performance artist
Admit it Matt. You are not really a Gourds' fan at all, are you?? C'mon?? I have the sneaking suspician that, in the grand tradition of Andy Kaufman, et al. you have decided to deconstruct fandom by creating the absolute most obnoxious fan you or anyone can imagine. Your real genius (c'mon admit it) is that you have exploited the internet and become the first ever virtual performance artist. You aim to make those of us who are still salvageable - aware of the absurdity of identifying with a band or any musical movement and you have chosen our humble little cult to beging tyhe Cook Revisionist movement. I salute you good sir. Matt Cook. You have captured Beatlemania (lightning in a bottle!!) and thrown it back at another generation in a brilliant stunt and stuffed history back in its black whole. gourds. gourds. gourdS. gourDS. gouRDS. goURDS. gOURDS. GOURDS. GOURDS!! ha ha. oh Matt, please let us in on the joke. I know you won't. But breathe easy for we are one step closer to freedom from bondage. Matt Cook. Performance Artist. Liberator!
Re: matt cook -- performance artist
On Thu, 18 Feb 1999, Matt Cook wrote: How am I obnoxious? well not obnoxious in a bad way . . . perhaps it should rather be said that you are remarkably consistant and persistant. The narrator is not always the author. thus my performance artist theory!! g The joke is all at my expense, believe me. I've spent a year of my life on this movie, and it's not finished yet. well maybe it is more fun to not finish it?? my earlier post was more sarcastic than I intended . . . it's just that your love for the gourds is like water seeping into every potential p2 crack/opening . . . and that is a rare (but often times endearing) mindset. -jim
Re: NEA (was sxsw criticisms)
On Wed, 17 Feb 1999, marie arsenault wrote: all the bands I spoke to said that they had very positive experiences. Sponsor presence was subdued. NEA really seemed to be about the bands and the music. I have to agree. NEA was a good experience. As Marie mentioned, the sound/mix people were professional, the sets started and finished on time, the shows (that I know of and played) were very well attended, and there was not a lingering corporate cloud. It was fun. I didn't schmooze much, and the night I played I hadn't heard of anyone but maybe Josh Rouse and possibly one other act, but none-the-less the quality of the music seemed good, and from a music watching and playing standpoint I thought it was pulled off rather well. oh well . . . -jim
Re: SXSW - What is the deal
On Tue, 16 Feb 1999 [EMAIL PROTECTED] wrote: Does anyone of the bands get anything to cover gas, hotel, or anything other than the "exposure". the standard package is that bands get either $175 cash -or- wristbands for all band members and 1 crew member and a badge for one member of the band. -jim
Re: Damnations TX (was Re: best so far
My cue. I have a lot of problems with the original Damnations pre-release . . . but I am gonna reserve comment until the final release comes out (they reportedly did go back to the studio to brush it up). But anyways, count me in as skeptical re: the Damnations TX disc. They are talented as hell (only seen them once, but enjoyed it a lot) . . . just not sure the disc does it for me. -jim On Sun, 7 Feb 1999 [EMAIL PROTECTED] wrote: We've *never* been able to agree on anything (not even on the general worthlessness of Kenny Rogers), and I think if we ever did, we'd just have to shut the list down. After all, what would be the point of carrying on?g--don Don's right. Someone, anyone-maybe even me-has to come out of the woodwork and let this record have it. It's important, don't screw this up. Even if you think it's a good record. This list has a rock-solid three years invested in smear, recriminations, and general ill-will, and we can't screw this up now! Dan "my ass it's a good record" Bentele
Re: Hidden Tracks: Crossposted
On Sat, 23 Jan 1999 [EMAIL PROTECTED] wrote: What was the name of that unlisted Clash track on Sandinista! ? I think you mean Train in Vain on London Calling?? -jim
Joe Henry -- was: Kevin Gordon / Southside Johnny
They featured a Joe Henry tune on Felicity last night!! woohoo!! It sounded like a male Kate Bush meets Sarah McLachlan. But I am open to hearing the whole thing . . . I mean he is an old Ann Arbor-ite g!! -jim ps -- for those of you who missed it Felicity tried to have sex. It was a great moment for america at an opportune time.
