Don The Clock Lindley
My apologies if this has been brought up because I can't read P2 until tonight when I get home - last night in St. Louis, Lucinda Williams dedicated the show to Donald Lindley who she said was in the hospital and "barely hanging on." Anybody know what his status is? This is awful news. -John
Re: Line-d@#*@
At 09:55 AM 1/21/99 -0800, Lianne wrote: But it's also true that men have a hard time learning to dance. And not only do they have to learn how to coordinate their own movements, but then they have to "steer" (lead) the woman, too, and coordinate all her "tricks" (turns) to the right beat. It is a pretty complex maneuver. For some reason learning to dance comes fairly easily to most women. Er, uh, I can attest to that. I went to a cajun dance a couple of weeks ago and have never been so awkward at anything in my life. I kept thinking to myself "how the hell do I manage to play rhythm guitar in a band?" Cheryl picked it up in about 30 seconds. -John
Untold Wealth Of Musicians
At 04:53 PM 1/20/99 +, you wrote: I'd be interested in hearing how P2 musicians handle clubs which demand that a band representative provide a SS# before payment for a gig. (Years ago, one of my associates got audited and the IRS did not accept even his cancelled checks that other band members got paid for a particular gig. Since hearing this, we've "spread the pain around" - just in case . . . ) Tom Smith It's good to see the I.R.S. crack down on the huge untold wealth that all musicians are earning out there. In the meantime, you don't have to pay F.I.C.A. taxes after you amass approximately $60,000 in wages earned. Nope, the tax laws aren't designed to favor the wealthy. I would have loved to hear Clinton have the balls to say he's getting rid of that inequity in his speech last night. For an eye-opener, BTW, go check out the following web-site http://www.cofcc.org and see where the likes of Bob Barr and Tom Delay give speeches and write articles. Go see where they have links to and what they have to say about Lincoln and MLK. Get to know some of the people behind the Clinton impeachment and who you should really be scared of. -John -John
Tom Waits On E-Pulse
Here is a snippet from E-Pulse about the new Tom Waits:
CONTENT / January 15, 1999
1. RECORD OF THE WEEK:
A new disc by TOM WAITS is always cause for celebration, and 'MULE
VARIATIONS' (Epitaph, due in March), his first full record of fresh
material since '93's 'The Black Rider,' doesn't disappoint. While none of
the 16 new tracks would have sounded out of place on '92's Grammy-winning
'Bone Machine,' Waits' percussion-and-distorto-vocal outings ("Big in
Japan," "Lowside of the Road") and rough-hewn, down-trodden ballads
("Georgia Lee," "House Where Nobody Lives") still sound powerful and
compelling. "What's He Building?" is a creepy spoken-word exploration of a
shadowy, perhaps sinister, figure and his mysterious project, and it comes
from the same subterranean mental cavern as 'Bone Machine''s "The Ocean
Doesn't Want Me." Meanwhile, "Chocolate Jesus" gets more mileage out of
the rooster crows heard a time or two in Waits' back catalog. "Get Behind
the Mule" digs deep into the blues tradition a la "Jesus Gonna Be Here,"
with muddy electric guitar and harp trading licks beneath vignettes of
dirty deals and lost love. It's musical and thematic terrain Waits has
covered time and again in the last decade and a half. But considering the
astonishing musical merits of his most recent handful of efforts--'Mule
Variations' included--it's rich terrain indeed. Now all we need is for
Waits to play out. (Hammad)
Re: NP: Lone Justice
At 01:13 PM 1/14/99 -0500, Carl Z. wrote: Agreed. On a sad tangent, I was offline for a while and don't know if it was mentioned, but her older brother died over the holidays. Brian MacLean wrote some of Love's finest material, including Alone Again Or. I don't know much about his solo material (he was apparently recording Christian material at the time of his death), but Rhino (I think -- Jeff W. or Bill L. can confirm) recently collected many of his Love-era demos on one CD. He also wrote one of the best songs on the first Lone Justice album called "Don't Toss Us Away." Patty Loveless also covered this on her "Honky Tonk Angel" album. -John
Re: If you ran into Garth with a used CD in a dark alley.....
I think you're missing Jon's point. The Garthman has been selling his CDs for considerably lower than what he could undoubtedly get for them. He's been doing the same with his concert tickets for quite some time. He could easily be making more money from sales than he is right now if he stopped the considerable discounting of his recordings and concert tickets. Whatever else you wanna say about Garth, he ain't no business dummy. If his *primary* motivation for selling tons of CDs and concert tickets was to make as much money as possible, he surely wouldn't be sellin' his stuff so cheap. As Jon sez, most likely he's after the fame that goes with the record numbers. If he just wanted the bucks, he could easily be making more than he is now.--don I don't care if Garth Brooks has an ego the size of Montana, selling CDs at that price and charging those kind of ticket prices is a good thing for his fans. If Bruce Springsteen or Randy Newman want to sell their new box sets at Garth Brooks-like prices, I wouldn't complain. And I'd even buy those. While we're at it, let's price those "Beg, Scream, Shout" and "Nuggets" box sets down there too. Jon W. said: OK, consider it stricken, but with none of those things - err...uhh... except for old P2 printouts - can you sell the item in question and still retain a reasonably faithful, functional copy thereof (and why the issue gets sharper as home recording technologies improve). Jon makes a good point here. If a person with a CDR burner takes his good powers (making cool compilations, trading live recordings with fans who will buy all the artist's commercially released output and pay to see live performances) and turns evil and starts making CDRs of commercial releases, it seems like it could significantly hurt an artist from a financial standpoint. I can buy a car or a Van Gogh (well, not really) and sell it to another party but just the buyer gets the item for their use or enjoyment from the time when the tranaction takes place. CDs can be different if a person is dishonest and has a CDR burner. They can conceivably buy a Del McCoury CD, burn a CDR, and then sell the CD (as well as numerous CDRs to people who want to save a buck). I can't replicate a car or Van Gogh for a fraction of the cost, keep the almost exact replication, and then sell the the car or Van Gogh. I don't believe this is much of a problem now but it seems like it could be as soon as more and more people get CDR burners as the price keeps dropping. In the case of CDs, the CDR is not just a reasonably, functional copy, I think most people would be hard-pressed to notice any difference from a sound standpoint. As for people who buy a commercially released CD and decide to sell it, I see no problem with that whatsoever. That becomes the equivalent of the sale of any other second-hand item. The new recording technology does make the issue more complex than before however. -John
