CALLING ALL NANCI GRIFFITH FANS
Are you out there? I'm looking for a *huge* Nanci Griffith fan who can also articulate in words why. This is like an open casting call. If you are this person, e-mail me OFFLIST ASAP. Neal Weiss
Clip: Old 97s from Allstar
Old 97's Throw Left Hooks On Fight Songs After rising through the ranks of the alt.country movement to become one of its brightest hopes, the Old 97's are in a bit of a quandary these days: do they stay loyal to the sound or follow their pop instincts to break through to a wider audience? It's a dilemma similar to that of Wilco, who have veered further into Beach Boys-ish territory of late, and Old 97's singer/ guitarist Rhett Miller understands the impulse. The band's new, forth album, Fight Songs, released Tuesday (April 27) on Elektra, is unapologetically hooky. In fact, some fans who have heard one of the new album's catchiest songs, "19," mistook it for Weezer. "Well, better Weezer than the Rembrandts," laughs Miller, who also writes all of the band's songs. "[The pop] is pretty obvious. It wasn't even where we were going. I was playing ['19'] at a soundcheck, and I had the verse, and [guitarist] Ken [Bethea] goes, 'Man, that's a good song -- you should write that.'" At the time, Miller was trying to pen songs for other artists. "I'd come up with that for someone else, thinking the Old 97's would never do it," he says. "We'd never done a song that was a straight 2/4, three-chord approach. It was usually over a shuffle or a waltz rhythm. So that was weird, but I'm happy with it." That's not to say that all of Fight Songs sounds like a different band. On the contrary, "Crash on the Barrelhead" bears an unmistakable country twang, and the shuffle beat of "Indefinitely" is reminiscent of songs like "Salome" and "Timebomb" from their 1997 album Too Far to Care. Still, the move towards blatantly infectious pop is intentional. And although Miller is cautious about alienating his alt.country fanbase, he's just as insistent on being allowed to pursue his muse, in much the same way Jeff Tweedy of Wilco has been defending his recent albums (allstar, March 10). "People think there are these rules," he says. "But I didn't make them. Jeff Tweedy didn't make them, and [we] can't be expected to adhere to them. "It's funny," he continues, "when we finished the record, I gave Frank Black a copy of it and John Doe a copy of it -- because who has more integrity than those two guys? -- just to make sure everything was cool, and that we weren't selling out, or whatever we're gonna get accused of. And they loved it. They said, 'If there's a song you can take to radio, go.' They both said, 'Money is freedom.'" Although the band -- which also includes bassist Murry Hammond and drummer Philip Peeples -- has long been based in Dallas, Miller recently moved to L.A. to be with his girlfriend. "I'm an American Airlines Advantage Gold customer," he laughs. "I fly back a lot for rehearsals, I fly back a lot for gigs, I'm constantly flying. But $270 gets me home, and if the gig pays well then it's not that big a deal." He figures to be doing even more flying when the Old 97's hit the road in support of Fight Songs. "The label would like us to be an opening act on a big tour, like R.E.M., but in addition to that we'll be doing a lot of headlining club shows," says Miller. "We're a hard opening act. I remember there was a long time when we'd be opening for Son Volt here and there, and they didn't like it." Indeed, the sheer, sweaty energy of an Old 97's show has long been a bane to any act that follows them. "That's just what we do," says Miller. "So I guess if it's R.E.M., they're not really running a risk of us, you know, upstaging them." - John Bitzer
Re: did you say COOK!!??
In a message dated 4/27/99 0:33:02 AM EST, [EMAIL PROTECTED] writes: Uh, this is supposed to offlist to Nicholas Petti, or onlist at the NoCal Cooks' equivalent of P2, whatever that is. Sorry folks. -- NW Hello Nicholas, Neal Weiss is my brother in law. He sent me an e-mail from you saying you were looking for some help. Perhaps I could be of assistance to you. Where are you located? I have been cooking for over 12years in all kinds of restaurants. Give me a ring and we can chat about it. If I don't fit your needs, I know of several folks who might be interested. Thanks
Re: Bad Company quote, URL
In a message dated 4/27/99 3:05:41 PM EST, [EMAIL PROTECTED] writes: This is pretty funny. The guy has a great voice and as a kid I certainly dug Free, but unfortunately Bad Co was the downfall of both Rodgers and, even more unfortunately in my book, Mott the Hoople founder Mick Ralphs The downfall? How so? That band rocked... for a while. That first record alone is a 70s hard rock classic. NW
Re: roadtrip ideas
In a message dated 4/27/99 3:24:50 PM EST, [EMAIL PROTECTED] writes: anyone have any suggestions/reccomendations of cool spots, good shows, great places to eat, the coolest 'Home of the Largest __'monuments, whatever anywhere west? any state is fine, any out of the way spot, hell, the band doesn't even have to have a name, we're easy (at least that's what we keep hearing) No trip is complete without a stop at the World's Tallest Themometer in Baker, CA. But that goes without saying. NW
Re: Bad Company quote, URL
In a message dated 4/27/99 3:47:42 PM EST, [EMAIL PROTECTED] writes: Although I haven't owned any Free for years, I do own some Mott albums and actually listen to them periodically. Whereas, I can't see myself listening to any Bad Co, etc Those two are just associated with the earlier bands in my mind, I guess. Well, the greatness of Mott is without dispute, but what did Free really offer to the world except for on great song? Bad Co did have at least one great album and several other fine moments, which, admittedly, did become fewer and fewer with each album. It was at least enough to fill about 2/3rds of a best of collection, if my hazy memory proves correct. To think I'd be discussing Bad Co. today. Yow. Neal Weiss
Re: Bad Company quote, URL
In a message dated 4/27/99 4:38:39 PM EST, [EMAIL PROTECTED] writes: That's quite alright, because by digging Bad Company.I then moved retrospectively and discovered both Free and Mott the Hoople. Loved Paul Kossoff and I won't even mention how much I love Ian Hunter. And.speaking of Paul Rodger's voice, that's why I liked The Firm so much. Man, can he sing Rock Roll. Jeez Jerry, you had to go ruin it by bringing up the Firm, didn't you? I was right there with ya before then, having loved Bad Co, having totally obsessed over Ian and Mott, and then this happens. Dang me. NW np - Boo-tay
Nanci Griffith info
Any one out there a Nanci Griffith buff? I'm fixing to interview her this week and need to do my homework. Most of the bio stuff found online tends to be outdated at this point. I thought I heard that she was retiring from the road soon. Is that on track? Neal Weiss
Bocelli rawks
I know, a silly, silly, thought, but if there are any opera buffs currently a part of the P2 cult, I might need your help. Especially if you're well-versed in Verdi and La Traviata. My immediate life is editing some copy on the aformentioned composer and work, and I might as well be trying to read Swahili. E-mail me offlist, please.
Country Weekly magazine?
And another thought. Who can tell me what about Country Weekly? Good? Fluffalicious? I suspect it's been raked over the P2 coals in the past, but I wasn't listening then, dammit. And now I need to know. My life depends on it. NW
Re: Meat Puppets (was Re: Speaking of Noise)
In a message dated 4/26/99 8:11:06 PM EST, [EMAIL PROTECTED] writes: You have reason to be skeptical, judging from the new lineup's performance at Liberty Lunch during SXSW. They were disappointing at best, mediocre at worst, and not very much like the Meat Puppets, really. It was an unfortunate way for us to close out what had been a pretty solid, if not breathtaking, string of shows at SXSW, and an unfortunate reminder that the Meat Pups now belong to the past. Do you include the Bottle Rockets, who played right before the Pups at that same venue, in your string of breathtaking shows? I'm curious because I thought the were pretty awful, as well as arrogant as hell, refusing to play *any* old material at all and practically taunting they they were twangless. What was left was southern and crotch rock not unlike Radar Gun, which is the band at its worst. imho. And then there was that one song that was so rudimentary in its rhymes that you had to wonder if it was real. Me and Copetas sure had fun playing "guess the next line" during that one, which I don't think was the reaction the band had intended. Suddenly venomous, Neal Weiss
Re: Dwight Best of
In a message dated 4/23/99 10:19:37 AM EST, [EMAIL PROTECTED] writes: I read in the Dallas paper yesterday that Dwight's version of "Crazy Little Thing Called Love" (from that Gap commercial) will appear on his new best of collection. Funny isn't it, that a song used exclusively for a TV commericial (thus far) falls under the category of "best of." NW
Re: Most albums sold, per RIAA
In a message dated 4/23/99 7:05:34 AM EST, [EMAIL PROTECTED] writes: "Just because something sells like hotcakes doesn't mean it's any good" I'll go one step further and say that because something sells like hotcakes there's a damn good chance it means it sucks big time. Guilty until proven innocent for me. When did this tide turn from the best selling the best (Elvis, Beatles, etc.) to the worst selling the best (too many to reference)? Neal Weiss
Re: Mandy B
In a message dated 4/22/99 1:18:02 PM EST, [EMAIL PROTECTED] writes: "Who" and "The Whispering Wind," both cowritten by l. russell brown (of "tie a yellow ribbon" fame) and pat mclaughlin, are the only two new ones on barnett's album. "Whispering Wind" is killing me, currently the greatest musical moment in my immediate playlist. Flat-out gorgeous. The moment in which she sings those long notes (the words escape me right now) make me light-headed. Wowee zowee. Neal Weiss country-lovin' rock guy np - Feelies, Good Earth
Re: Mandy B
In a message dated 4/22/99 1:30:26 PM EST, [EMAIL PROTECTED] writes:
*Someone* here has to know who did the
Boudleaux and Felice song ("Don't Forget To Cry").
Beck?
Re: Artist of the Decade?
I think perhaps, Cobain's voice spoiled the overall sound for me and that's why I gave the record such short shrift. Wow, I tend Cobain's voice *makes* the record. Someone once called him the "human Marshall stack." I couldn't have put it any better. One of the best rock voices to ever come down the pike. NW
Re: Artist of the Decade?
Do you know the difference between rap and hip-hop? I don't. Enlighten me.
Re: Artist of the Decade?
In a message dated 4/22/99 7:19:35 PM EST, [EMAIL PROTECTED] writes: I do think Neal has a pretty valid point about how powerful the Beasties' influence has been in breaking various elements of hip-hop culture into the white middle-class, their whole Grand Royal label-'zine-clothing mini-empire is pretty good testament to that. But I'd also say that the Beasties have been as much a rock as a rap act in this decade Hey Dan, thanks for those props (aren't I *so* down with the lingo), but I never said nothing of the sort. I've been too busy harping about the greatness that was St. Kurt. NW
Re: aotd Jeff Tweedy?
In a message dated 4/22/99 7:40:09 PM EST, [EMAIL PROTECTED] writes: I still think he's in Cobain's long shadow, by the by, and my personal feeling is that he's just not quite the burst of light he'd need to be to qualify, but Odelay, Transmutations - and I'd bet the upcoming "official" Odelay followup - make a good case. And let's not forget "Loser," the single that originally put him on the map and became a minor pop-cultural phenomenon. I'll rank that song as one of the most emblematic rock moments of the '90s. Top two maybe, second to "Teen Spirit," I reckon. Notice I said rock moments. I'm sick of trying to compete with the country thinkers. They look at the world funny. Neal Weiss
Re: Most albums sold, per RIAA
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 But even after accounting for Elvis's handicap in that regard, Brooks' sales record is still astonishing, given that he sucks. NW
Re: Artist of the Decade?
In a message dated 4/21/99 3:00:28 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: What does everybody think of Rolling Stone's typically head up their ass selection of Kurt Cobain as Artist of the Decade? Try most pathetic loser of the decade. The guy had nothing interesting to say musically or lyrically and then he blew his brains out. Any alternative selections we P-2ers can offer them. Wow. Do I even bother counterpointing this? Let's just say that whatever Slone said above, consider my opinions the exact opposite. Except the fact that Cobain blew his brains out. That is irrefutable. And really fucking tragic, if you ask me. Obviously, Slone disagrees. Neal Weiss
Re: Wilco @ Pearl Street
In a message dated 4/20/99 2:38:17 PM EST, [EMAIL PROTECTED] writes: It has struck me that Tweedy has gotten to be much more of an attitude performer as the years have rolled on. In UT, he was quite the ray of sunshine and the entertaining one compared to Farrar, and he continued to have an entertainer's approach and worked his intrinsic charm during the early Wilco tours. Last couple of years, however, as best I've been able to observe it, he has definitely caught the artiste bug, in terms of his performance style. I dunno tho, sure he might be more the artiste nowadays, but I still think he tends to be very charming onstage. At least I've never seem him be anything but. I even saw him do an acoustic performance once in LA before AM came out where he was sick from bad Mexican food. He had to excuse himself more than once to use the facilities, much to the amusement of Jay Bennet. And more recently, on the Golden Smog tour, he was bar far the most charismatic performer on that stage. Anyhoo. Neal Weiss
Hey KC? Frogpond?
Just heard a song by Frogpond on bravenewworld.net and it was really something special in a twangless, indie pop sort of way. Anyone know anything about 'em? Cantwell? Do you dip in this part of the local-music pool? Wowee. I love when this happens. NW
Re: Single Most Influential 20th Century Pop Musician
Your comments mirror those that have come in since I sent you the message. I for one enjoy these things on a one on one basis, but back and forth over this list thing get a little annoying. The whole thing started because the argument was that Jahnny Cash was more influential that Dylan. Rediculous, I know, but that's what they were arguing about. Hey Jason, if the incessant nature of threads and absurd, pointless arguments get to you, you might not be long for this list. This is just a typical day in the life of P2. And just wait til we rehash one of those recipe threads or my particular favorite: the greatest pitcher ever, which, of course, would Sandy Koufax, the Bob Dylan of his profession. Neal Weiss
Re: Single Most Influential 20th Century Pop Musician
In a message dated 4/19/99 2:45:23 PM EST, [EMAIL PROTECTED] writes: Agreed. David Crosby was really something else. He ain't shit compared to Norm.
Re: Single Most Influential 20th Century Pop Musician
The most influential pop musicians of the 20th century are, in order: 1) Louis Armstrong 2) Elvis Presley 3) James Brown 4) Bing Crosby Armstrong and Crosby loom over the first half of the century the way Elvis and JB do the second. Who's #5? Mahalia? Ellington? The Beatles or Dylan? Hank? I don't know, but those first four, man, no one can touch them. --david cantwell Well, in order to reel in this madness, let's focus on rock, instead of pop. Who then? Elvis, Dylan or Cash or... ? I still stand by Dylan over Cash easily, but there's a good argument to be made that Elvis wins over Dylan. After all, he did define the sound, and he gets props for being maybe the first punk rocker by virture of swiveling his hips and all. Even still, nowadays, it makes much more sense to me to invoke Dylan, as I guess you all have discerned by now. And that's not just because *my* singing voice is stuck in my nose too. Neal Weiss np - Forces of Nature soundtrack
Re: The Barkers : mp3s, new record, tour, etc.
As we speak I'm uploading mp3's of a few songs to mp3.com. I've never done this before so I have no idea how or when they'll show up there. I'm putting them in the "pop" genre but don't let that scare you. The Barkers do have a bit of ELO-nature but we also have a goodly amount of twang. Hey Bill, congrats on the release. Keep us posted on how the MP3 experience goes, won't ya? I'm definitely curious to hear how this technology might affect the business of music from the standpoint of a (relatively) unknown artist. I always hear the hype, but I want first-hand experience. Sorry to call you unknown. You know what I mean. Neal Weiss
Re: Remember, its Denver
Cash eclipses Dylan. Cash is one of only two musicians in both the country and rock halls of fame. Cash has Dylan in decades o' influence, five to four. Cash helped *found* rock roll, for chrissake. I'll still disagree with you Dave. First off, who gives a rat's ass about how many halls of fame Cash is in compared to Dylan. Are you really gonna give creedence to an organization (rock) that inducts Billy Joel as a member? Pshaw. You know better than to use that as an argument. Plus, in this here day and age, every singer-songwriter who ever picked up an acoustic guitar, every folk-rocker, every punk rocker and every politically charged rapper (and any other outspoken musician), and every artist who defied their own musical definition and followed his or her own muse, quite likely owes a debt to the Zim. Where's the obvious examples of modern-day repercussions of Cash's work? And if Cash *found* rock roll, does that mean Elvis didn't? Hmm... guess I've got my musical references all wrong. Neal Weiss
Re: Remember, its Denver
There just aren't many artists in any genre as influential as Cash. Dylan maybe. Dylan *maybe*? How about: "There just aren't many artists in any genre as influential as Dylan. Cash maybe." But I doubt it. Bob Dylan's the single most influential pop musician in the 20th century. Hands down. Either him or Mark Linkous in Sparklehorse, that is. Neal Weiss
Re: AOTD again
So, I caught the AOTD's 15-minute portion of the second show on the Opry Saturday night, and what he did was, he came out with just his guitar and sang a Guy Clark song I didn't know Beck was playing the Opry. Damn. NW
help: trying to get stories straight
Any one recall Shania Twain re-recording or remixing "Still the One" for pop airplay? Something about deleting the fiddles or so? Plus, I seem to recall the Dixie Chicks being asked to make some sort of similar compromise to be on some TV show but refused? Do either of these scenarios sound right? Foggy. Neal Weiss
Re: criminally underappreciated albums of the '90s
In a message dated 4/16/99 12:12:13 PM EST, [EMAIL PROTECTED] writes: Matthew Sweet's "Girlfriend" Violent Fems "1st Album" Wha? These were "criminally underappreciated"? I think Sweet did pretty well by "Girlfriend," didn't he? And that friggin Femmes album, or at least "Blister of the Sun" and a couple others, has taken on so much of a life of its own on Modern Rock/80s radio that it's impossible to listen to nowadays. Besides, that's a 1980s album. Anyhoo, two I'll suggest off the top of my head are Freedy Johnston's "Can You Fly" and Matthew Ryan's "May Day," two albums I've been thinking of lately as I listen to Pete Krebs' fantastic new one. It got me thinking that every once is a while the singer-songwriter mode is still vital. Anyhoo. Neal Weiss
Krebs
In a message dated 4/16/99 1:13:56 PM EST, [EMAIL PROTECTED] writes: Ok, this is the 14th time you've mentioned Krebs in the last day. What's the scoopage? It's hard to pinpoint what separates him from the million-and-one guys with guitars out there. PacNW fellow from Hazel and Golden Delicious... It's part Young Fresh Fellows pop, part Elliott Smith downbeats, all of which is awash in warmth and twang. The voice is versatile and the songs are wonderful -- tender, sad, desperate, but also humorous, as is the case with "Analog," a song about LPs sung from the LPs perspective. "Sitting on the stereo... waiting for you to turn me around..." It's on Cavity Search. I can't stop playing the bugger. Don, Jake, anyone up that way... will ya testify? Neal Weiss
Re: criminally underappreciated albums of the '90s
In a message dated 4/16/99 1:43:33 PM EST, [EMAIL PROTECTED] writes: Just for the heck of it, I thought I'd make up a list of criminally underappreciated country and bluegrass albums of the '90s: Jon, wouldn't some people article that practically by definition, bluegrass albums are underappreciated? NW
Re: weird Muzak experiences
I was in the HEB supermarket too.. many... jokes... NW, whose wife's uncle once called me "the 'brew" as in "Hebrew."
Re: Kiss Kiss Hug Hug
Kentucky is much prettier than England this time of year, pally. I'm not concerned about my status of "cool" when the arbiter is some guy in living across the river from Cincy, Ohio, of all places. NW
Re: Questionable Bloodshot Releasesg
So a group of us are wondering: what the hell is there gonna be a Knitters tribute album for? That doesn't make much sense. What are they gonna cover, John Doe covering Merle? Huh? DId I miss something? A Knitters tribute? Can someone give the lowdown on this? NW
Re: weird Muzak experiences
In a message dated 4/15/99 1:13:15 PM EST, [EMAIL PROTECTED] writes: I think so. Unless you're looking for some Payola in which case call Tar Hut. Totally. While in Austin, those guys *drove* me to see the Ex-Husbands, bought me dinner and then gave me a ride back to my motel. Talk about perks. Yow. NW
Re: weird Muzak experiences
In a message dated 4/15/99 1:44:23 PM EST, [EMAIL PROTECTED] writes: Not to mention that we actually picked up 'ol Neil in one of those old 1970s golf carts with the big L.A. Dodgers hat on top of it that tey used to bring the pitchers in from the bullpen with. We go the extra fuckin mile. But did you bring Sandy Koufax with you to talk about the Tarhut line-up? He would have loved that. You know how to go straight to my heart. I'd fucking love an LA Dodger golf cart. I could park it in my driveway and use it to back down the 30 or so feet to get my mail every day, kinda like the guy in the mansion in Northridge when I was growing up who had a Raiders cart for mail and trash. Of course, his driveway was about 100 yards long. Good fluffy thread here folks. NW np - Peter Himmelman
Re: Khaki Country
my guess is that this may have been discussed already, but since i only recently rejoined the fray, i'm curious whaty the consensus is/was about Dwight Yoakum doing a Gap Ad? I couldn't care less about Yoakam doing the ad -- if this is an ethical issue we're considering -- because at this point, artists doing endorsements is so common day that it's pointless to cry foul unless it's someone who has truly spoken out about it otherwise. In other words, I give up riding that high horse about art and commerce. Plus, FWIW, it's not like Dwight's compromising one of his own songs. That's actually what I find to be the real puzzle here. He's convering a *Queen* song, fercrinity. How the hell does that happen? No word if Dwight's gonna go the jump suit/chest hair route. Neal Weiss np - Marc Olsen
Re: Kiss Kiss Hug Hug
Sez Neal I'm not concerned about my status of "cool" when the arbiter is some guy in living across the river from Cincy, Ohio, of all places. Brother, if you ain't been there, you don't know. Yeah, but I know Purcell. That's a majority of one that colors my images of that region. Heh. Brother Neal
Re: Khaki Country
I love the ad too. And I hate khakis. wouldn't you consider the song to be more a Rockabilly knockoff than country? I would. Okay, I gotta ask, how can one "hate" a particular style of pant that's been around forever? What's to hate? The color? The creases? I don't get it. Wearing khakis today, NW
Re: autoclip: Sparklehorse/Varnaline
Nice work Carl. Meanwhile, this line: "So do you have any idea what they sound like" reminds me of my predicament before seeing them in SF. We were actually in SF to do some in-law stuff, and thus, were sharing a rental with my sister in law and her mucho macho hubby, they who reside in Boise and wouldn't know nuttin about new music whatsoever. For them, it's HNC and Adult contemporary, period, and Jeff Foxworthy, of course. And when we told them we were going to see Sparklehorse -- who they proceeded to inadvertently refer to as the Sparkle Boys from then on -- they asked, "what do they sound like?" Well, they might as well have been asking me to explain the theory of relativity. I can't, and there was no way in hell I could even begin to describe a band to someone who has zero knowledge of the terminology and reference points. Think about it. To them, "Alt" means nothing, nor does "edgy," "punk," "twisted guitar pop," "a la Flaming Lips" ... none of it would have made sense to them. I was completely befuddled. "Well, um, it's, kinda folk, but really loud, kinda like Neil Young... the lead guy's REALLY weird... A mad scientist type." Ugh. The moral of this story: I forget that my circle of friends -- physical ones or those in e-mail form -- are a smidgen of a smidgen of the population. The real world doesn't think the way we do. Neal Weiss np - Delphonic Sounds Today! A good lesson.
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
Re: Kiss Kiss Hug Hug
Now, Mr. Weiss. Jon knows, and a good number of us know, excatly what Mr. Riedie's hair looks like. It was a Twangfest bonus last time around. When you show up in St. Louis, as we all know you will, of course, you will get to see Riedie's hair too. Comes with the admission. Unfortunately, this Weiss traveling to St. Louis is not looking bloody likely. Was just forced to buy a car (ah the joys of some fucking idiot making an illegal left and destroying me beloved, *paid off* Subaru wagon) and am about to plunk down several hundred bucks, maybe even four figures to get trees trimmed on the north 40 of the compound. (Ah, The joys of homeownership.) Plus, the big trip for me and my better half is to the UK later this year, and I ain't talking about a plce where Wildcats play round ball. In other words, there's only so much buckage to go around. Boo hoo. And to think I was getting pretty fired up about the concept of having my own badge, as CK said he would see to. I would have been the mack daddy... all that... for real... Raise the roof. NW
Re: Kiss Kiss Hug Hug
Oh shit, that whiny note was s'pozed to be offlist to Barry, I think. Damn. Like you all wanted to read all that stuff. Anyway, as long as I'm using bandwidth, it dawned on me that three of the albums I'm currently enjoying -- Pete Krebs, Gerald Collier and Marc Olsen -- all are singer-songwriter types from the Northwest. What's up with that? That's my indepth post for the moment. Real jobs suck. Neal Weiss
Re: Gerald Collier
In a message dated 4/14/99 6:49:39 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: With respect to Gerald Collier, are you referring to the full-length release from 1998, or the current EP release? His new EP, in which Gerald's Willie fandom manifests itself to its fullest extent. It's a really nice collection, if too short. Man can he sing. Man can he make you feel. Neal Weiss
Re: SOTD
Okay, if y'all won't consider Linda McCartney, I will withdraw the submission in favor of a real one: Jon Brion. The man is all over so many albums, both as a producer and as a musician (Grant Lee Buffalo, Aimee Mann, Eels, Wallflowers, Fiona Apple, Robyn Hitchcock, Sam Phillips, Mary Lou Lord, Elliott Smith... just to name a few of *dozens* of noteworthy artists he's worked with in the 90s), playing just about every instrument conceivable, from drums to calliope to vibraphone to optigon. Truly remarkable if you ask me. I can't even think of another session/side guy that comes close to approximating the resume he's amassed in recent years. Plus, the man in incredibly inventive. Need more proof, go to http://www.allmusic.com/cg/x.dll?p=amgsql=B59455 and see for yourself. I rest my case. Neal Weiss
Re: Emmylou, Gram tribute, Crow the hack
I am confused. Please explain. Sounding like Beth Orton--a hugely overrated critics' darling whose voice is almost completely without timbre and whose songwriting reminds me of the sort of bad poetry that teenage girls scribble in their diaries--is a good thing? I am confused. Well, confused girl, I said nothing about the sound of Orton's voice nor lyrics in comparing her to Gillian Welch's Parson's cover. I said that Welch sounding Orton like with electronica ambience, or some sort of mumbo jumbo, meaning, that there is a bit of a atmospheric synth stuff that colors what is otherwise typically wonderful acoustic folkage. Thus, it make me think of the folk electronica hybrid that Orton's doing, a chemistry which I happen to like mucho. Cheers. Neal Weiss
Re: Wilco's new horizon
Maybe we just don't like Wilco. speak for yourself, bub. NW
Re: Emmylou, Gram tribute, Crow the hack
Sheryl Crow does a very creditable duet with Emmylou on the forthcoming Gram tribute (anyone have an advance of this yet?) Emmylou Harris was interviewed on radio 2 (UK) last night, and they played that track and a weird and wonderful version of Ooh Las Vegas by a distinctly ambient Cowboy Junkies. Sounds like it should be a great album. I'm bummed they didnt play the Welch and Rawlings' Hickory Wind. Is there a release date yet for this? The Welch is wonderful. It has a hint of Beth Orton-like electro-ambience that is very cool. Actually, I'm mostly impressed with this collection, even if I was prepared to not be, my preconception being that it was just gonna be more of the same ol'-same ol'. Chrissie Hynde, Lucinda, Whiskeytown and Welch all do some might fine stuff, to name a few off the top of my noggin. The downside so far: Wilco and Hillman/Earle, essentially for the same reason, being that their versions sound like little more than late-set bashings, and the Cowboy Junkies, which, while plenty inventive, just seems to be confused over what it is. The Crow track, is perfectly fine, methinks, if nothing that revelatory. My two centavos. Neal Weiss np - Al Green on shoutcast.com. T1 connex rule.
Re: Wilco's new horizon
Don, my love, you must admit there's a creepy unanimity among the critics regarding this release. There a definitely lemmings afoot. Like this is anything new? Critics tend to think like critics. Most of us have that same chip in our heads that makes us like music that most sensible human beings think is crap. Like Joe Henry, like Sparklehorse, like Sleater-Kinney, to name a few currently on my short list, and likely several others'. Oh yeah, and Wilco, which I think is just wonderful. Does that make me a lemming? Perceive as you may. I don't give a hoot. Off to buy a car, begrudgingly. Neal Weiss
Re: Japanese hipsterism....
Just for the record, Cibo Matto kick butt and I've never met a Japanese Band I didnt like. And I know Cibo Matto are from NYC but you get my point. Bring on The Boredoms, bring on the 5, 6, 7, 8's bring on The Zoobombs, bring on Shonen Knife. Got me thinking, anyone know who the most popular Japanese artist in US history might be? I can't think of anyone beyond Cibo Matto, who, by virtue of being on a major label, might win this pony race. Suddenly I am struck by the 1960's Japanese bluegrass band featured in the documentary High Lonesome. Funny. Cool. Funny cool. NW np - Luaka Bop sampler. Jim White rules.
Re: Today is the 99th day of the 99th year:Tornadoes
In a message dated 4/8/99 5:26:42 PM EST, [EMAIL PROTECTED] writes: It's also close to my tornado experience anniversary - and I was thinking to celebrate, I'd lock myself in the house with a lot of fortifying likker and listen to tornado and other catastrophic-near-death themed songs. So, I was hoping you could help with some suggestions... Jim White, "A Perfect Day to Chase Tornados" Very creepy. NW
Re: And you think earthquakes and floods bite...
In a message dated 4/8/99 7:46:30 PM EST, [EMAIL PROTECTED] writes: In the Valley! WOOO! Cal State Northridge! Might even be on the same terra firma once trod upon by the Monkees and Jimi Hendrix! I'm there! (no, not right now, but it mere miles from this slice of suburbia the misses has grown to loathe. Jeez, the idea of going to the Valley on my birthday... I think I've got a root canal that day. NW
Re: former future frimfram on the fritz
In a message dated 4/7/99 8:35:55 AM EST, [EMAIL PROTECTED] writes: Adding to the fluff -- even if it is twang related fluff -- Earle's still married to wife #6. Y'all wouldn't want Earle to participate in bigamy, now would ya? Jeff Ah bummer, I thought you were gonna share the story about #7. Come on big bro. NW
Re: X in L.A.
In a message dated 4/7/99 3:58:27 PM EST, [EMAIL PROTECTED] writes: Do any of the L.A. types on the list know if the X shows at the House of Blues in June are on sale yet? Weiss Bros.? Dunno, but I can't imagine they are this far in advance. You might go to hob.com for guidance, assuming there is any to be found there. NW
Re: Chrissie Hynde in Salon
My former future wife Chrissie Hynde (#3 on the list this week behind Emmylou and Ashley Judd) is this week's subject in Salon's ongoing Brilliant Careers series: Chrissie, btw, is just magnificent on the opening track to the new Gram tribute on Almo. Makes me want to have a Pretenders Weekend. NW
Re: Television Live (and twangless)
Everyone's entitled to their own opinion blah blah blah, but I have to interject an objection here. I remember the first weekend I went to CBGB's, back in 75 or 76. First night it was Mink Deville and Ramones, next night was Talking Heads opening for Television. As great as Ramones were, Television blew em away. I've never been a big fan of guitar solos, but Verlaine and Lloyd always managed to surprise me. And "Marquee Moon" still holds up. FWIW, anyone a fan of Television who hasn't tapped into Sleater-Kinney might want to check 'em out. They're two-guitar interplay is really something special. As is their two vocal interplay. Just two of several things that make them maybe the most vital rock band around at the moment. Cheerleadingly, Neal Weiss
KPIG
Anyone out there a fan of KPIG on the web? And if so, why? Feel free to send me a note OFFLIST and let me know if you're okay with being quoted for an article I'm working on. Let me know where you call home, too. deadlining, Neal Weiss
Re: Brother Ray info requested
Ray Charles will be playing relatively nearby. Has anyone seen him recently and is the show worth going to. Bear in mind that going would mean major hardship for me as it's on a Friday night a few hours away and as a new restaurant owner that's no kind of recipe for success. I do however fucking love Ray Charles. Nicholas, I saw him for the first time last summer at the Hollywood Bowl. His voice sounded wonderful, and several times I got goose bumps listening to him do his thing. The only drawback, he played for no more than 60 minutes total. Still, I was pretty thrilled not only to finally see this legend, but to see him perform so well. Neal Weiss
CD Length?
Anyone happen to know the maximun amount of music that can fit on a single CD? Gracias. NW
Drake (Re: Kelly Willis calling the shots)
Soron writes: As a minor Drake fan(atic), 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... Neal Weiss
your worst fears realized
This from the current LA Weekly. Everything evil you've ever believed about the record biz is true, according to this, at least. Pretty amazing stuff. -- Neal Weiss --- The Suit An Anonymous Executive Talks by Sarah Luck Pearson "Youre writing about dropping bands, right?" says a major-label president who randomly answered his phone. "But I cant do it. And you know why." Later he agrees to a rare interview if his name is forever guarded in anonymity and if none of his bands are examined. Arnold, as Ill call him, wants the description of a different man, black rectangles to mask his eyes and an underwater TV gurgle attached to his voice. "Im only doing it because when we drop a band it means that weve failed them," he whispers. "And because if I were you, this would be the article I would want to write." A week later, Arnolds face is hidden behind an ergonomic throne. Posters of his victory bands decorate the walls. When he barks into the phone, "Yeah, Ill be happy to call the monster and argue with her I love her," he sounds momentarily happy, like a dog trying to get a ball out of a tight spot. That the monster in question is extremely well known doesnt make him sweat: He is expert in diva resolutions. But you get the impression that his sleep is fitful, that his vacations are slightly paranoid. He has the alluring air of an uncle who has done well for himself but still takes a moment to bounce you on his knee. It would be hard to hate him, easy to hold his hand if he were in pain. You get the feeling he always has a long- winded joke ready to tell and a closet not as spiffy as his title. "Listen," he pronounces, "I have a job to do, but my heart and soul are with the artists." He pauses, allowing a long search in his eyes for sincerity, then continues matter-of-factly. "Besides, its just a matter of time for me." A phone rings on the other side of the wall, and he freezes, leaning forward only when the sound stops. "But if Im identified," he warns, "the stocks would probably go down an eighth of a point, and they would go fucking insane." Above all, Arnold is intent on differentiating himself from other record kings he is a benevolent dictator, a personable ruler who gives out his home number to bands, fights to give a dropped band their master recording back, even drives elderly Democrats to the polls. "Youre getting a very liberal account from me," he explains. "You should go to Tommy Mottola at Sony for the real right-wing corporate point of view. But I almost dont want to put you through the misery. You see, if we had all the record-company presidents in this room," he says, settling onto the couch, "I guarantee you I would be in the minority." Such an assembly of record presidents, he says, would be no Michael Moore picnic: "It would be disgusting. Most of them dont give a shit about artists. Most of them spend more time choosing what cigar theyre gonna smoke than in promoting an artists career." Arnold, and in turn his label, is also in the minority on the pivotal subject of band turnover: Whereas majors typically sign 20 to 30 new acts annually with only the budget to market about six of them effectively, Arnolds company generally signs fewer bands. "I believe you shouldnt just throw everything against the wall and see what sticks, and then choose that. On the one hand, it doesnt usually work very well, and on the other hand, its very cruel to the other artists." He maps a devastating cycle: AR shark attacks on new talent, he says, create mammoth bidding wars (making it impossible for artists to later recoup royalties); too many acts are signed, whittling away at the precious resources of time, attention and budgets; the labels release too many records on top of each other, and come fourth quarter, everybody is screwed. The labels havent recouped their band advances, artist development has been snuffed out, and new talent lands on the corporate chopping block under the mighty budgetary steak knife ready to trim off the fat, their dream. "Without what we call prioritization," he cautions, "the artist has almost no chance. Everybody gets a little, which means that nobody gets enough. Therefore, everybody will fail." Arnolds recommendation that bands sniff out how a label is investing their time and look for a label that truly believes in them is only partially helpful: What about the kid straight out of Wichita who hasnt even broken eight guitar strings yet doesnt it sound to him like they all believe? Perhaps Arnold hasnt been privy to the schmooze dinners where every ingenuous rock fantasy is preyed upon by fast-dancing AR blokes who were hired by their stepfathers and live in the perpetual Goodfellas fantasy of "I can make ya or break ya." "Many artists are naive," he concedes. "They dont know the difference between someone who lies and someone who tells the truth. Ive seen people who werent interested in a band, got a demo, didnt like it, and
Re: your worst fears realized
Everything evil you've ever believed about the record biz is true, according to this, at least. Yeah, so much so you wonder whether the piece is legit Well, I can vouche for LA Weekly being a credible journalistic voice. (I used to write for them, how could they not be? g) Heads would roll in the halls of that there publication if this article was a fraud. NW
Re: your worst fears realized
Well, it wouldn't surprise me if it was real. Then again, I'm a cynical bastard.g BTW Neal, what's the cover date for that issue? Just curious.--don Vol 21, Number 18, March 26-April 1. It's part of a special music issue that also includes a great story on the rise and fall of one-time local buzz band Mary's Danish. Actually, it's some of the best music journalism that paper's done in some time. NW
Re: your worst fears realized
But it *is* an interesting piece, if true. Now I'm wracking my brain trying to figure out who the anonymous executive might be. Any irresponsible theories anyone? I tried to find out from my Weekly connex. Was told that even the publisher wasn't divulging. Think major label with smaller roster, right? At least it has to be a bigger player if he's making seven figures and answering to people who make eight or nine. What about pre-merger Interscope? Iovine? Or Hollywood Records. Or... Maybe it's just Deep Throat. Neal Weiss
Re: Upcoming Hadacol Dates
Hadacol was one of the real surprises for me at SXSW. Twangy, rocking, energetic, above average songs, connecting with the audience. They won that crowd over. I had plan to stay for a few songs, but got sucked into the vortex of fun. I picked up the CD last week and really got caught up in it. Can't wait to see them live. (It's one of those rare bands Tracy and I agree on, too.) I dunno, JeffMoM and Mr. Soron like it, but I kinda thought it was too much of a generic ND/Tweedy knock off. Of course that was only one listen. Then again, in my world, one complete mostly-attentive listen is a big friggin deal. Neal Weiss
Re: What are the kids listening to today?
Anyway, I was strumming and playing a Dylan tune, a Neil Young tune, Gram Parsons, Husker Du, Woodie Guthrie, whatever. One of the things is not like the other. Ain't it cool that Husker Du can be lumped in with these others? That's what No Depression means to me. I think. NW
PAGING YATES
Will ya e-m me privately? NW
Re: SXSW MOVIES of interest here
Ms. Elizabeth Hurley mmm...
Wall Street Journal online???
Sorry folks, for yet another self-serving post, but I'm wondering if anyone out there has paid access to the Wall Street Journal's online site? I'm hunting for an article and have found I need to plunk down the credit card and can't because I'm at my (current) gig outside of the home and it's not my computer and... well it's a long story... but if one of you net fiends has access and can round up the following story on Widespread Panic for me, it would be good karma in droves sent in your general direction. The story in question: Wall Street Journal, 2/17/99 -- Music: No Hits, No MTV, Just Worshipful Fans Pain-in-the-ass-ingly yours Neal Weiss np -- Tom Waits Mule Variations
adios muchachos
Hey all, I'm gonne be signing off for a spell to deal with SXSW and an onslaught of work. Now don't go arbitrarily dissing every single rock critic on the planet while I'm gone, okay? Yeah, right. Neal Weiss np - Walter Clevenger
Need info on weird SxSW thing...
Can anyone tell me anything else about this? Thanks. -- NW Friday, March 19th, 5:30 to 7:30 By The Hand of the Father A 20TH CENTURY JOURNEY (UN VIAJE DEL SIGLO VEINTE) A theatrical work-in-progress by About Productions WITH MUSIC BY ALEJANDRO ESCOVEDO Sponsored by a2bmusic and National Council of La Raza
Re: instrumentally speaking
: A lot of folks have had a chance to listen and get acquainted with Steve Earle's new one, "The Mountain." I was curious about how Earle fans, and non-fans for that matter, stack this bluegrass endeavor of Earle's with "Train a Comin," ... My impression is that "Train a Comin" is the stronger record... Terry, I'll pretty much agree with you there. I tend to lean toward Train because it's a little less-defined, more far-reaching, a trait I love so much about Earle. Mountain is really nice, but I can't help but look at it as kind of a side-gig project, not quite the essential Earle as, say, Train and Corazon, imho, of course. Neal Weiss
Re: SUV's suck
Good for you, and I'm glad you love your 62 Merc. I happen to love my SUV, fit all my gear into it, I'm a damn good driver, and I hate Starbuck's. This is much like the music debate, either you like it or you don't...but please don't try and stamp a # on my forehead and call me just another asshole because I drive an SUV. This is great. Here we are, an incredibly open minded community when it comes to music, but quick to plug SUV drivers as a certain type. My wife owns an Pathfinder, and I am thrilled. Unlike her last little dinky car, I like the idea that she's got a hunk o metal around her surrounding her. Makes me feel more at ease that she's gonna come home to me unscathed every single day. I like that feeling when it comes to the most important thing I have going in my life. That's worth the price and the stigma right there. Of course, the reason *to* bag on SUVs is because their emission standards are lower than cars. In LA, this means the quality of air, which actually has been improving in recent years, is on the way toward greater brownness again. To me, that's enough of a reason to never buy one again. I don't like contributing to the further deterioration of the air I breathe. Anyhoo, OBTwang, the new Alejandro is quite nice, if a bit brief. Nine songs, half of them covers, the other half equally as engaging originals. It's mostly acoustic rock with strings, not unlike most of the live album. Off to work. I got me a day job for awhile. Gone (temporarily) are the days of sweats, slippers and cats. Neal Weiss
Re: new Old 97's/new Wilco
Um, please tell me that this is the actual title of the song and not a cover of "Cash on the Barrellhead." Then again, if _that_ tune is the weakest on the disc it _must_ be pretty amazing. g No, it's not a cover but a Murry original, and IMHO, maybe the most interesting song on the album, sonically at least. This coming from a tireless O97s fan who's plenty disappointed in the album thus far. Neal Weiss
Todd's UT rant
Frankly, I'm shit -sick of hearing that my appreciation for UT, Wilco, etc. is just some youthful infatuation that I'll get over when I grow up and realize that alt.country was around before 1990. I can call my parents when I need to be patronized. ... Bravo Todd, for standing up for what you believe in. If it gets inside your soul, it gets inside your soul. So be it. That's what art's all about. Sometimes all this dissection and reactionary analysis and over- intellectualization and other stuff is just plain silly, and missing the mark. Do ya like the music or not? That's the question worth answering. Neal Weiss
Re: Tweedy quote/alt.country
...I placed all my blame on writers who can't seem to do anything but regurgitate press releases, and I thought Terry, etc., were also blaming the hype machine, and no one else. Well I'd like to think that I championed UT and much of it's related offshoots (SV's a bore at this point) in the press without the blind devotion to press releases. Besides, I don't know what press releases or hype machine were ever really behind UT to begin with, at least not until they were signed to Warner (which was only one album) and on the Wilco/SV projects since. I think they cultivated their small-but-mighty 60,000 sales fan base by making great records and playing their hearts out in piece-of-shit clubs every night in every town. Blame me then, because I'd say UT *did* start the 90s version of the roots rock/alt.country/whatever scene, or at least played a huge part in its vitality. Not consciously of course, it's not like they sat down and planned this (duh), but because they have made what I consider some of the most effecting, passionate and original twang rock of the decade, thus inspiring several others (often former punk rockers and/or college boys) to *try* to do the same. When I look back on the 90s and the *rock*-country associated with it, no doubt UT will be one of the main touchstones, if not *the* touchstone. Jeff's cuter than Jay, Neal Weiss
SXSW hype-age
Dumbling through the onslaught of snail mail about SXSW events, one I came across that I might as well *pen* in to the date book is the Doolittle BBQ at Club DeVille, featuring Mount Pilot, Trish Murphy, Todd Thibaud, Slobberbone and the Bottle Rockets. All this before the sun even goes down on Thursday. Yeah buddy, life is (gonna be) good. Psyching myself up for kid-in-candy-store status, Neal Weiss np - Alejandro, Bourbonitis Blues
Coltrane book?
Good morning, Anyone know of a good Coltrane bio to recommend? Or even a good book that looks at the whole (or some) of the bebop jazz greats? Gift shopping today. Neal Weiss
Re: Townes Van Zandt
Hey, I really like The Highway Kind. What do you dislike about it? I thought it showed TVZ at his worst. The performances were woozy and slurred to me. I could almost imagine him falling off the bar stool. The polar opposite was Rear View Mirror, which came out around the same time. Really wonderful live performances. NW
Re: Tweedy quote/alt.country (LONG and IRRITATED)
Guess they didn't know about Joe Ely's tour with the Clash. UT was a decade too late. Yeah but, can't a decade too late also mean brand new to a new generation? NW
Re: Townes Van Zandt
As it is now up on the TVZ What's New page, I thought I'd mention that there is a new Townes' recording, A Far Cry From Dead, coming out in June on Arista/Austin. Arista/Austin? Isn't that label no longer? And what do we know about this new/old recording? A delicious feast or table scraps? Compared to other posthumous releases, it is as excellent as Rear View Mirror, as interesting as interesting as Last Rights or as awful as Highway Kind? So many questions. Neal Weiss?
Re: championship - what a knockout
a momentous occasion as the two come out of semi retirement for this one time only show What is Sam Hill does this mean? Semi-retirement? Do you think what was really meant was was-obscurity? Heh. NW
Re: Tweedy quote
Tweedy should stop protesting (first it was the internet, now it's the alt.country tag) and try to write some decent songs. I'll gladly nominate Being There as one of the most overrated records of the 90s. There aren't enough good songs on there to make a good single disc, let alone two. Ha, it's like you never left, Dave. Welcome home, bub, we've missed your soft- spoken, unopionated self around here. NW
Re: Covers: A Follow-up
If you are a Hot New Country star and you cover a 70's pop or rock hit, you will probably be vilified for it. I tend to think that if your a Hot New Country star you should be vilified whether you cover a 70's pop/rock hit or not. NW
Re: Robbie Fulks and covers
I could care less about Cake, but Gloria Gaynor's original version is just swell. Great song delivering a dead-serious message that no doubt resonated with lotsa folks inside and outside of her intended audience. I want to defend Cake here, who it seems some folks might wanna toss away as just another one hit alt wonder. Not nearly the case. They fascinate me to no end for their smart, funny, sad inventive, rocking, groovy, genre-bent ways. The Camper Van on the 90s, methinks. As for their cover of "I Will Survive," I think it's quite good, turning the song into a slightly disconcerting trip that still remains quite faithful to the original with its uplifting message, a tone punctuated by the trumpet parts. It's worth noting too that "Survive" is one of three covers on that album, the others being "Perhaps Perhaps Perhaps" (by which old time female pop singer???) and Willie's "Sad Songs and Waltzes." Now that's pretty darn ambitious if you ask me. from the rock side, Neal Weiss
Re: Who the hell... indeed!
(now, who the hell is Pete Krebs?) Portland singer-songwriter, asociated with Hazel, Golden Delicious and others. This new album of his reminds me of the Young Fresh Fellows at times and country rock at others. Hard to pinpoint why I set this apart from the pack, but it just sounds fresher and less derived than much of the stuff I get in the mail. Neal Weiss
Re: Summer Teeth
So they made a ragin full on glossy pop album, eh? Ok, so how fare the songs under Tweedy's increasingly raspy vocals, which would seem to these ears to defy glossy pop, at least the 70's kind David C refers to throughout his fine review. Or did Tweedy clear his throat finally? g By no means would I call it ragin' full-on glossy. It's still Wilco, still ragged, still loose, still throaty. They can only be so glossy and pop, no matter how hard they tried. One of favorite things about Tweety is that he always sounds as if he's either nearing sleep or just having woken up. Summer Teeth doesn't lose that. Combine that with pop hooks and some dark-ass lyrics and that's what makes it so damn interesting to me. Neal Weiss
Re: Summer Teeth
But tt is a *single* disc, isn't it? Yes, it's a single, albeit a loong single. Like 17 songs or something. Add that to the half of Mermaid Ave and a third of the last Golden Smog and it's no doubt that boy is prolific. NW
Re: Ralph Stanley last night
He and the boys performed beautifully and his fiddle player does a helluva Johnny Cash and Willie Nelson impersonation! That schtick is still a part of the set? Man, I saw that about three years ago, again a year later, and really, it's funny once. I'm all for an artist finding something clever to amuse fans in every town, but I'd like to think that there's new cleverness to found once in a while. Put it out to pasture already. Feeling bad dissing the good Doctor, Neal Weiss
Re: Changing Subject Lines
I wouldn't dream of casting a politically incporrect pallor over any baby bands by identifying them by name, but trust me...there's some really good punk-tinged-country-rock going on out there. Please divulge, Ms. Jdiva, the names of the really good stuff that's tickling your ear. I'm always one for your passionate opinion and I must confess to being a cynic at this point, not just regarding Tupelo knockoffs but the the whole alt-country (whatever that means) scene as well. Sad to say, but I have so little patience for CDs by guys with acoustic guitars or bands of post- college boys with a few twangy instruments and band names plucked from the twang cliche machine, countless of which are piled up in my office at this moment in time. Earnestness is one thing, finding something fresh to say is another. It's gotta be really something special at this point to make me want to write about it and/or listen to it a million times. The Damnations and Pete Krebs are the two that currently tend to fall into that category. What was my point here? Neal Weiss np - Sleater-Kinney
Damn This Old LA Town
Tireless defender of my hometown that I am, I must bitch for a moment about last night's Damnations gig. That poor band was subjugated to everything I hate about LA. There they were, playing their plucky banjo-fied songs to a crowd at the half-full Viper Room that was so so so so chatty that I kept hoping the band would give up on the quieter acoustic stuff and crank up the loud stuff again, just to mask the noise. It fucking pisses me off when people show up and then just talk over the music, especially when they're on the list (which people are more often than not at the Viper), especially when they're supposed to be there supporting a new band with a debut album making their first appearance on the storied boulevard that is the Sunset Strip. As a result, most of the set sounded tentative and slghtly off kilter, with several deer-in-the-headlights-looks being shot from the stage. Welcome to LA. Neal Weiss
Re: Damn This Old LA Town
Neal, I've heard so many bad anecdotes about playing the Viper Club that I wonder if it's just not a very artist-friendly venue Any truth in that, from your perspective? Artist-friendly? Hard to say. On one hand it's great for a band because a gig there suggests some sort of buzz status. Plus, it's also a really nice, intimate room with excellent sound and a groovy-ass DJ. I don't know if it's any worse than the other clubs with a high weasel content and I have seen some really great shows there. In fact, it's the high-weasel content that does yield moments that might not happen elsewhere, like Springsteen joining Joe Ely on stage for a few songs. But the biggest problem with the Viper, I think, is that it's a place to be seen (scene). Thus, you get folks going for the wrong reason. Add to that the fish-out-of-water scenario of a twang band and a night that would conclude with Booty Quake (one of the several kitsch 70's cover bands making a *really* good living these days) and it's just asking for trouble. NW
The Eradication Game (Re: Grammyszzzzzzzzz....)
Is there still space on Curry's 'acts we wouldnt mind seeing wiped from the earth' list? (Billy, not Ray.) We tried to eradicate Joel when Curry was in LA and this here game was spawned, but I think it was Corrie MoM who held a spot of nostalgia for Joel and thus refused to pull the trigger. For those who didn't latch on to Curry's post the first time, this is a wonderful game for music geeks everywhere. Again, the basic premise, try to come up with an artist that all can agree should be eradicated from the earth, their history taken with them. The three main stipulations: it can't be someone obvious like Michael Bolton nor obscure like countless 80s one hit wonders, plus, if you eradicate a solo career you eradicate everything that came before it as well. For example, I would have glady eradicated Sting but not the Police. Try it some time with a couple few friends. It seems three people is the minimum and five or six may be heading toward futility. It's good fun to discover where your peers secret and not so secret fandom often lives. Plus, it gets you chatting quite a bit about music in general. The night after we stumbled across it, we posed it again to an editor-friend of mine in an LA club. She jumped right in and was so involved that she sent me e-mails the next two days listing possible candidates. Good fun... booze highly recommended for proper gaming experience. Neal Weiss, who wanted to eradicate Asia (Curry said no) and was very passionate about losing REO Speedwagon (my wifey said no).
Re: varnaline
I know of no other geeks I can ask this question of, and it's driving me crazy. I love the Varnaline Sweet Life cd, but it sounds SO familiar. Do I know this lead singer guy from somewhere else, or does he just sound like someone else? In fact, even their production sounds hauntingly familiar. I guess you answered your own question with the next e-mail, but I might add that lot of folks compare Anders Parker of Varnaline to Farrar as well. Of course, that's a comparison I cringe at simply because I quite like Varnaline and think that anytime a vocalist is compared to Farrar is tags them a UT clone and thus and insignificant entity. Or something... NW
Re: Robert Johnson
A longshot, this, but I really need a link to a site that has a collection of Robert Johnson lyrics if at all possible. Not a long shot at all. http://miavx1.acs.muohio.edu/~flannetd/rjlyrics.htm http://www.geocities.com/BourbonStreet/5942/rjohnsonlyrics.html http://www.geocities.com/BourbonStreet/Delta/2541/blrjohns.htm Can I just mention here that Brad "Blah Blah Blah" Bechtel freakin rocks my world? The man is a web fiend, and always comes through for me when I looking for info on anything, as was the case this week with Kaballah. In this case, his pointers got me off my duff and into finally writing this story I've been trying to avoid. Gracias, mi amigo. Neal Weiss
Re: The Eradication Game (Re: Grammyszzzzzzzzz....)
Two words: Bob Seger. Not even close. Seger made some great great music way back when. To this day, I'm especially fond of "Beautiful Loser." Next? NW
Re: The Eradication Game (Re: Grammyszzzzzzzzz....)
try to come up with an artist that all can agree should be eradicated from the earth, their history taken with them: Two words: Kenny G Too obvious. Falls into the Michael Bolton category. NW
