Re: Jim Lauderdale Tape Offer
Bill, just to refresh my memory, you were recommending Planet of Love as the best Lauderdale album, right? --jr.
(Fwd) Earl Palmer in yesterday's NYTimes
Interesting article and quotes from this drummer who played on the early Little Richard sides... Sounds like a book worth checking out. --junior --- Forwarded Message Follows --- Art Schuna Quote from the new Earl Palmer book appeared in today's NY Times. Quoted without permission below: April 25, 1999 Ding-Ding-Ding-Ding! That's the Way Rock Began Earl Palmer was one of rock-and-roll's first great musicians, a drummer who laid rock's rhythmic foundations. In "Backbeat," a new oral biography by Tony Scherman, Mr. Palmer narrates his eventful life, which wound through some of the most vital, and still underexamined, corners of America's recent past. In this excerpt, he recalls meeting Little Richard in a New Orleans recording studio in 1955, an encounter that helped forge the sound of rock. The first time I felt like a page was being turned was Little Richard. I hadn't heard anything like this before. He went into that ding-ding-ding-ding at the piano, and I thought, "This is wild." Richard wasn't a star when he met us, but I thought he was. He walked into JM like he was coming offstage: that thick, thick powder makeup and the eye liner and the lipstick and the hair everywhere in big, big waves. Walked in there like something you'd never seen. And meeting him all them times since, I still get the same feeling. I don't remember exactly what I said; something like, "What the hell is this? Not who, what. "Gus," I said to Red Tyler, "what the hell is this?" But Richard was so infectious and so unhiding with his flamboyancy, he sucked us right in. We got laughing with him instead of at him. I never thought Richard was crazy, never thought he didn't know exactly what he was doing. I just thought, "What the hell is this?" Richard liked to record right after a show, when he was wired. Came in the studio with a briefcase full of cash and set it up on the piano. I remember Lee Allen dipping his fingers in it and pulling bills out and laughing. Richard looked at Lee and say, "Lee, will you get out of that bag!" What I remember about those sessions is how physical they were. You got to realize how Richard played. I'll tell you, the only reason I started playing what they come to call a rock-and-roll beat came from trying to match Richard's right hand. Ding-ding-ding- ding! Most everything I had done before was a shuffle or slow triplets. Fats Domino's early things were shuffles. Smiley Lewis's things were shuffles. But Little Richard moved from a shuffle to that straight eighth-note feeling. I don't know who played that way first, Richard or Chuck Berry. Even if Chuck Berry played straight eights on guitar, his band still played a shuffle behind him. But with Richard pounding the piano with all 10 fingers, you couldn't so very well go against that. I did at first. On "Tutti Frutti," you can hear me playing a shuffle. Listening to it now, its easy to hear I should have been playing that rock beat. Richard's music was exciting as hell. I'm not talking about the quality of it. It wasn't quality music. It wasn't no chords; it was just blues. "Slippin' and Slidin' " sounded like "Good Golly Miss Molly" and they both sounded like "Lucille." It was exciting because he was exciting. Richard is one of the few people I've ever recorded with who was just as exciting to watch in the studio as he was in performance. On edge all the time, and full of energy. And I never remember him angry with anyone. He was a sweet-tempered guy. Still is. Whenever I'm around that way, I stop at the Continental Hotel where he lives, go up and see him, sit down and talk a while. Always come away with a pocketful of little Bible booklets. ) Copyright 1999 by the Smithsonian Institution, Smithsonian Institution Press.
info on Billy Jack Wills?
I've been hearing some enthusiastic comments about a Western Swing CD re-release: Billy Jack Wills / "Crazy, Man, Crazy" / on Joaquin Records?? Although it's possible I've heard this guy on a compilation, the name of *this* Wills isn't ringing a bell for me. Anyone know about this? A California act, and apparently this recording is a radio transcription from the early 50s. --junior
Re: info on Billy Jack Wills?
Sounds like something I want to give a listen to! Thanks Tom --junior
(Fwd) Stiff Little Fingers on tour soon....
Speak of the devils! g Apparently SLF is going to tour, with ex-Jam man Bruce Foxton on bass See dates below. --junior --- Forwarded Message Follows --- Here are the current SLF dates: 05/15/99 Boston MA Axis 05/16/99 New York NY Tramps 05/17/99 Toronto, CANLee's Palace 05/19/99 Chicago IL Metro 05/20/99 Santa Ana CA Galaxy Theatre 05/21/99 West Hollywood CA Key Club 05/22/99 San Francisco CA Slim's
Re: Bad Company quote, URL
Paul Rodgers on his own influence: "The original Bad Company was the soundtrack to a lot of people's lives," says Rodgers. "I mean, if you listen to some of the music, a lot of the music, actually, it could be said that Bad Company is responsible for the population explosion during the Seventies, because so many kids were conceived to 'Feel Like Making Love.'" 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 He certainly seems to have a bizarre sense of his own importance in US demographic speculations! *What* population surge, morever??? Ah well they'll say anything in an interview. --junior
RE: Oliver Lake - Fred Hopkins-- Julius?? Hello!!
Greg says: A fullblown WSQ thread. Damn, I love this list! Yeah, I've been enjoying this thread too. I'm chiming in late, but hasn't anyone mentioned Julius Hemphill? He was my fave of the bunch. Saw him a lot over the years and followed him from his B.A.G. days in St Louis to his New York phase and untimely death three years or so. It's not crucial, but I always thought Julius was the initial organizer of the WSQ. Many years ago a friend was doing an album cover for Julius (right after his "Coon Bidness" album) and we met up with him at some sort of loft show in the East Village. That night he had Olu Dara on cornet (first time I ever heard of him was that night) and Philip Wilson on drums, from the old Butterfield Blues band, etc. After a couple of sets Wilson was blasted and Barry Altschul started playing drums instead!! Good stuff. Dara was very Miles Davis-y at that time, epitome of "cool" sound, etc. --junior
Re: Crappy alt-country at SXSW (was Re: Updates
Yeah, Don I can agree with most of this critique in general terms, until we get to the sincerity bit. As I've said so many times, the "sincerity" argument never gets it for me. But I'm certainly all for more musicianship and less scenester 'tude --junior
Re: Back in San Fran
Red Meat do Atlanta: And that Atlanta show...fun fun fun! We played with the Ex-Husbands, who I never had heard before. And they absolutely rocked -- a fantastic band! If you live in the Southeast and haven't seen 'em, by all means go! Now! Now if we could just get them to come out west... Oh come on Owen, you're just saying this cause Amy H. bribed you, right? Seriously, though, it's too bad we couldn't catch you guys in the KC area (where we'll get two (count 'em 2) visits by the ExHubs in May). Come on through this area next time you go out... --junior
Re: Clip-Mandy Barnett
Well thank god she's not a mint-julep girl g. Nice clip, Bill... --junior
Re: Ray's tenor harmony man....
Ah, thank you Brad! Yeah, Van Howard is the name... And I do believe he's the heavyset guy I've seen in old footage, etc. --junior
Ray's tenor harmony man....
Joe: I think it's Ray Price, doing the old (pre-multitrack) overdub technique whereby you sing as the original master rolls and record the mixed result onto a new master. While I'm the last person to be differing with Joe, I honestly think it's not just Ray overdubbing with himself but another fiddle player or someone. I've seen footage of the guy, in fact. A heavyset guy whose name I can't remember. Jon? or someone around here surely knows who this harmony singer was. Those two-part harmonies on Ray's hits (especially post 1956 Crazy Arms, etc.) are very distinctive and I could swear the high harmony is a different voice than Ray's --junior
Cash,etc...
And btw, it struck me as ironic that while the media was getting gonzo over Gretzscy's last perfomance, few stories seemed to mention that this was very possibly Johnny Cash's last show. If he goes downhill, that's it I think Emmylou was crying a little there at the end, during I Walk the Line. For that reason, I'd suppose. Even though the show had its kitschy aspects, I found it moving. Except for Dave Matthews and U2s clever camera angles g. --junior
Re: Cash, etc.
Don: As for Dylan's influence on pop music, I'd bet Bob would choose the Big E. over himself any day. Indeed. Not that we don't all love and respect Bobby, but there's just no comparison here --junior
Robbie song query...
Heard a great show by Robbie Fulks here in Lawrence last night. I think the guy's just getting better and better. The difference between the more "indie"-esque material and the country material seems less and less of a problem to me now, perhaps I'm just getting used to it. Anyhow, I'm wondering if we heard him do a new song last night. Meant to ask if it was but then forgot. It's an uptempo, very "rockin'" honky-tonker that would sound right at home on a Dwight album. It really got a rise out of the crowd with very strong hooks, etc., and drew people out on the floor to dance for the first time all night The chorus tag line was something about a "plot": "What's the plot?" / "It's a plot" / "Tell me the plot", something like that... Anyone familiar with this song?? --junior
Re: criminally underappreciated albums of the '90s
As Carl said, underappreciated by whom is the question... Although it was talked about here a bit, I would also think of "Bakersfield Bound" by Hillman and Pedersen. I was blown away by this album and I've probably listened to it as much as any other album this decade Incredible performances, a beautiful, classy, enjoyable, memorable album for me. Whenever I'm having trouble deciding what to listen to, it's one of the first things I reach for. I may just be forgetting but I don't recall it being talked about hardly at all outside a very specialized context like P2 --junior
Re: criminally underappreciated albums of the '90s
Jo Carol Pierce: "Bad Girls Upset by the Truth" Oh yeah, I forgot about this one. This is indeed a real piece of work, must be heard (or seen) to be believed. I heard her do the whole thing at a theater during a SXSW three or four years ago and absolutely loved it. I kind of wish she'd do another one of these narrative song cycles, but it's hard to think how she'd top this one. --junior
Derailers minitour dates
These dates just in on the first road action since the album. These are apparently a kind of warm-up for a long-haul period of touring starting in late June to coincide with album release July 13, etc Although a previously-mentioned KC date doesn't appear on this list, there's still hope as things are not yet finalized.. --junior --- Forwarded Message Follows --- 4/24 Houston/Intl Fest 4/28 Nashville/Robert's 4/30 W. Hampton Beach/W. Hampton Beach PAC 5/2 Boston/TT The Bears 5/4 Columbus/Little Brothers 5/5 Cleveland/Wilbert's 5/6 Lexington/Lynagh's 5/7 Chicago/Schuba's 5/8 Neenah, WI/Automatic Slims 5/9 Lincoln/TBA 5/15 Austin/Broken Spoke 5/21 Dallas-Fort Worth/Billy Bob's 5/29 Houston/TBA Thanks Jack Scully A HREF="http://home.att.net/~jscully/thederailers"http://home.att.net/~jscully/ thederailers /A
Albert Lee (was SOTD)
While we're on side players, I'll add that I've been listening to a lot of Albert Lee for the last week or so. Not sure what got me started, but I hadn't heard much from him or about him for awhile and once I got started I went back through a bunch of stuff he's on, just to enjoy it, etc... He can get a bit samey after a while, but I really do enjoy his stuff. Wish more of his solo and early group stuff (Head, Hands, and Feet, etc.) was available on CD. Is some of it available on CD in England, perhaps?? --junior
Re: SOTD
I'd think the criteria would be only that we're *not* talking a "front" person. So either studio or touring musicians who contribute to the sound and result but aren't the featured performers. So Vince Gill wouldn't qualify, even though he's a top-rate player, whereas Pete Anderson or Gurf Morlix would g. --junior
Re: Pigs + country music
The conflict is not over the stench, but over the farmers' right to play country music loud enough so that the porkers can hear it. What, country is big with golfers now?? That's great! Rimshot, --junior
Re: 2 Weddings, A Funeral, and a Twangfest
Oh yeah, the planned pool at the Oak Grove. Lord, I'd forgotten about that... --jr.
Re: This will get my ass to a large venue: Do they do it in COlu
Matt: Just found out the original J. Geils Band is coming to Columbus to play Lord yes, the original band (the first two albums) was incredible. "First I Look at the Purse," "Milk and Alcohol," etc Before they degenerated into goofiness, they were briefly one of the very best bands around. Yes, Viriginia, there was a time when Peter Wolf had hipster cred g --junior
RE: The Man in Black
Or maybe the mistake got in there because the real John-June son (the mediocre one) was at the show. I saw his presence mentioned in several accounts... --junior
Re: This will get my ass to a large venue:
Interesting how lots of people chime in with Peter Wolf memories That Cobo Arena show sounds great g. I've always heard stories about what a marvelous and influential DJ Wolf was in his early Boston period, but I was in NY and Philly then and never caught any of this. My own teenage memories of being blown away by the band in that early seventies period begin when I saw them once just before the first album came out, then as often as humanly possible for the next couple of years! Wolf was really the shit in that particular moment. I recall a show when he was all in black with silver boots, just kind of a silver flash zipping back and forth across the stage and whipping the audience into a frenzy. Whew!! The music was truly amazing and they were both overwhelming and funny without being a parody --junior
Re: woodstock 99?
More power to Willie, but it's sometimes sad to see him featured as the token twang artist at a travesties like this Hope he gets paid a LOT!!! g --jr
Japanese hipsterism....
"The aural equavalent of a wasanabe sp? nasal inhalant"? Sounds like a band Greil Marcus would find terribly significant. At least they aren't working-class southerners!!! g --junior
Re: Japanese hipsterism....
Oh yeah, not to mention Cibo Matto and other fundamental acts of the 90s Grumpy cause there's probably a tornado starting up outside my building. We seem to be starting up early this year!! --junior
Re: Bringing music to town
Also to consider for Diane and whoever else is thinking about these issues is of course the difference between promoting shows and owning the bar/venue itself. These are two very different balls of wax. Dave describes someone who's had a good effect locally by *promoting,* but starting up a venue, surviving, and becoming an established joint is much more demanding and long-term proposition As I was saying to Diane offlist, good bar management is the key to every successful venue I know of. If the bar doesn't make money, there's no venue to bring the good music to --junior
Re: Clip: MP3 in Nashville
Go, Roger!! g. Well, the man has always been into technology, that much is certain He was also a fairly early emailer on one of those Byrds websites, as I recall. When I first got hooked up the the web and started emailing and all, I remember being amazed by the fact that he'd replay to emails in a way that was rare 3 or 4 years ago but has become much more common now --junior
Re: Stephen Bruton's new one
Good lines all "when your gal ain't just a dish, she's a whole set of china,that's love" -- That's Love/nothing but the truth Joe Ely once sang "Your love ain't just the hot sauce, it's the whole enchilada". And Huelynn Duvall once sang: "Well baby is you is? / Or is you ain't?? / Gonna gimme some / of that pucker paint???" Poetry, pure poetry... --junior
Re: Japanese hipsterism....
Heh, it's good to agree with Dave on *some* things. I've listened to Shonen Knife and seen a couple of these bands live (Cibo Matto and Pizzicatto 5 or whatever their name was) and I'll tell you, truly, I came away with my butt completely intact Cibo Matto was "cute," I guess (the chicken suit was funny, etc.), and Sean Lennon gives them cachet, but a good band? I dunno, I just can't see it. You been smokin' that devil weed in Nashville, CK??? g And it seems to be that Shonen Knife has probably had more success in the US than any other Japanese band. They had a bunch of albums out here and some hipster cred for awhile, no? --junior
Non-U.S hipsterism generally....
All of this talk about non-US bands reminds me that last night on CNN I saw live footage of a Serb band playing one of those anti-NATO rallies in downtown Belgrade. It made me think of Jon Weisberger because the band's idea of postmodern (or at least postmetal) irony and political commentary was to do a note-for-note cover of Deep Purple, "Smoke On the Water". It was that kind of P2 moment that would be difficult to explain to outsiders g. --junior
RE: Japanese hipsterism....
Marie's right, Guitar Wolf was actually really good. I forgot about them... --junior
Re: Japanese hipsterism....
Seiji (sp? I think...) Ozawa is, I believe, a Japanese native. He gets as much work in Europe and worldwide as he does in the US, in fact, and qualifies as one of the most successful conductors of the last 20 years or so Not necessarily for classical (see? I'm fine with the term g) aficianados with highly particularlized tastes, but in terms of overall visibility and record contracts, record sales, and so on. --junior
Re: Japanese hipsterism....
Morgan: Yeah, it would be safe to say they were the most successful Japanese act stateside, or at least one of the most successful... They were definitely in with the orthopedic shoe set for some time... g I remember they had these really cool buttons... Very "Powerpuff Girls"... Actually the look was fine, I kinda dug it. Always wished the Muffs dressed more like that! The music, alas, was the issue with me g. --junior
Re: Japanese hipsterism....
Buford said: I work with a couple of Japanese gals who are just as cute and botch the English language just as badly. I think I'll round them up, pull a Malcolm McLaren, and get them to sing my new hit songs "My Dog Like Vanilla Ice Cream" and "Red Car Go Fast Ha! Ha! Ha!" No, you're getting this all confused. That band was *Elastica* and they were really great!!. CK, I never saw Shonen Knife, so you may have a point about there live show. As I say, I've been limited to Cibo Matto and Piz.5 in my knowledge of these pop outfits. But I did like Guitar Wolf and, although I haven't heard them, have always heard there's a good rockabilly subculture going, etc... That's all from me on this subject g, --junior
Re: Japanese hipsterism....
I wasn't kidding about Elastica, Bill. As derivative as they were, I thought they were terrific. Truly I had a great music week in 96, or whenever it was they toured, when I saw them on a Thursday night in the Union ballroom here at the University of Kansas, then two nights later in Pittsburgh while I was at a conference there. In Kansas they ended up with the whole crowd up on stage dancing with them for the last number (that big hit of theirs, what was it called...); then in Pittsburgh they absolutely tore it up in a weird futuristic looking club that looked like something out of a Terminator movie That Justine whats-her-name, yow!! Now there's a rock n' roll woman g Too bad they disappeared. --junior
Re: Best So Far - 99
Yeah, Deb, it is indeed a "half-life" Jerry is referring to. A "semi-life" is the truck-driving life, as everyone on P2 knows --jr.
Re: Today is the 99th day of the 99th year:Tornadoes
"Gimme Shelter"? That was too cliched, but I couldn't resist... --junior
Byrds' hidden tracks (was Greetings from WAY down south)
Matt: I haven't got that one yet (tho I've heard about that studio fight: I believe it is included on those "celebrity losing it" tapes that make the rounds), but the one at the end of "5D" is painful: McGuinn and the Walrus talking about the *new* album. Yn. I don't know how long it is, something like 11 minutes. I don't know who would listen to it, even among diehard fans... Actually I haven't heard the 5D one, so we're even. Sounds like a conversation, rather than a studio thing? The one on "Notorious" is amusing as a "band nagging each other during a practice" sort of thing. Not that it would make great repeated listening at any moment, but they are interesting and fun when you're in the mood. Since the one on Notorious clearly gives you Crosby as the nagging asshole, it's in keeping with the aesthetic of the album as a whole, since Crosby quit at that time, the "horse's ass" photo on the front, etc... I'd still like to hear some more about that South African concert from our new South African P2 correspondent, however That's a legendary moment in Byrds' lore and I have never ever heard a peep from anyone who saw it. --junior
Re: Masochism, Part II
You know, Cheryl, I resisted the anti-Christgau wave for a while, but he really does have his head up his arse these days. Might as well admit it and be done with it. The Voice at its best, moreover g. Maybe a motto for next year's P2 Tshirt would be "Screw You, Christgau," or some witty equivalent. --junior
Re: television / roir
I too think Roir is still in business. In fact I seem to see more of their CDs today than ever. Their MC5 compilation, for ex., is terrific and highly recommended --junior
Rosie (was Best So Far - 99)
Since John brings up his best so far, I thought I'd mention I recently got the new Rosie "Dance Hall Dreams" and am a bit disappointed. I really love Rosie and keep hoping she'll release a killer album but it doesn't seem to happen. Damn The material, for the most part, never really takes off, and although the players are great (as always on Rosie's albums) there's not a hell a lot of energy in the performances either. I really want to like it, but... Hmmm. Ah well, guess I'll just have to wait for the Kirchen and Derailers and such... Or maybe I should get that Mandy Barnett g. --junior
Re: Rosie (was Best So Far - 99)
Don: I don't know about the Derailers' new one, but unfortunately I didn't find Kirchen's new one to be much better than Rosie's. Double damn, then I really hate it when people I love come out with albums I can't get enthused about, etc. I hope we get another good one soon. This makes me want to go home and hunker down with a drink and my recently-acquired Huelynn Duvall compilation, which I *am* enthused about. --junior
Re: Best So Far - 99
If Don's list is any indication, perhaps Sire's efforts in the Americana vein are finally starting to pay off. There's also the Tim Carroll due out on Sire later this spring or early summer, no?? --junior
Re: Best So Far - 99
Don: Well, it's one thing to put out good records. It's quite another to figure out how to sell 'em. Heh, this is about exactly what one Derailer was saying to me at SXSW. But putting out that good record is a lot farther along than most people get to begin with...g --junior
Re: Television Live (and twangless)
Actually, I saw 'em in 76 at CBGB's too old old old!!! and several other times, but they didn't do any more for me then than they do now, in retrospect. Ah well, --junior
Re: FW: Swedish Top 10's 1998 (fwd)
The Swedish top 10 is even better than the British! What are these folks drinking??? g. Must be smuggling Aquavit across the border or something. Many P2-beloved bands would be making better livings if these kinds of preferences were exhibited over here, sheesh --junior
Fever (was: good covers)
First Amy: Well, referencing Peggy Lee's "Fever" isn't going to win any points with me, as I don't love either the song or her toneless version of it. If this loses me major kitsch-cred points, that's fine with me. Then Ross: Well thanks, I guess, for pointing out to me that I'm just respondingly ironically to the faked sensations of artistic rubbish. How ever could I have thought I sincerely liked the song on its own merits? g Hey, I like the song too. Little Willie John's version is *terrific*, imho, etc. --junior
RE: BMI vs. ASCAP?
Sorry if I missed it if it was posted, but could someone post the web address for Bug? I've always wondered about them and this thread has made me want to find our more about it... Thanks, --junior
Re: Clip: RIAA's 1998 Consumer Profile
Like Cheryl, I'd love to see a more comprehensive breakdown of gender demographics in the contemporary music market... Anyone know where such figures could be had? Also, Cheryl suspects: I suspect that more men are obsessive collectors, Hmmm. I thought it was an established fact that men are obsessive and women hysterical. Or was that just old Freudian dogma, I'm getting confused g... --junior
RE: Clip: RIAA's 1998 Consumer Profile
Thanks for those sources, Jon. I'm going to check them out. --junior
Re: Drake (Re: Kelly Willis calling the shots)
Speaking of, has anyone read that biography of Drake that's around these days. Being cheap, I haven't bothered to skim one of those expensive-looking hardcovers I see everywhere. But I will probably consider it when remainder / paperback time rolls around... --junior
Roger Miller Box Set (was: Drake...)
Bill: n.p. Roger Miller box, disc1 Oooh! Now we're talking... How is that set? Are there relatively straight tonkers, etc. on there, before the full-blown sixties style sets in? I've seen that thing in stores but have never taken the time to check it out.
RE: Roger Miller Box Set (was: Drake...)
Matt says: A few honkers, like the much discussed Lock Stock Teardrops, but not much. Has some of his classics (such as Invitation to The Blues) as cut by Miller in...um..early 70's? I think. But sticks to mainly to the 60's Smash years. Well fill me in here. Did Miller record much or any in the late 50s? I'm underinformed about him, but I've always assumed that he started recording about then, before developing that idiosyncratic style of his in the 60s. I mean, didn't he work as a sideman with Ray and Faron and such? With some of that generation, like Willie, I tend to *love* the relatively traditional work they did in the late 50s-early 60s before developing into their later, more individualized signature styles, etc. That's why I asked whether there were many early cuts, tonkers, etc. in the set. BTW, Miller was a *huge* favorite of my Dad's. I can still hear my Dad humming Miller tunes with delight while walking around the house or driving, etc. --junior
Re: OHMYGOD!
Don't worry, Erin. We're way too quick for the old "attachment" scam. I just deleted that one without looking g. Good to see you on the list, though. --junior
new Charlie Burton compilation
BTW, one of the cooler things I brought back from SXSW was a copy of the new compilation of Charlie Burton's work, "One Man's Trash: The Charlie Burton Story" (Bulldog Records). The folks at Bulldog have done the service of collecting a lot of very hard-to-find early Charlie singles (e.g., "Breathe for Me, Presley!!") and other tracks (like the excellent honky-tonker, "Spare Me the Details") and some older songs rerecorded recently etc. For those of you who aren't familiar with him, Charlie is a Nebraska native who for a few years now has been based in Austin. His live shows are a lot of fun and he always has first-rate players as his band. This comp. is a good intro to his older work (more pop and garage elements than the current Charlie) and gives you a good survey of his rootsy-yet-quirky-and-always-smartass style. If you like that aspect of Robbie or Tim Carroll, you'd probably dig Charlie too. Charlie, btw, is a master of the "endearing" smartass school of songwriting, as opposed to the "irritating" smartass school, g. He should really be much better known than he is, I've always thought, and this little anthology is a pretty good place to start. His recent "Rustic Fixer-Upper" album is more twangy overall, and probably in the long run I'll listen to it more, but this compilation is a nice look back at Charlie's early years. --junior
Re: British CMA
Of the Brit CMA "international" division awards, Don sez: Which is a helluva lot better than what the American CMAs usually end up with. Ain't it the truth. It's weird how they do *so* much better, from a quality standpoint. What explains this? Do they simply get less industry pressure on the voters, or what, etc. Last year, didn't Dale Watson win one of their awards, like best new artist, or something? I mean, it'll be years and years, if *ever, before Dale could win one here. --junior
Re: British CMA
Jon on the surprisingly high "quality" music being recognized by the Brit and Australian country music press, etc : I suspect that there's an element of this. I remember reading an article last year about some Nashville push that was going on in Australia. There is also a Brit / Commonwealth magazine, which may be simply titled "Country Music" (I forget), that I've seen a few copies of and which always amazes me by how much it covers what *I* would consider good country as opposed to HNC industry promo, etc. It's available on newstands in Canada, etc. I remember last year seeing articles on Ted Roddy and other Austin artists that industry bigwigs wouldn't give a moments' notice to, alongside articles on biggies like McCready, Stuart, Yoakum, etc. I'll see tonight if I don't have a copy of this mag somewhere. In my recollection, it compared favorably, for me, to any US country music mag. --junior
Re: Chag Pesakh!
Mark: Now where's that recipe for Tex-Mex Latkes??... You use Mole instead of sour cream. Of course, how could I forget!? Have a good one, everbody... Off to start those matzoh balls. I will have a matzoh ball cookoff with anyone on the list, btw. Mine are the fluffiest in the land g Who knows, it could be a great Tfest picnic competition? --junior
RE: Bad gigs
Don't know if anyone has mentioned it, but the Cornell Hurd "Fruit Shack" album has band members recollecting their "worse gig ever" in between the musical tracks. Some of them are pretty funny, although overall the schtick gets a bit old as you relisten to the album. And yeah, counting off songs is the source of innumerable screwups! It's like airplanes; the takeoff and landing are the most risky parts of the trip g. --junior
Re: The Cartwrights
Thanks for the Cartwrights news, Andre. I'm glad to hear they're living up to their musical reputation. Was Donny Ray packing?? g --junior
RE: Tweedy @ Salon
Dave: Dunno about Postcard, but given that everything from Coltrane to Blue Oyster Cult comes up here on a regular basis, I think one would be hard-pressed to describe P2 as a list of No Depression purists. Indeed. Perhaps the demographic description should be changed to "free-range country lovin' eclectics". Sure has a snappy ring to it... --junior
Re: Tweedy @ Salon
I get the feeling this entire journalistic discourse is part of larger marketing and publicity calculations. When these people could secure a niche identity for themselves as "altcountry," they did. Now that they've consolidated at that level and seek poprock market visibility wider than that allowed by the niche label, they busy themsevles with "evolving" beyond a caricatural version of altcountry. When they wanted to be covered in ND, they were "altcountry." Now that they want to get covered in Rolling Stone and Spin and gain access to the much larger market demographics they represent, they're "evolving." That's fine, I just wish they didn't feel compelled to misrepresent their original audience in such reductive ways But yeah, as Todd and Dave remarked, it sure seems to be a trend and the journalistic cliche of the season. --junior
Re: Boot Recommendations-Austin
Jerald remembers the names of those two vintage shops on S Lamar... Amelia's or Flashback. Which reminds me: there's another good vintage place way up North, just off 50th (I think?), not too far from Airport Blvd. They have more boots than Amelia's or Flashback, although the selection isn't as good as Under the Sun There are a couple up there, actually, but the one I'm thinking of is particularly good for cowboy boots, while the other is more 70s kitsch. It's on a corner, next to an expresso shop. Can't remember the name though, maybe "Tremors" or "Earthquake" or something hipster like that... --junior
RE: Clip: The state of country radio
So: Perhaps. I'd rather hear Debussy than Wagner in my rock. The latter leads to things like Meat Loaf. Hmm, Carl, does this mean you're not interested in classical music? Besides, the former leads to things like BST. People!! Wagner and Debussy are yucky *romantic* music. They are NOT *classical* music. All European music isn't the same. Don't mix great composers like Mozart and Cimarosa in with trash like Wagner, sheesh g What would you think if somebody characterized Buck as Bluegrass?!?!? Boy o boy, whatta listg, --junior
Re: Clip: The state of country radio
I love this. Only on P2 does a discussion of the state of country radio devolve into questions about the differential effects of radically diverse sax players like Brubeck, Kenny G, Sun Ra, or Coltrane on a non-informed rock audience. Not to mention this business about Wagner --junior
Re: Junior's FCC note wasn't a hoax...
Don: The recent hubbub between phone companies notwithstanding, that thing Junior posted has been goin' around the internet for years -- so much so that it's on the CIAC hoax page. Maybe you should complain to the CIAC about them labelling it a hoax. Hmmm, I'll leave y'all to sort this out and stay out of the forwarding business (Phil Clips does it best, and where have they been lately, btw???). I *did* get it from a reliable / informed friend, however, so I was kind surprised when it turned our, or possibly turned out, to be bogus Anyhow, back to HNC acts using N'Sync moves. Yikes, just when you thought it couldn't get worse...g. --junior
RE: dreaded artist of the decade (plus Rushmore)
Jeff: Because after this disc, what can God do to top himself? Well, if it's the righteous arm of Old-Testament-destruction Yahweh, he might start off by ridding the world of Diamond Rio and Blackhawk. The rest can be saved on the Ark of Twang g. --junior
RE: dreaded artist of the decade (plus Rushmore)
Jon: Blackhawk is utterly unmeritorious, but by God, if you want to get to Diamond Rio, you're going to have to get past me and Louise Kyme - and buddy, let me tell you, she is tough. Hoowee, "utterly unmeritorious" is the nicest thing one can say g. Guess I'll just leave the Rio boys to Louise... Btw, Jon, I must confess I'm hearing more and more mainstream Nashville cuts that strike me as good, respectable stuff these days. Maybe there *is* a trend Yesterday , for ex., I heard that Trisha song, "Powerful Thing" (or whatever the title is) and thought it was an entirely enjoyable sort of pop-twang number, nice fiddle line, etc. Better than a lot of what I've heard in recent times --junior
Re: Miss America thread ...
Ron queries What song would you like to see a Miss America candidate perform and get you to jump out of your seat? There are so many possibilities! A good one would be the Runaways' (Joan Jett') "Cherry Bomb": Ch-ch-ch-ch-ch-ch-cherry bomb!! (the riot grrl "My Generation"?) Or one of those Gary Glitter glam-sex anthems? Do you wanna touch--YEAH! Do you wanna touch--YEAH! Do you wanna touch me now-ow, now-ow.. etc. So what prompted this thread? Is John Waters doing a new movie on beauty pagents? --junior
Miss American thread
Actually, to keep things twang-oriented, I withdraw my glam and proto-punk suggestions and propose instead" "Did I Shave My Legs For This?" (exact title?) Maybe Miss Tennessee could sing this one --junior
Re: Need info on weird SxSW thing...
Carl says: "By the hand of the father" is, if I recall rightly a song cycle-cum-theatre-piece based on the history of his family, which he said he'd received an NEA grant to develop. This is interesting and certainly makes me raise an eyebrow, as it tends to confirm many of my pre-existing suspicions about Alejandro (I'm not a big fan...). And to learn that he's applying for NEA grants on this thing strikes me as more than a little symptomatic. On first hearing about it, it sounds kind of like an Alejandro version of that Jo Carol Pierce twang opera about growing up in Lubbock (or wherever it was). Her song cycle was kind of charming in its whimsical humor, at least. Maybe if tutelary spirits appear in Alejandro's, he could at least get Sheila E to play the part of Frida Kahlo. Lordy lordy, --junior
Country Music Weekly (was: Shania Spam)
How ironic that comments on Country Music Weekly should replace a thread titled "Shania Spam" g Anyhow, Jon summarized the surprisingly catholic contents of this perennial of the checkout lines and said: Like I said, a little less money or a little better writing and I'm there... This is true! I also remember the photo of Junior Brown with the zinger: "I don't like to call it "alt-country" cause that sounds like you're *against* something. I'd rather call it "free-range" country." When I don't read it in the checkout line, I read it at my parents', since my retired academic of a father has a subscription. Does this mean it's better than academic journals?? g. -jnyah
Re:Lindley benefits at SXSW? (was: Shania Spam )
Barry, I first learned about the Saturday night Lindley benefit (Texas Union Ballroom) from Joe's post yesterday, so I figure he can give us more info when he logs back on... Joe??? g... Judging from his comment there, I assumed there are 2 Lindley benefits: Saturday night at the Union Ballroom, Sunday afternoon at Stubbs And why not? And yup, my feeling is that a Sat night show of this sort would definitely make it the thing I would want most to see that night. So Joe, fill us in!!! ---junior
RE: SUV's RE: Jones update 8pm
You go, Matt! The art of the Jeremiad is not dead!!! g. Those Mormon Assault Vehicles do suck. All they are is symbols of ADY syndrome (Advanced Decadent Yuppiedom, of course) --junior
RE: Country Music Weekly (was: Shania Spam)
Jon: FWIW, Country Music monthly generally has better writing and more thorough coverage than CMW, and it's cheaper, too, which is why I subscribe to it. Of course, you don't get the latest news as quickly that way, but things move slowly around here anyhow. Yeah, but kinda like that weekly tabloidesque fix And if I subscribed, what would I read in the checkout line?? Grocery store visits would lose one of their few redeeming elements. CMW, for ex., is where I've kept up with cool news like Billie Jean Horton getting mugged, etc. I mean, who else reports Billie Jean news? Who else even *dreams* that their readership would know who Billie Jean is (was?). Gotta love 'em. --junior
RE: SUV's RE: Jones update 8pm
Matt: Now I'm lookin up Jeremiad.. Heh... g. Jeremiad's were a particular form of sermon in 16th-17th century Calvinist culture, consisting of long and elaborate complaints and inveighings against the fallen-ness of current times. So-named from the book of Jeremiah, wherein the prophet expresses outrage at current sinfulness and a sense of futility about calling upon the people to get rid of their damn SUVs!!! (Sadducean Utility Vehicles??). Cultural historians talk about a tradition of the Jeremiad that extends through later American culture: eloquent railing and hollering against the decadence of the day, etc... --junior
Re: instrumentally speaking
Haven't been following this thread, but for altcountry instrumentalisms, has anyone mentioned the "Travis County Pickin'" album? All twang, no noodling Still the best recent instrumental album I know of, an album that gets regular time in my changer two (or three?) years after it came out. --junior
Tim Carroll at SXSW?
Another query: does anyone have any info about when and where Tim Carroll may be surfacing at SXSW? For example, with Lonesome Bob?? I haven't seen his name anywhere officially but assume he'll be playing someplace or other... --junior
Lindley benefit / was HOOPS
Joe sez: As for music content, it appears that the gig Saturday March 20 will be Jimmie Dale Gilmore, Hal Ketchum, and Kimmie Rhodes at the Texas Union Ballroom on the UT campus. What time will the show be starting? --junior
(Fwd) controlling information
This House bill concerning internet access concerns us all on P2, lord knows It's a good moment to use email to write your Representatives and inveigh against this bill. More dangerous than SUVs and definitely a detriment to all things P2!! Power to the twang people, --junior --- Forwarded Message Follows --- This greedy attempt to make money unrelated to the cost of doing business will have the additional effect of stemming the free-flow of information. The university will feel the need to restrict internet access because of the added costs and those of us who occasionally dial in from home will either hesitate or pay. Student access will also be restricted and we shouldn't be surprised if the additional costs are reflected in fee increases or access charges. Please read and respond as you see fit. Jane Date rec'd: Monday, March 08, 1999 6:11 PM To all E-mailers The House has a bill set up for a vote ASAP on whether to charge long distance charges for Internet access even if you dial-up locally. This is something that affects each of us. Please read and forward: Congress will be voting in less than two weeks. CNN stated that the Government would, in two weeks time, decide to allow or not allow a charge to your phone bill equal to a Long Distance call EACH time you access the Internet. The address is http://www.house.gov/writerep/ If you choose, visit the address above and fill out the necessary form! If EACH one of us, forwards this message on to others in a hurry, we may be able to prevent this injustice from happening! And don't forget your congress-persons! PLEASE PASS THIS ON!!! There is power in numbers, folks!
Re: instrumentally speaking
Jeff: hmm, gonna have to check that one out. My favorite is Appilaichan Swing with them Swangin Kentucky Colonels. aka Roland and Clarence White. Hot damn it's good. Yeah, Appalachian Swing is a classic that also gets regular time in my changer despite being over 30 years old! g. I always have at least one instrumental album in my changer at home: whether a twang thing like Appalachian Swing, Joe Maphis' "Flying Fingers", West Bryant, or Travis Country Pickin' (which is on Hightone, btw, or the HMG imprint of Hightone), or a surf-twang thing like Duane Eddy, The Shadows, or Calif surf albums Good stuff. --junior
Re: (Fwd) controlling information
A hoax... Well sheee-it, color me hoaxed. Damn, --junior
Re: Kelly Willis Michael Been?
Oh, Purcell's back. It's just old home week around here, n'est-ce-pas (as they say down on the bayou). Millenial anxiety, sheer coincidence, or the inescapable lure of twang subculture? You decide. --junior
RE: Kelly Willis Michael WHERE YA Been PURCELL?
Darn, I'd been saving up band names. "We are not the undead but merely indulge in ironic covers..." was a leading contender this year. --junior
Re: SXSW schedule
Jerker, just put "sxsw" into any search engine and the website should come right up www.sxsw.com, I assume? --junior
1st half-ironic cover? (was sucking in the 70s)
Carl starts a thread: I also have some thread-sparking questions (what was the first known instance of the half-ironic cover - is he right in naming the 'Mats's Kiss cover as Patient Zero - and also how to relate this web of analysis to the various levels of irony in alt-country covers of both rock and country so-called cheeze). In my mind, it was always the Byrd's version of "The Christian Life." I couldn't understand it any other way than as an ironic gesture at the time --junior
Re: sucking in the 70s (was Fulks/very long piece)
Yes, Jake, can you please repost your piece in straight mail form for those of us whose computers don't open attachments? Many thanks, --junior
Re: The Eradication Game (Re: Grammyszzzzzzzzz....)
Jeff say: ZZ Top's early stuff positively smoked Seger - I'll agree with that... Oh yes, absolutely. That 3-disc set of the early ZZ albums is quite a document. Texas, baby!! g --junior npimh: Tube Snake Boogie
Re: The Eradication Game (Re: Grammyszzzzzzzzz....)
Is there still space on Curry's 'acts we wouldnt mind seeing wiped from the earth' list? Can you say "Little Texas"? As open-minded as I'd like to be, I just could not figure the rationale for their existence. --junior
Re: George Jones' phrasing (was Gag reflex)
Mr. Joe Gracey Sir sez: An interesting note about George Jones, from my standpoint as a watcher of singers- he sings through the whole front of his skull. Whereas most vocalists open their mouths and project a sound from the hole, George basically sings through clenched teeth and projects the sound from every orifice in his skull, including vibrating the bones of his face. I think this is one of the things that adds such weird tension to his vocals. Try it- sing real loud through closed teeth. See? Yeah, when I wrote yesterday I was talking about his phrasing in particular, but the particular timbre of his voice is unique as well. Iv'e never thought about it in exactly the terms you use above, except to observe the clenched-teeth thing and that he does seem to really sing through his *head* chest rather the chest or diaphragm. Once, um, I sat around for the better part of an afternoon singing "Why Baby Why" over and over trying to understand how he gets that sound g. All I could ever get to was a real nasal-sounding tone that, alas, never even approached George-ness. I tried to constrict my throat and hold my mouth in odd, closed ways like he does, but never got the results Ah well. At least this practice came in handy on the "Why Baby Why" singalong in CK's room last Tfest g. There's a little of that timbre in Buck as well, no? (as opposed to Johnny Paycheck, who seems to get the phrasing but not the timbre). They both have that head-centered, closed-mouth sound, as opposed to the more "correct" resonating voice a la Faron and such. Interesting topic. I'm always fascinated by the particular "grain" of different singers' voices. Willie's a strange one that way; he sometimes strikes me as having several different phrasing-styles (with more and less of that around-the-beat thing he does) and timbres that he brings out for different purposes. --junior
Outlaws (was: Hyper produced Bobby Bare)
Terry mentions the outlaw movement... Don't recall a thread on them, offhand. I loved these guys in a cultural sense but wasn't real into the rhymthic feel (the "boom-chuck," rhythm as opp to a swinging rhythm...). I never have understood that rhythm thing... They were certainly an interesting moment in terms of struggles within the country music industry. Didn't that first album outsell all previous country albums at the time? --junior
Re: 50/90
Bill quips: Junior, upset that REVERB DELUXE didn't make the top 50, wrote: Damn straight! Sheesh g And where's Dwight? Was he in there anywhere? And honestly, I'm sorta surprised people rate Exile in the top ten of the decade. The year it came out, possibly, but the entire decade?? Increasingly out of touch in a post-Bakersfield universe, --junior
Re: That overproduced Dwight Yoakam (was Re: Hyper produced Bobb
This is an interesting thread and I will chime in on the Dwight development to reiterate what I said last week in response to Lightnin' Rod Terry's initial post about the production on that album... Somewhat along the lines of what Bill said of Dwight, or what David said in more general terms, it's difficult for me to understand things in terms of "over" or "under"-production; rather, it's whatever works in the circumstances, for that particular version of a song. Plus, A Long Way Home is not produced in single manner all the way through. Pete A. has produced each song for an effect they're looking for with *that* number. Some, like "These Arms," have "big" production, others (like the bluegrass-flavored "Lantern" title?) are relatively minimal. In any case, to my ears it's a successful case of producing for the particular song and the effects one wants on it. Go Lightnin' Rod go g, --junior
Re: Lucinda / Blondie on TV
Out of curiosity, who else was in Blondie last night, besides Harry, Stein, and Burke. Did they have that tall woman on bass that was playing with them when they first reformed a couple of years ago (hooweee!!! g)? Or who? Just wondering --junior ps. Neal, I like Burke pretty well. Yes his drumming is exhibitionistic and so on, but it's a certain style and I think he does it well. I do agree, however, that Case should stick to the solo career. The reunited Plimsouls were fun, but more in a nostalgic sense than as a real band with forward creative energy. After the show I saw on that tour with Burke, Case told me with a straight face that he was doing it "to put my son through grad school" g
Re: Kansas was Cowboys to Girls
Yeah, the Kansas song on Half Mad Moon is one I've listened to over and over because I had a hard time a) deciphering the lyrics, b) understanding how they all went together once I'd figured them out (there are still a couple of lines I don't get, in fact...). And being in Kansas, I felt duty-bound to figure it out g. As William says, the song refers to the "Bleeding Kansas" period of pro- and anti-slavery violence following the Kansas-Nebraska Act in 1854. Outrage against the way this act opened the door for a spread of slavery after the Missouri Compromise, etc., gave birth to the Republican party, bitter guerilla warfare between pro- and anti-slavery factions in Kansas itself (John Brown, a notorious massacre in Lawrence, the town I'm writing from right now, etc.), and the famous incident on the floor of the U.S. Senate in which Massachusetts Senator Charles Sumner was beaten senseless by southern Senator Preston Brooks. (You think the House Managers were partisan last month!!!). Sumner denounced the "crimes against Kansas" and ended up in a bloody heap on the floor. And yet the Damnations song has a fun, jangly feeling, so that my daughter knows the words already and sings them happily as we're driving around Lawrence in the car: "Kansas Bleeding Kansas, back home!!" I still wonder how they came to write such a song. I initially thought perhaps one of them was from here, but from what everyone says they're from NY by way of the Southwest, etc. So who knows Someone should ask them. --junior, in Lawrence, KS...
Re: Half Mad Moon
Slim quips: I have figured it out: The Damnations TX are a country version of Cheri Knight. Ooooh!! Mrowl! gGood one, Slim. Like I said this morning, don't let the buzz fool ya, they're a fine fine band!!! Nuff said for now, --junior
Re: Half Mad Moon
Actually, Terry, funny you should ask. There are, in fact, several significant developments about Twangfest lately Including headliners, and so on. We're going to get ourselves organized for an announcement of several of these developments in just a very few days. Not trying to be a tease, REALLY! We just want to cross our Ts, dot our Is, and let our world famous spokesmodel Mr. Mark Wyatt step up to the plate when everything's in order. News a-comin' soon, --junior, for the TwangGang Inc.
