Re: Criminally Underappreciated
So whose big idea was this anyway? Thanks a bunch Jake, now I've had to make yet another lengthy list of records I oughta hear. A guy could go broke subscribing to this list. Anyway, few more nominees. -Heather Myles, Just Like Old Times: '92 debut, every bit as good as Highways Honky Tonks. -Bobbie Cryner, Girl of Your Dreams: Indeed. Gives country pop a good name. -Dan Penn, Do Right Man: Sweet soul music, the likes of which they just don't make much any more. -Jimmy Rogers, Blue Bird: Old school Chicago blues, the likes of which they just don't make much any more. -Bob Dylan, Good As I Been To You and/or World Gone Wrong: Bob's anthologies of American folk music, killing time in the best sense of the words. M Moore
Cleveland?
Gonna be in Cleveland OH 4-9 to 4-13. If anybody knows of any shows worth seeing I would appreciate hearing about it offlist. Thanks in advance. M. Moore
Re: Apartment # 9
Jon says: BMI's searchable database Then Joe says: look it up in the BMI website. Sheesh, I shoulda thought of that. Proves to be a treasure trove, killed 45 minutes there just goofing off. Then Jon says: lists it as Paycheck and Bobby (not Billy) Austin Doh! Of course it's Bobby, I musta been thinking of a Steve Earle song. Thanks to both you gents for the advice (and Mike too for the effort). For my purposes I'll go with BMI and Austin/Paycheck. I noticed that BMI lists Owen Publications of Bakersfield as the publisher, which may explain how Fuzzy gets attached to the song in some citations, but their database has no listing for a Fern Foley. M. Moore
Apartment #9
Need a little help with some research here, please. I'd thought that Tammy Wynette's debut single, Apartment #9, was written by Johnny Paycheck and Billy Austin. Yet I recently saw it credited to Fuzzy Owen and Fern Foley, and to Owen/Foley/Paycheck. Anyone know what gives here? I just want to get it right for something I'm working on. Thanking the collective wisdom in advance. M. Moore
Re: Oscar Nomination/Allison Moorer
Re: the Allison Moorer Oscar nomination, B. Silvers asks: and the record didn't do all that well in the P2 best of '98 poll, did it? Alabama Song came in a very respectable(?) 36th, with, if I read this right, a total of 11 votes. At least one voter, as I recall, tagged Soft Place To Fall as song of the year. And it still tears me, er, him, up every time. And says: Not that that's justification... Well, no . . . especially as all 11 who voted for it are persons of impeccable taste g.
Elmore Leonard, Gone Country, et. al.
Well, sorta. Elmore Leonard's new one, Be Cool, may be of interest to some here. Chili Palmer, last seen making a career change, from loan shark to movie producer, in Get Shorty, is back, and getting into L.A.'s other racket, the music business. Signs on to manage an alt-country band just looking for a hit, Odessa, "AC/DC meets Patsy Cline," and finds it ain't all that different from his previous lines of work (I'm sure Elmore means no offense to you industry types in the audience). Did he read Hit Men? It's wickedly funny, and though I have no first hand knowledge of the music biz, the satire reads true enough. And Harry Dean Stanton's in it. Terrific cast of characters, dead-on dialogue, sharp eye for pop cultural details: Leonard is a national treasure, pulp fiction division. Also, with all the buzz around the Comp Country Western Recordings reissue last fall, it may be list-worthy to note the new bio, Ray Charles: Man and Music, by Michael Lydon. It's worth a look. For those with Seattle connections, the chapter on the city's late 40's jazz scene is a treat. And, after seeing others talk about it here, been making my way through Peterson's Creating Country Music. Hmmm. The thesis is compelling enough, and while I can see the heuristic value in the typologies (soft shell/hard core, etc.), and not that I haven't learned a thing or two, I gotta say, with all due respect to Prof. Peterson, the social scientific style of exposition leaves me cold. But then, I studied history in college. n.p. Odessa
Re: Vince Gill
They're saying: "Vince's two-hour all-request concert Saturday on AE" . . ." that boy can really play some electric geetar" . . . "I pretty much agree" . . ."he's got great chops as a player and, obviously, a real grasp of all the country subgenres". . . "a pretty impressive-sounding set ". . ."Vince and band (to my ears, of course) basically kicked the butt of the 97s and Wtown . . ." etc, etc, etc. Little behind the curve on this, being a digester, but it's nice to see Vince getting some props, especially from some who weren't already converted. With all that's problematic with the Nashville system, Vince is surely part of any solution. T.V. contrivances aside, it was a terrific show. Of course, those of us who've seen Vince perform before were not surprised by the quality of his book or his chops g, or that he and his pros would have it all over those upstarts, the 97s and Wtown g, again. What's the name of the guy who's mentored Vince at MCA again?, his producer? . . .you know . . . uh, um . . Darth?, no . . . oh yeah, Tony Brown. n.p. The Key, o' course
Re: the fifth Beatle
I believe that if there was a fifth Beatle, it was Carl Perkins. Any takers? Junior There's a great scene in Go, Cat, Go, David Mcgee's bio of Perkins, where Carl, while touring England, spends a long 1964(?) night in the studio with the Beatles. The Fab 4 are like kids in a candy store. I believe it true that the Beatles covered Carl Perkins more than any other songwriter. MM
