Fever query (was: covers)
With all this talk about covers, Fever, etc. I relistened to Elvis and Little Willie John's versions last night and was wondering when and by whom the song was first recorded. Little Willie's is from 1956. Are there recordings before that? Curious, --junior
Re: Fever query (was: covers)
As far as I know, Little Willie was the originator. Barry With all this talk about covers, Fever, etc. I relistened to Elvis and Little Willie John's versions last night and was wondering when and by whom the song was first recorded. Little Willie's is from 1956. Are there recordings before that? Curious, --junior
Re: Good covers (was: Kelly Willis calling the shots)
You know, I'm glad this came up because as we speak I'm taping some of the Pine Valley Cosmonauts LP. What strikes me is that the songs which fail do so because they spotlight vocalists who are weak singers. Or, maybe it's that they are trying to adopt the Wills arrangements too strictly, which were able to feature a singer as fitted for those arrangements as Tommy Duncan was. This is probably why Merle and Willie and George Strait can pull off Western Swing. It's not that their bands aren't all respectively brilliant, it's just that each of their voices is distinctively complementary. As Willie might say, they're aging with time like yesterday's wine. I hope some of these folks on the PVC do stick with the swing, maybe they'll have a great album before long. Or maybe someone should convince Dwight Yoakam to sing with the band. you are so right about the pine valley cd which i have tried to like but finally gave up on for that exact reasonmusically i like lots of and vocally some of but it just winds up a pale comparison to some really good weatern swingi am far from a purist on this but some folks just don't have the voice (or should i say phrasing) to pull off these songsoh well, i guess bob wills is still the king
Re: Good covers (was: Kelly Willis calling the shots)
This covers thread raised a question for me -- what's it called when an artist -- I'm thinking of Dave Alvin, specifically -- "covers" a tune that he wrote for a band that he played in, but didn't sing, and covers it in a wildly different (and better, in Alvin's case) fashion? Border Radio, Romeo's whatever, a few others. I'll try to think of some other artists who did this sort of thing. -- Terry Smith ps so when's mandy barnett's new one coming out?
Re: Good covers (was: Kelly Willis calling the shots)
At 4:39 PM -0400 4/4/99, Amy Haugesag wrote: 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. 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 But I used the word "rehash" advisedly. I think it's possible and even fairly common to do a note-for-note rendition of someone else's song and *still* bring something of oneself--usually having to do with the distinctive voice that Ross mentions--to it. A rehash, on the other hand, is nothing more than a carbon copy of a song, one that doesn't add any distinctiveness of voice or anything else. A talented artist can sing a note-for-note rendition of a song they didn't write and still make it their own, by virtue of having a) a distinctive voice and b) emotional honesty, and specifically the ability to give the listener a sense that the song resonates emotionally for the singer as it did for the writer or original performer. I certainly agree with all of that, but I don't think that's the same thing as saying "all good covers" should be "reinterpretations rather than rehashes". Unless you are saying that a note-for-note remake is a reinterpretation when you like it and a rehash when you don't like it. A note-for-note remake, I'd say, is almost always giving the song the same interpretation as the original, whether it works or not. Ross Whitwam[EMAIL PROTECTED] Molecular Pharmacology Therapeutics Program Memorial Sloan-Kettering Cancer Center, NYC
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: Good covers (was: Kelly Willis calling the shots)
This covers thread raised a question for me -- what's it called when an artist -- I'm thinking of Dave Alvin, specifically -- "covers" a tune that he wrote for a band that he played in, but didn't sing, and covers it in a wildly different (and better, in Alvin's case) fashion? Border Radio, Romeo's whatever, a few others. I'll try to think of some other artists who did this sort of thing. -- Terry Smith How about when Bob Dylan covers Buddy Holly's "Not Fade Away," but the arrangement of the song adheres pretty closely to the Dead's version? Is there a name for that? Isn't it Harmolodic Bifurcation? OR maybe I'm thinking of Caesarean Retrofication? Yeah, that's it. Lance . . .
Re: Fever (was: good covers)
At 10:32 AM + on 4/5/99, Ph. Barnard wrote: 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. I once saw Don Dixon do a great version of it, too, accompanied only by himself on upright bass. But it's a tough song, considering how many versions of it are out there. Bob
Re: Fever (was: good covers)
Hey, I like the song too. Little Willie John's version is *terrific*, imho, etc. --junio Yeah Ross-I'm on your side on this one too. I like Peggy Lee's...I love Little Willie John's--and I consider the Elvis version from the sensational "Elvis Is Back" post-Army LP, one of the better things he ever did...it's probably the best version! Barry reporting in from the kitschin
Re: Good covers (was: Kelly Willis calling the shots)
How about when Bob Dylan covers Buddy Holly's "Not Fade Away," but the arrangement of the song adheres pretty closely to the Dead's version? Is there a name for that? Isn't it Harmolodic Bifurcation? OR maybe I'm thinking of Caesarean Retrofication? Yeah, that's it. Lance . . . Oh, that's called "copying"... Barry
Re: Good covers (was: Kelly Willis calling the shots)
At 4:39 PM -0400 4/4/99, Amy Haugesag wrote: 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. 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 Whoa there, Dr. Ross. I don't recall mentioning anything about irony, faked sensations, or artistic rubbish. All I said was that I don't like the song or Peggy Lee's voice, and I mentioned its kitsch appeal (which I think is undeniable). I've been known to rail against ironic detachment at the least provocation, but this wasn't one of those instances, and I wasn't commenting on your reaction to the song (about which I know nothing) at all. Sheesh. --Amy
Re: Good covers (was: Kelly Willis calling the shots)
Dr. Ross writes: I love the whole record, even the not-as-good-as-the-first-version "Fading Fast," and I'm especially impressed with the Nick Drake and Replacements covers, which are reinterpretations rather than rehashes, just like all good covers should be. Tsk tsk. So Peggy Lee's "Fever", Bob Dylan's "Broke Down Engine", and Merle's "San Antonio Rose" (to name just three rehashes that immediately came to mind) are not good covers? I'd say there are lots of way to make good covers. An artist with a strong, distinctive voice -- and I'd put all of the above in that category -- can make a note-for-note remake of a song and still make a recording I find valuable on the strength of the subtle variations that that distinctive voice brings to the song. Stepping up for Jon W. who is probably tired of making this point (except he probably would not require even subtle variations if the cover was performed with good grace and skill), 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. But I used the word "rehash" advisedly. I think it's possible and even fairly common to do a note-for-note rendition of someone else's song and *still* bring something of oneself--usually having to do with the distinctive voice that Ross mentions--to it. A rehash, on the other hand, is nothing more than a carbon copy of a song, one that doesn't add any distinctiveness of voice or anything else. A talented artist can sing a note-for-note rendition of a song they didn't write and still make it their own, by virtue of having a) a distinctive voice and b) emotional honesty, and specifically the ability to give the listener a sense that the song resonates emotionally for the singer as it did for the writer or original performer. In fact, radical reinterpretations tend not to work as well for me (for the most part--though I do like some complete overhauls, including the aforementioned punk rock version of "Pink Moon" that Sebadoh did) as do subtle reinterpretations like Kelly Willis does with the songs by Nick Drake and the Replacements. The songs are still recognizable (though "Time Has Told Me" may not be immediately so, at least on casual listen), and they don't stray all that far from the originals, but they're twangified enough to fit Kelly's style; hearing her do an English-folkie-style "Time Has Told Me" or an indie-rock "They're Blind" would have been weird. Way more detail than I wanted to get into. --Amy "Ain't no use in hanging around/Emptiness swallows its own path/I watch my weakness go down easy/And I pray it won't last..." (The Damnations TX)
RE: Good covers (was: Kelly Willis calling the shots)
Amy says: A talented artist can sing a note-for-note rendition of a song they didn't write and still make it their own, by virtue of having a) a distinctive voice and b) emotional honesty, and specifically the ability to give the listener a sense that the song resonates emotionally for the singer as it did for the writer or original performer. Exactly, and what's spooky, at least to me, is that while sometimes the emotional resonance is responsible for the "note-for-note" rendition, sometimes it's the other way around - that is, by concentrating fiercely on doing just what the original did, you achieve the emotional identification; by playing it, you become, for a moment, the original performer. I read a comment very much along these lines not too long ago from some performer or other, and now I can't find it; when I do, I'm going to post it, just to show that even if I'm crazy in looking at it this way, I'm not the only nut. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: Good covers (was: Kelly Willis calling the shots)
Any, then, Jon says the following, on covers: Exactly, and what's spooky, at least to me, is that while sometimes the emotional resonance is responsible for the "note-for-note" rendition, sometimes it's the other way around - that is, by concentrating fiercely on doing just what the original did, you achieve the emotional identification; by playing it, you become, for a moment, the original performer. I read a comment very much along these lines not too long ago from some performer or other, and now I can't find it; when I do, I'm going to post it, just to show that even if I'm crazy in looking at it this way, I'm not the only nut. You're not alone in this view at all, Jon. Don't have time for a detailed discussion, but I've never notice any pattern or rule to distinguishing "good" from "bad" covers. I don't consider a cover "secondary" to the "original," in fact. One could cite numerous covers that outdo the "originial" in various ways, or that work *even though* they're note-for-note copies, or work as completely reinterpretations. As best I can tell, there's just no rule. It's like for any kind of performance: some work, some don't I've never yet found a general rule to distinguish the succesful from the unsuccessful ones. If I had, I'd do all good covers g. -junior
Re: Good covers (was: Kelly Willis calling the shots)
You know, I'm glad this came up because as we speak I'm taping some of the Pine Valley Cosmonauts LP. What strikes me is that the songs which fail do so because they spotlight vocalists who are weak singers. Or, maybe it's that they are trying to adopt the Wills arrangements too strictly, which were able to feature a singer as fitted for those arrangements as Tommy Duncan was. Whatever the case, some of the vocalists on the PVC's album sure sound like they're used to singing rock 'n' roll songs, so they're unable to hide behind (or among) the band because the band is arranged around them. Their vocal "deficiencies" aren't as big a liability in most rock 'n' roll environments because they need only be tunefully enthusiastic, not sensitively collaborative. So, the PVCs band is shit-hot, but more than a few of the singers aren't up to the challenge. This is probably why Merle and Willie and George Strait can pull off Western Swing. It's not that their bands aren't all respectively brilliant, it's just that each of their voices is distinctively complementary. As Willie might say, they're aging with time like yesterday's wine. I hope some of these folks on the PVC do stick with the swing, maybe they'll have a great album before long. Or maybe someone should convince Dwight Yoakam to sing with the band. Lance, smoking T for Texas . . .
Good covers (was: Kelly Willis calling the shots)
At 12:27 AM -0500 4/3/99, Amy Haugesag wrote: I love the whole record, even the not-as-good-as-the-first-version "Fading Fast," and I'm especially impressed with the Nick Drake and Replacements covers, which are reinterpretations rather than rehashes, just like all good covers should be. Tsk tsk. So Peggy Lee's "Fever", Bob Dylan's "Broke Down Engine", and Merle's "San Antonio Rose" (to name just three rehashes that immediately came to mind) are not good covers? I'd say there are lots of way to make good covers. An artist with a strong, distinctive voice -- and I'd put all of the above in that category -- can make a note-for-note remake of a song and still make a recording I find valuable on the strength of the subtle variations that that distinctive voice brings to the song. Stepping up for Jon W. who is probably tired of making this point (except he probably would not require even subtle variations if the cover was performed with good grace and skill), Ross Whitwam[EMAIL PROTECTED] Molecular Pharmacology Therapeutics Program Memorial Sloan-Kettering Cancer Center, NYC
RE: Covers v2.01 (was Re: Got my Grand Funk dose)
ns: "High and Lonesome: The Story of Bluegrass Music" Er, that's "High Lonesome," Mitch; no "and" in it. That's what happens if you get a dose of Grand Funk Railroad first g. BTW, my favorite part of the movie is a brief clip of the Osborne Brothers on TV with Harley Gabbard playing guitar and singing the third part. He was only with them for a few months, and it's probably the only filmed record of that period. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Covers v2.01 (was Re: Got my Grand Funk dose)
In a message dated 3/14/99 5:50:50 AM !!!First Boot!!!, [EMAIL PROTECTED] writes: BTW, my favorite part of the movie is a brief clip of the Osborne Brothers on TV with Harley Gabbard playing guitar and singing the third part. He was only with them for a few months, and it's probably the only filmed record of that period. My fave part is when Mr. Monroe is sitting outside the old abandoned house, and is explaining when his uncle would come over to play fiddle. He talks about the songs that he would play, then asks the interviewer, "Can I play you a song?" Yeah, right, deny THAT man to play a song for you. Like denying Jesus to pray for you. Mitch Matthews Gravel Train/Sunken Road
Re: Covers v2.01 (was Re: Got my Grand Funk dose)
On Sat, 13 Mar 1999 [EMAIL PROTECTED] wrote: I was hoping that there could be this P2 jam session going and we could do a bluegrass version of "Some Kind of Wonderful". That might be new enough to get past good ol' Mike Woods. But HTC would have to get pretty damned obscure to get *any* GFR past that guy. He knows every 70's song written; I only know all the rest. Geff nf: snow, and it's laying - no Sam's Crab House this evening, I bet...
Re: Covers v2.01 (was Re: Got my Grand Funk dose)
So, if you had a set at Twangfest, what Grand Funk tune would you slip into the list, and why? Gee, that's a tough one. Maybe T.N.U.C. from that double live album with a really long theremin solo. That leaves "American Band" for Gravel Train and "Closer To Home" for Hillbilly Idol - Al can do the "seagull" sounds with the pedal steel. Tom Moran The Deliberate Strangers' Old Home Place http://members.tripod.com/~Deliberate_Strangers/index.html ***New and Improved!
Re: Covers v2.01 (was Re: Got my Grand Funk dose)
In a message dated 3/14/99 3:44:30 AM !!!First Boot!!!, [EMAIL PROTECTED] writes: So, if you had a set at Twangfest, what Grand Funk tune would you slip into the list, and why? Gee, that's a tough one. Maybe T.N.U.C. from that double live album with a really long theremin solo. That leaves "American Band" for Gravel Train and "Closer To Home" for Hillbilly Idol - Al can do the "seagull" sounds with the pedal steel. I was hoping that there could be this P2 jam session going and we could do a bluegrass version of "Some Kind of Wonderful". Mitch Matthews Gravel Train/Sunken Road ns: "High and Lonesome: The Story of Bluegrass Music"
Covers: responding to some comments (was fulks and covers)
I want to make a few more comments on a couple of points raised by Carl and Barry about my covers piece. I started this a week or so ago, and just now kind of finished it off. Hope it's not too stale by now. This'll probably be my last words on the subject (but I'm always psyched to hear what other folks think). I think we've covered some of this ground in other posts, but I don't have the energy to weed that stuff out of here. Sorry. This is long, but hopefully it'll be interesting if you take the time with it (I guess this is starting to be a theme--I'm sorry I didn't have time to make it shorter). first Carl: [EMAIL PROTECTED] wrote: "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). " Jake: Well, I'm not sure if the Kiss Cover is "Patient Zero" or not. I suspect not. It's a question I've asked myself. But in the end, I'm not sure it really matters. Instead, I prefer to jump off from some ideas I first saw in Fredric Jameson's "Postmodernism or the Logic of Late Capitalism" In the intro, he says the following. Indulge me, it's a little long and dense: "In periodizing a phenonomenon of this kind [here he's talking about the phenonomenon of Postmodernism and Late Capitalism], we have to complicate the model with all kinds of supplementary epicycles. It is necessary to distinguish between the gradual setting in place of the various (often unrelated) preconditions for the new structure and the "moment" (not exactly chronological) when they all jell and combine into a functional system. This moment is itself less a matter of chronology than it is of a well-nigh Freudian Nachstraglichkeit, or retroactivity: people become aware of the dynamics of some new system, in which they are themselves seized, only later on and gradually. Nor is that dawning collective consciousness of a new system (deduced itself intermittently in a fragmentary way from various unrelated crisis symptoms such as factory closings or higher interest rates) exactly the same as the coming into being of fresh cultural forms of expression (Raymond Williams" "structures of feeling" do finally strike one as a very odd way to have to characterize postmodernism culturally). That the pre-conditions for a new "structure of feeling" also preexist their moment of combination and crystallization into a relatively hegemonic style everyone acknowledges; but that pre-history is not in synch with the economic one. Thus Mandel suggests that the basic new technological prerequisites of the new "long wave" of capitalism's third stage (here called "late capitalism") were available by the end of Wolrd War II, which also had the effect of reorganzing international relations, decolonizing the colonies and laying the groundwork for the emergence of a new economic world system. Culturally, however, the precondition is to be found (apart the wide variety of aberrant modernist "experiments" which are then restructured in the form of predecessors) in the enormous social and psychological transformations of the 1960s, which swept so much tradition away on the level of metalites. Thus the economic prepartion of postmodernism began in the 1950s, after wartime shortages of consumer goods and spare parts had been made up and new products and new technologies (not least those of the media) could be pioneered. On the other hand, the psychic habitus of the new age demands the absolute break, strengthened by a generational rapture, achieved more properly in the 1960s (it being understood that economic development does not then pause for that, but very much continues along its own level and according to its own logic). If you prefer a now somewhat antiquated language, the distiction is very much the one Althusser used to harp on between a Hegelian "essential cross section of the present" (or coup d'essence), where a culture critique wants to find a single principle of the "postmodern" inherent in the most varied and ramified features of social life, and the Althusserian "structure in dominance" in which the various levels entertain a semiautonomy over and against each other, run at different rates of speed, develop unevenly, and yet conspire to produce a totality." Then in Chapter one Jameson says the following: "One of the concerns aroused by periodizing hypotheses is that these tend to obliterate difference and to project the idea of the historical period as massive homogeneity (bounded on either side by inexplicable chronological metamorphoses and punctuation marks). This is, however, precisely why it seems to me essential to grasp postmode
Re: Covers: responding to some comments (was fulks and covers)
Jake-- Your quoting of critical theorists is frightening me. I'm only a caveman. But, just out of curiosity, while I wouldn't argue the irony at work on the Mat's take of "Black Diamond," hadn't they already done this? I'm speaking of their appropriations of both "Oh Darling" and "Strawberry Fields Forever" for "Mr. Whirly" on Hootenanny. Now, I realize that the Fabs don't have the kitsch quotient of KISS, but couldn't that also be seen as ironic? Not that this invalidates anything you said previously (which I barely understood anyway), but that "Whirly" pre-dates "BD" has to mean something. Right? Lance . . . PS--Does Ben still have Alcohol Funnycar together?
Re: Covers/Rufus
Jake, as expected, has delivered yet another lengthy and worthwhile set of points here. Especially useful was the reference to the Althusser etc. idea about the different layers of culture/socioeconomy/demographics responding at different rates to different forces but coalescing (at least in retrospect) to form particular cultural styles. Think of the map Jake was drawing as a seismographic (tectonic-plates) survey and I think that makes sense of why Barry's issue about individual boomer differences and the like doesn't obviate the point. Generational bonds are one of the layers that scrape beneath our feet. (NB: I'd clarify that my question about the timing of the first punk-style ironic covers wasn't meant to be a criticism of Jake's use of the Mats, just a music-trivia sideline.) I also found the periodic questions about one-mass-culture vs. splintered-niche culture interesting, esp. re: speed and pervasiveness of media. My sense is that demographic pressure is helping push the parts of mass culture closer together again (unity in diversity as rock hip-hop fanciers start to hop borders via hybrid New Top 40 pop hits a la Puff Daddy). But each of the new mass phenomena is now famous for much less than 15 minutes, helping reinforce a cultural amnesia-anomie that's very far from the icon-saturation of the seventies. (And nervous making, imho.) My sense of the post-ironic moment all this is helping create was reinforced last night at an astoundingly packed and high-emotion concert by Rufus Wainwright. His archly sentimental songs were being treated as anthems by a crowd he suspected of being too young even to know who River Phoenix (subject of his song "Death of the Matinee Idol") was. Also significant, for instance, that this Gap-ad-doin', slacker-fop incarnatin' singer closed with a cover of a little folk song rather than of, say, a piano-retooled disco hit. Though of course his own background informs such choices (having folk-makin' folks). Watch those layers slide. Here's my review, appearing in tomorrow's Globe Mail in Toronto. (This is also part of my continuing consciousness-raising campaign on behalf of Martha Wainwright's upcoming album...) -- POP REVIEW Rufus Wainwright Trinity-St Paul's Centre, Toronto by Carl Wilson The Globe Mail Diva this, diva that. While pop pundits _ who resist catchphrases less hardily than medieval peasants did the bubonic plague _ affix the label to every Celine, Alanis and Shania who comes along, the only Canadian who earns it is a gay ex-Montrealer in his mid-20s. Rufus Wainwright, after all, croons about sex, death, Venetian columns and the love rituals of arcane gods, in his unique octave-skipping "popera" style. And if the fever of the standing-room-only crowd at Trinity St. Paul's in Toronto Tuesday night was any indication, he's tapping the latent romanticism of a generation that would normally scoff at the whole idea of latent romanticism. After a warmly received opening set by British singer Imogen Heap, whose piano ballads aligned comfortably with the Rufus vibe, a female chorus immediately began chanting "Rfuss!" in an oh-so-20-year-old singsong cadence. In fact, the starstruck Rufies (for want of a better word) defined the evening _ even as brash a performer as Wainwright seemed surprised to see how quickly a Gap-ad cameo, an alternative-album Juno (last weekend for his eponymous Dreamworks debut) and a year's worth of media fawning can make you a cult idol. The cheekbones and sideburns don't hurt either, of course. Wainwright, in his flower-embroidered short black jacket and blue crushed-velvet pants, embraced sex-symbol status with cheerful, if self-conscious, arrogance. After full-band treatments of bouncy album numbers Danny Boy and Matinee Idol, he introduced the tougher Damned Ladies from behind his piano: "This song is about opera and divas" _ screams from the fans. Pause. "Some of you girls better grow up to be opera singers, okay? ... For daddy?" The irony of being greeted as a sophisticated Backstreet Boys didn't escape Wainwright, perhaps the most unabashed gay man ever to grace a U.S. major label (and, with his blend of Sondheim, Schubert and Harry Nilsson, a songwriter who takes camp seriously indeed). Later, taking up his guitar, he coyly addressed the crowd: "Now, I'm sure you little girls all brought your gay friends along _ are you going to pimp them to me? Come on, line '
Re: Covers and a defense of irony (long)
Grow up, Lance, please. You cakehole. Anyway, around here they say "piehole". Joe Gracey I used to say "piehole" until my girlfriend said thought "cakehole" was funnier. So, "cakehole" it was. And between the 700 of us, I think "wordhole" is my favorite. Lance . . .
RE: Covers and a defense of irony (long)
New Yorkers may be seething with suppressed rage, but they're still friendly, or at least talkative. New Yorker, giving artificial respiration; bent at the waist, hands cupped around mouth, shouting down at the needy one - "GET UP! BEFORE YOU DIE! Phil Esposito
Re: Covers: A Follow-up
(Dodging that "anti-HNC" Stinger missile fired by the Ndubbinistas...g, I respond); Jon wrote; I dunno, Dan; I don't think I've ever seen anything but dismissals of Garth's "Shameless" or "The Fever," and not because people argued that they were bad jobs or that he didn't do a good job on them. The very *idea* that he was covering Billy Joel and (?) seemed to elicit plenty of vilification all by itself. Was this from rock crits or country crits? Probably the rock ones, I would guess. Either way I just think it's silly, because I think Billy Joel's a damn good writer and performer, and I guess it doesn't surprise me because there's a lotta dumb and hung-up hipster critics out there. I just don't think the fans-alt.country or not-are as hung up on a sort of 70's pop hit/ironic attachment thing as we might think (even tho I think a lot of what Jake wrote had merit). I haven't heard either of those Garth songs (I have actually, but they're just not coming back into my memory), so I don't know if they're good versions or not. And finally, Billy Joel married Christie-damned-Brinkley and you gotta give the man props for that alone! dan "a supermodel in every pot" bentele
RE: Robbie Fulks and covers
At 04:08 PM 3/2/99 -0500, you wrote: The first time I heard their version was on the televised portion of the Opry a few years ago; that flat 7 chord jumped right out at me. Uh... as a non-musician who doesn't even aspire to play three chord Lou Reed songs, what the hell are you talking about? Hah, am I glad you asked, because it's not a flat 7, it's a flat 6 (so much for this "non-musician" pose). The first two lines of the verse go 4 chord to 1 chord, but at the start of the third line, it goes to a flat 6 chord - C in the key of E - and that's not something you find a lot of in bluegrass, or in country music in general (there's a flat 6 in the second part of "Snowflake Reel"/"Snowflake Breakdown," but after that it gets hard to recall any right now). If you recall the chord pattern for "All Along The Watchtower," the chord that the pattern goes down to is the flat 6 (1minor, flat 7, flat 6, flat 7,1minor, repeat ad infinitum); another example of it is in "I've Been Loving You Too Long," where it's used in the vamp (a passage that you play over and over, like a loop). Maybe that will give you the idea of the sound. Can you create flash cards for me? Uh... I'm sorry I asked the original question. Jeff Miles of Music mail order http://www.milesofmusic.com FREE printed Catalog: (818) 883-9975 fax: (818) 992-8302, [EMAIL PROTECTED] Alt-Country, rockabilly, bluegrass, folk, power pop and tons more.
RE: Robbie Fulks and covers
Can you create flash cards for me? Uh... I'm sorry I asked the original question. Jeff [Matt Benz] Jeff, what Jon is doing is "translating" the chords of a song into numbers. The whole key of a song, say G becomes numbers: G -1 A -2 B-3 C-4 D-5 E-6 F-7. So, your standard pop chords of G - C - D become I - 4 - 5, which is the "145 progression." The flat 6 would be a Eb chord. I think. Either that, or it's really a flatted 6th chord, as in Gb6. What was the question?
RE: Covers: A Follow-up
On Thu, 4 Mar 1999, Bob Soron wrote: At 5:00 PM -0500 on 3/3/99, Jon Weisberger said of Garth Brooks: Personally, I think he made a good country record on "Shameless"; the kickoff still fools me every time g. Always one to either take the bait or serve up the straight line, depending... Fools you ... into thinking it's a country song? g Reminds me of that line on Graham Parker's "Live and Alone In America" where he says that "..in Russia they still thik Billy Joel's a rock and roll singer." To which I always reply, "So What? In America they think Garth Brooks is a Country-Western singer..." -- Geff King * [EMAIL PROTECTED] * http://www2.ari.net/gking/ "Don't let me catch you laughin' when the jukebox cries" - Kinky Friedman, "Sold American"
(long) covers: responding to Carl Wilson
Damn there's a lot here. I'll try to respond to a few things. I've also got another response from some your comments yesterday, which may take me a little while longer to get together: Carl Wrote: "I thought it interesting that Jake preceded his piece by saying that he thought Fulks's "Jet" cover was what put the "alt" in his alt-country, as well as Dina's comment about how covers are received from alt-country artists as compared to those of New Country singers. It resonated, of course, but what struck me is that the cheeze-cover syndrome is actually not endemic to alt-country the way it was to post-punk and grunge. What's actually more representative is covering classic folk and country songs, a practice that begins with the 80s roots-punk groups (tho in cowpunk it tended much more to the sarcastic brand of irony rather than the with-a-twist irony of, say, The Pogues, and nineties alt-country) but certainly made its most influential emergence with Uncle Tupelo's version of No Depression and on the March 11-20 album. With the perhaps-exception of Warfare (more a wonky misstep than a deliberately sarcastic cover, in my opinion), the Tupelo covers are definitely tributes, and also attempts to reclaim the material of these old songs as relevant to the post-industrial scene the group grew up and lived in. Likewise with other cases - when Neko Case covers a Loretta Lynn song, or Freakwater does One Big Union, is there anyone who thinks there's any element of mockery there at all? There is irony, but it's irony in this sense: "Ironically, though I'm a young hipster in 1990s America, these defiantly unmodern old songs speak more to my heart and my experience than the glitzy music being produced for the radio in my own time." It's a bittersweet irony at most." Jake: Yes, to me those seem more like pure reverence, although perhaps they come off as ironic because many alt country bands choose to do these tunes even though they don't really have the chops to pull them offg, which is sort of what a lot of indy bands did with 70s pop tunes. It is true that there was a moment when classic country was critically disfavored by the rock crit establishment. But I think Gram Parsons, etc, sort turned the tide on this and made this stuff hip or at least showed clearly its central role in the rock canon. In this regard, I find these sorts of covers indistringuishable from the beatles doing a carl perkins cover. Or the stones doing a blues tune. However, a lot of these bands also have done more straight ironic covers. I know UT did. And I saw Son Volt do "Shake Some Action," which may or may not qualify, and WIlco do a Petty Song. Nothing the matter with it. These guys are of that scene. It's why they've been so influential. They brought the ideas and practices of the 80s midwest indy rock scene with then when they started to get more country. To me, that was the alt that they brought. Carl Continues: "Now, I'd say the reason for the contradiction (dare I say irony) that Dina pointed out is fairly simple: while Garth and Robbie Fulks might both love a Paul McCartney song equally well, the context is very different. For Fulks to assert that he's playing "Jet" for the love of it is to make an intervention in the whole alternaworld narrative of irony, not to destroy the irony but to put it behind him, to say, "yes, I know what the cultural war we've been through was, but now I'd like to reclaim something from it." It is, to use an unfortunate term, post-irony. It's to grasp that, as a character in Todd Solonz's Happiness says of New Jersey, we've grown up "living in a state of irony" -- for all the reasons Jake so smartly elucidated in his essay -- and we can only transcend it, not escape." Jake: I sort of buy this about Fulks but not totally. Fulks is clearly coming from the preemptive irony place. But he's also about my age I think (I'm 35 born in 1963), so he may be old enough now to have left the need for such irony behind (i.e., transcending it). That or he's just maintaining his posture as uber-hippster, jumping off of a particular bus once he sees that all the suburban philistines seem to be on now (read Garth, etc.). In some ways, that would be the next flanking hipster manuever. Carl: "On the other hand, the (very country-traditional) emotional positioning of Garth and most New Country artists doesn't acknowledge the ironic moment to begin with -- the act of covering a Billy Joel song has no relationship to the canonical contest that Jake described. I recently read art writer Arthur Danto saying that in the 1990s, "the art criticism is built into the art," since frequently the only way to affect a jaded viewer is to anticipate the series of historicized responses she'll have and then strategically counter or subvert them." Jake: That Danto line is great. That's exactly what I meant
RE: Covers: A Follow-up
Personally, I think he made a good country record on "Shameless"; the kickoff still fools me every time g. Always one to either take the bait or serve up the straight line, depending... Fools you ... into thinking it's a country song? g Fools me into thinking it was never anything *but* a country song, right until that off chord pops up. One of the most insightful comments I ever heard about country music was that you ought not to expect a great deal of harmonic complexity from a genre in which "off chord" is a useful concept g. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Robbie Fulks and covers
Hey there, Ex-Boston Bob, who never goes out in Chicago anymore g Ive heard both Cake and Robbie introduce old covers by explicitly stating something along the lines of 'I think this is a really good song' Cake even went so far as to say 'we're not doing this ironically.' But don't some of these people need to be told, "You're wrong!" Repeatedly and loudly if necessary? I assume you mean wrong about the good song part and not about the 'we're not ironic' part. Well, as I overheard at the Tweedy show, "That's cause Fulks is smarter than everyone else." g The speaker, of course, being ironic, I assume. Later... CK ___ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO [654-5866]
Re: Covers: A Follow-up
In a message dated 3/2/99 8:07:14 PM Central Standard Time, [EMAIL PROTECTED] writes: 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. If you are an alt-country star and you cover a 70's pop or rock hit, you will probably be lauded for it. Not even mentioning the casual listeners who might be drawn into fandom for you because of it, even your most ardent fans will appreciate this cover even more than they do your own songs. She shoots, she scores. Cha-ching! Slim - who now understands.
RE: Robbie Fulks and covers
On Tue, 2 Mar 1999, Jennifer K. Heffron wrote: On the topic of covers, generally, I enjoy the occasional incongruous cover that an artist throws into the set, even the cheese. Especially when the artist can make the cover song sound uniquely "theirs." I guess I like the novelty of it. A song ends and I expect to hear another fabulous original. But no, instead I get "Jet." Fabulous! Hilarious! I'm thinking of the first time I heard The Derailers' cover of Prince's "Raspberry Beret" or The V-Roys' cover of IOU by The Replacements. I guess one could make the argument that the above songs are not really cheese, but I like 'em all. Dang, I wish people would listen to us like that g#. Since HTC is a working club band as well as an alt-country-of-sorts band, we do a lot of venues (VFW's and such) where cover tunes of all kinds are a requirement. It really is amazing how a song you've played to death can gain new life before a different audience. For instance, in spite of the dictum which holds that no band should ever cover "Folsom Prison Blues", we keep on doing it regardless of the "cheese factor" because (a) its fun; (b) people actually seem to like it; and (c) we usually have three telecasters on stage and it makes sense to use them. N.B. Sort of off the subject: Another fun kinda song to do is the obligatory spaghetti western surf instrumental. I was looking for one of those for us to cover not long ago, and last week in this restaurant in Richmond over the background music there comes "The Lonely Bull" by Herb Alpert. Has anyone heard another band cover this recently? -- Geff King * [EMAIL PROTECTED] * http://www2.ari.net/gking/ "Don't let me catch you laughin' when the jukebox cries" - Kinky Friedman, "Sold American"
Re: Robbie Fulks and covers
Hey there, Slonedog says: Nirvana were pretentious 90s shits but I guess they were better than Shania. Better how? Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/ *sigh* Later... CK stupid and contageous ___ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO [654-5866]
Re: Robbie Fulks and covers
Hey there, I never thought I'd be glad to hear "These Boots Are Made For Walking" again until I heard Candye Kane reinvent it on her CD. If any song screamed "cheese", this is it, and Kane turned it into a campy cover that I like better than the original. It _does_ have the greatest bass line intro in all of music. Aaand one fine video. Fnar fnar. Later... CK ___ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO [654-5866]
Re: Robbie Fulks and covers
Bob wrote: Ive heard both Cake and Robbie introduce old covers by explicitly stating something along the lines of 'I think this is a really good song' Cake even went so far as to say 'we're not doing this ironically.' If that's referring to their cover of "I Will Survive," I remember a friend being annoyed that they *werent* playing it ironically. She insisted on some rule that I had never heard of written somewhere in the Geneva convention or the vehicle code that since the original was so campy, it could not be played seriously by anyone else. It's sorta like the Ramones taking a very bad novelty record like "Surfin' Bird" and turning it a pretty great rock n roll song. Will Miner Denver, CO
Re: The Christian Life (was ironic covers blah blah blah)
Barry says: The song SOUNDS tongue-in-cheek as McGuinn sings it on the released version, always has--and is difficult to hear any other way. I would agree with this and with Junior's thoughts. The arrangement and the affected singing are so exaggerated that it's hard to hear serious intent in the performance. But I'd also like to say that I don't think you necessarily need to view this song strictly as a Christian song. An alternate way of looking at it is that it's about sticking to your guns, standing up for your principles and not caring what other people think about you. Which would make it doubly and unintentially ironic when someone performs it with the attitude that Will describes: I personally dislike the pop smugness of "Hey, here's a good song but we're too chickenshit about what you might think if you thought we really took it seriously, so we're going to fuck it up a little and have a good time stomping all over it." Dina
Dusty Springfield covers
This may seem weird, but there's a gay rock band here who does a completely non-ironic cover of "Son of a Preacher Man". Works really well in their situation. -B "tying two threads together" B-
Re: Covers and a defense of irony (long)
It's sorta like the Ramones taking a very bad novelty record like "Surfin' Bird" and turning it a pretty great rock n roll song. Will Miner I'm not sure what the story is with the Ramones covering this song, but I'd be willing to bet dollars to cakeholes that it was a self-conscious homage. I think "Surfin' Bird" is one of the great one-hit wonder songs in rock 'n' roll (although, I have to admit, it does get old quick). I believe, though, that bands like The Ramones--especially The Ramones, in fact--owe their existence to songs like this. The idea of a three-chord--at most--rock 'n' roll song providing a template for an entire career was virtually destroyed by bands like The Beatles, who went from these same three-chord songs into worlds of far-out musical experimentation and sophistication. Every band, it seemed, had to do their "psychedelic" album, their "concept" album, and so forth. Well, The Ramones--Joey, in particular--never forget how good it felt to hear simple songs like "She Loves You" on the Sullivan show. And if they took anything from the Beatles conceptually, I guess it would be the idea that four leather-clad "brothers" playing as if The Beatles stopped recording after "A Hard Day's Night" was it. Thus, songs like "She Loves You"--via The Ramones--would, inadvertently it seems, end up providing punk with an important part of its structural and musical foundation. So, that The Ramones would cover "Surfin' Bird"--in this light--seems to make perfect historical sense. And even had it been ironic, let me utter a few words in defense of irony. It would seem that "being ironic" is not something to aspire to, but I believe that the context is vital. Irony--for me anyway--is sort of like marijuana. You might wanna dip into the bag every now and then, but a lifestyle based on it is silly and boring. So, the Mats covering a KISS song can definitely be seen as a socially-connecting device (No way, dude, I bought this KISS album in the fifth grade. WOO-HOO!), but a entire album of KISS songs would be (urge) overkill. This also seems to be the difference between aberrations like the "Cocktail Nation" (Boy, that didn't get old fast, did it?) and the Swing revival, and bands who happen to find genuine, artistically-satisfying inspiration in the Louis Prima/Keely Smith/Sam Butera records. It also seems to be the difference in bands that wrap themselves in the ND-alt.country.com flag, and bands that just happen to find inspiration in Neil Young, UT, and Creedence. Unfortunately, there is no convenient device for discerning between the posers and those who, we might feel, have their hearts in the right place. Add to this, the possiblity that shitty bands can find genuine inspiration in songs we love, and bands we love finding genuine inspiration in irony. Confusing, isn't it. Anyway, I got through this whole post without using the word fuck. Maybe I am growing up. : ) Lance . . .
Re: Covers and a defense of irony (long)
On Wed, 3 Mar 1999, lance davis wrote: Irony--for me anyway--is sort of like marijuana. You might wanna dip into the bag every now and then, but a lifestyle based on it is silly and boring. This, my friends, is the quote of the decade. And it's part of a great post as well- way to go, man... Tom np: my heart, beating rather loudly in my eardrums as the Surge *really* begins to kick in...
Re: Dusty Springfield covers
Include Maria McKee's cover of the Dusty in Memphis gem, "I Can't Make it Alone," from You Gotta Sin to Get Saved. OK, technically, this is a Goffin/King cover, but you know what I mean. And speaking of Maria, I just bought her first 2 albums today for my girlfriend, and then, a few minutes later I came to find out that Dusty had passed away. Tragic and weird. And definitely in that order. Lance . . .
Re: Covers: A Follow-up
Dina wrote; Now I just want to be sure my understanding is correct. 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. In my book, not if it was a good song in the first place and you do a solid job of it. If it ends up being like almost all of the versions on the Rolling Stones or Eagles mainstream country tributes, then you'll be vilified legitimately, IMHO. If you are an alt-country star and you cover a 70's pop or rock hit, you will probably be lauded for it. Not even mentioning the casual listeners who might be drawn into fandom for you because of it, even your most ardent fans will appreciate this cover even more than they do your own songs. Did I get it right? I just don't think it's that easy, Dina, or complicated-if that makes any sense. At least with me, if it was good song in the first place and the alt.country act does a good job, then yeah, I think your fan base will be happy it was done (e.g. "Bad Time" done by the Jayhawks or "Harper Valley PTA" by Mike Ireland). I think Jake's piece on this was pretty insightful, but at the same time I don't think most fans-alt.country or otherwise-engage in "irony worship" (pre-emptively or not,) to the degree that they'll froth over any cover from their childhood AM memories. I'm sure it happens, but dan bentele
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. In my book, not if it was a good song in the first place and you do a solid job of it. If it ends up being like almost all of the versions on the Rolling Stones or Eagles mainstream country tributes, then you'll be vilified legitimately, IMHO. I dunno, Dan; I don't think I've ever seen anything but dismissals of Garth's "Shameless" or "The Fever," and not because people argued that they were bad jobs or that he didn't do a good job on them. The very *idea* that he was covering Billy Joel and (?) seemed to elicit plenty of vilification all by itself. Personally, I think he made a good country record on "Shameless"; the kickoff still fools me every time g. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
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: Covers and a defense of irony (long)
Garden variety covers aside, *startling* covers provide wonderful thread fodder because they are so damn rich in ambiguity. Intended or not, they are a test...the question is...which test? Ironic covers: the hipness test I know that you know that I know you know I know that...(nudge, nudge, wink, wink) Non-ironic covers: the zen test I can cast off my cultural baggage and accept the beauty that underlies that which others disdane Quasi-ironic covers: the Miles Davis test I can take a sow's ear (removed from a pig about whom I feel largely indifferent) and turn it into a silk purse through the sheer force of my musical prowess Answers may vary and the decisions of the judges are final. Which "tests" are artistically valid? Hmm, let's see now... Anon...TG
Re: Covers: A Follow-up
Now if current altie type bands, rock or country or whatever, were to dig back to my AM listening days, they'd be covering (OK, I'll exclude the Beatles and the Stones): "98.6," "Don't Walk Away, Renee" (God, I love that song), "Snoopy and the Red Baron," "Incense and Peppermints," "Ichycoo Park," a lot of Supremes, and that's all I can remember of those early radio moments, sixth grade or so. Of course, the rest of the time I spent watching "Batman" and collecting Batman cards, with the put-together puzzle on the back. Baseball cards, too. Occasionally, though, I'd accidently rotate the dial to WSLR radio in Akron, and the legendary "Jaybird" would be spinning 60s country. I always rotated back to the top 40 station before I had a chance to notice those dreaded Anita Kerr singers! Anyhow, this is mainly just a sly plea for a modern alt.country band to cover "Don't Walk Away Renee." -- Terry Smith ps does Lee Ann Womack have a new song out, where she talks about doing a lot of nasty things to a female rival, who's "a small target, that skinny little thing" or something like that? It's a great tune, what I heard of it on the radio.
Re: Covers and a defense of irony (long)
Anyway, I got through this whole post without using the word fuck. Maybe I am growing up. : ) Lance . . . Grow up, Lance, please. You cakehole. Anyway, around here they say "piehole". -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
RE: Covers and a defense of irony (long)
Shut yr goddamn mouths all of ya. Sorry - just practicing for my trip to New York later in the year. Junior "Can you tell me the way to Staten Island or should I just go fuck myself now?" Walker -Original Message- From: Joe Gracey [SMTP:[EMAIL PROTECTED]] Sent: Thursday, 4 March 1999 12:51 To: passenger side Subject: Re: Covers and a defense of irony (long) Anyway, I got through this whole post without using the word fuck. Maybe I am growing up. : ) Lance . . . Grow up, Lance, please. You cakehole. Anyway, around here they say "piehole". -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
RE: Covers and a defense of irony (long)
The other Junior writes: Sorry - just practicing for my trip to New York later in the year. Junior "Can you tell me the way to Staten Island or should I just go fuck myself now?" Walker A common misconception is that if you stop a New Yorker on the street and ask a question, the response will be rude. This is not true. New Yorkers love to talk. They especially love to give opinions, whether you asked for them or not, and they will gladly tell you why their way of getting to Staten Island is the best way, and why you shouldn't listen to what the other guy who has walked up to join the conversation says about how to get there, and how nobody in New York can give directions properly anymore anyway, because they're all from, y'know, Idaho or someplace, one of those Midwestern states. Except that Staten Island is a bad example to use, because though most New Yorkers know how to get there, they'd rather not, and they don't understand why anyone else would either. New Yorkers may be seething with suppressed rage, but they're still friendly, or at least talkative. --Amy
RE: Covers and a defense of irony (long)
Hello Amy, No offense to New Yorkers meant - everyone I've met so far has been a gem (and a funny one at that) which is kinda why I'm going there if you take my meaning... I think I'm gonna love NY, long as I don't get mugged... Junior "New York City's got a lot to do with it" Walker -Original Message- From: Amy Haugesag [SMTP:[EMAIL PROTECTED]] Sent: Thursday, 4 March 1999 13:18 To: passenger side Subject: RE: Covers and a defense of irony (long) The other Junior writes: Sorry - just practicing for my trip to New York later in the year. Junior "Can you tell me the way to Staten Island or should I just go fuck myself now?" Walker A common misconception is that if you stop a New Yorker on the street and ask a question, the response will be rude. This is not true. New Yorkers love to talk. They especially love to give opinions, whether you asked for them or not, and they will gladly tell you why their way of getting to Staten Island is the best way, and why you shouldn't listen to what the other guy who has walked up to join the conversation says about how to get there, and how nobody in New York can give directions properly anymore anyway, because they're all from, y'know, Idaho or someplace, one of those Midwestern states. Except that Staten Island is a bad example to use, because though most New Yorkers know how to get there, they'd rather not, and they don't understand why anyone else would either. New Yorkers may be seething with suppressed rage, but they're still friendly, or at least talkative. --Amy
Re: Robbie Fulks and covers
Hey there, Dina 'Gundy' Gunderson OK, OK, finally I just have to ask "WHY?!!!" I just don't get it. Why do people love for country or alt.country bands or so-called alt.country bands to do covers of godawful cheesy rock songs? Why do people respond to these more than they do to the, OK, I'm going to say it, "real" songs? a bunch of replies and then Jamie... Yeah, I'll testify. Here's my deal, Dina--usually I don't like it much when a band covers a cheesy song. I'm thinking of that awful disco thing that Cake covered a couple years back, for instance..."I Will Survive", was it? Anyhow, to me, the difference is, Robbie made "Jet" sound like the best damn song ever written when he played it. (And that takes some doing. g) I think it was his sheer enthusiasm. Well, agreeing with all the 'it sounds good' and 'its fun' posts one more thing. Ive heard both Cake and Robbie introduce old covers by explicitly stating something along the lines of 'I think this is a really good song' Cake even went so far as to say 'we're not doing this ironically.' So I think, contrary to Jamie's point, that there are songs that can be removed from their original context (read: Disco) to highlight the lyrical and/or simple melody of the tune. Enough to make you go "Hey, Dancing Queen is a pretty cool tune." I'd put John Wesley Harding's cover of Like A Prayer in this pile as well. Later... CK shocked that Linda didnt know Wings sang Jet ___ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO [654-5866]
Re: Robbie Fulks and covers
Barry Mazor wrote: OK, OK, finally I just have to ask "WHY?!!!" I just don't get it. Why do people love for country or alt.country bands or so-called alt.country bands to do covers of godawful cheesy rock songs? Why do people respond to these more than they do to the, OK, I'm going to say it, "real" songs? Dina Two reasons I think. 1. If you do like the twang--then these covers arrive as an incongruous SURPRISE. You get a response. 2. For those at these alt.country shows who DON'T actually like twang but only the tiniest rock and roll allusions to it (and they're always afoot), it gives them something they actually relate to. Very well put Barry. I think the Flatirons doing Crazy Train certainly qualifies for the incongruous surprise category. Bill Lavery http://villagerecords.com/
Re: Robbie Fulks and covers
Barry says, And bonus 3: It is a passing peculiarity of the late 90s that it passes for ultrahip to celebrate the most addlebrained and plain dull pop pablum of years gone by, at the deliberate expense of what somebody's older brother with taste liked. So you scream for Karen Carpenter and ABBA, natch, and explain why Jimi Hendrix was the plague and the Beatles overrated. These choices prove you are most-definitely alternatively, dude. Well, you know that means that folks like Neil McCoy and Brooks Dunn are SUPER-ultrahip in their cover choices! Dina
RE: Robbie Fulks and covers
Excerpts from recent postcards: Why do people love for country or alt.country bands or so-called alt.country bands to do covers of godawful cheesy rock songs? Why do people respond to these more than they do to the, OK, I'm going to say it, "real" songs? Two reasons I think. 1. If you do like the twang--then these covers arrive as an incongruous SURPRISE. You get a response. 2. For those at these alt.country shows who DON'T actually like twang but only the tiniest rock and roll allusions to it (and they're always afoot), it gives them something they actually relate to. And bonus 3: It is a passing peculiarity of the late 90s that it passes for ultrahip to celebrate the most addlebrained and plain dull pop pablum of years gone by, at the deliberate expense of what somebody's older brother with taste liked Slonedog says: Or perhaps it's because the artists actually like the songs. I for one love "Dancing Queen", "Jet" and "I Will Survive". They're not "guilty pleasures", they're just fun songs. One of my favorite bands, the late, lamented Jellyfish used to do a great cover of "Jet". And U2 has been known to cover "Dancing Queen". By the way, speaking of covers, the Del McCoury Band did a great cover of Tom Petty's "Love Is A Long Road" on Sessions at West 54th. Cake's version of "I Will Survive" was lame though. More excerpts: And watch this lil hipster wannabees: in 15 years someone will announce that Son Volt, Nirvana, and say...Beck..were pretentious 90s shits, and the embarrassing lunkheads of that time never saw the genius of Shania Twain.. Slonedog says: Nirvana were pretentious 90s shits but I guess they were better than Shania.
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: Robbie Fulks and covers
By the way, speaking of covers, the Del
McCoury Band did a great cover of Tom Petty's "Love Is A Long Road" on
Sessions at West 54th.
The first time I heard their version was on the televised portion of the
Opry a few years ago; that flat 7 chord jumped right out at me. It's on
their last album, The Cold Hard Facts (Rounder), along with a Robert Cray
number ("Smoking Gun"). Can't get more traditional than that.
Slonedog says: Nirvana were pretentious 90s shits but I guess they were
better than Shania.
Better how?
Jon Weisberger Kenton County, KY [EMAIL PROTECTED]
http://home.fuse.net/jonweisberger/
Re: Robbie Fulks and covers
At 08:31 PM 3/1/99 -0500, you wrote: Jennifer, who is going to scream for "Jet" at the top of her lungs when Mr. Fulks hits town next month... OK, OK, finally I just have to ask "WHY?!!!" I just don't get it. Why do people love for country or alt.country bands or so-called alt.country bands to do covers of godawful cheesy rock songs? Why do people respond to these more than they do to the, OK, I'm going to say it, "real" songs? Secret confirmation that those godawful songs we all loved as kids aren't as godawful as many of us publicly claim. It isn't just alt.country bands. The Mats once did a three song Alice Cooper medly with the roadie singing leads (Bill something or another, I think). In fact, they also did Build Me Up Buttercup in that same show and this wasn't one of the drunken song frag shows. Jeff Miles of Music mail order http://www.milesofmusic.com FREE printed Catalog: (818) 883-9975 fax: (818) 992-8302, [EMAIL PROTECTED] Alt-Country, rockabilly, bluegrass, folk, power pop and tons more.
Re: Robbie Fulks and covers
Someone (sorry, missed the initial message) wrote:
> Why do people love for country or alt.country bands or so-called
> alt.country bands to do covers of godawful cheesy rock songs?
And Jeff Weiss responded:
> Secret confirmation that those godawful songs we all loved as kids
> aren't as godawful as many of us publicly claim.
What he said. Some of those songs are quite well written. A couple of my bands have done a country-ish version of the Cars "My Best Friend's Girlfriend." Goofy lyrics ("you gotcher nuclear boot, and your drip-dry glove") aside, it's a well-written song. Another fave to do in spare folk style is Soundgarden's "Black Hole Sun." The Ass Ponys used to do a spare, drop-dead-serious version of "You Shook Me All Night Long." And so on.
They're just damned fun to play.
If Jake London is out here still, he should forward his very fine essay on covers to the list.
Hi everyone. Did I miss anything good?
Smooches,
Dave
***
Dave Purcell, [EMAIL PROTECTED]
Northern Ky Roots Music: http://w3.one.net/~newport
Twangfest: http://www.twangfest.com
Re: Robbie Fulks and covers
On Tue, 2 Mar 1999, Dave Purcell wrote: If Jake London is out here still, he should forward his very fine essay on covers to the list. Speakin' of Jake and cool covers, he does a swell version of the Spinners' "Games People Play." Hi everyone. Did I miss anything good? Nah. We've all been waitin' for you to return, darlin'. Welcome back!--don
RE: Robbie Fulks and covers
At 12:54 PM 3/2/99 -0500, you wrote: By the way, speaking of covers, the Del McCoury Band did a great cover of Tom Petty's "Love Is A Long Road" on Sessions at West 54th. The first time I heard their version was on the televised portion of the Opry a few years ago; that flat 7 chord jumped right out at me. Uh... as a non-musician who doesn't even aspire to play three chord Lou Reed songs, what the hell are you talking about? Jeff Miles of Music mail order http://www.milesofmusic.com FREE printed Catalog: (818) 883-9975 fax: (818) 992-8302, [EMAIL PROTECTED] Alt-Country, rockabilly, bluegrass, folk, power pop and tons more.
Re: Robbie Fulks and covers
...covers of godawful cheesy rock songs? Why do people respond to these more than they do to the, OK, I'm going to say it, "real" songs? The obvious answer here is that people like to have fun (and unfortunately sometimes people like to have fun much more than they like to have anything else, which is why people talk during the ballads). ... But it was interesting the way this came round to various attempts to condemn particular pop songs, which others defended, and then to the whole alterna-cool of cheeze these days. I'm as bored by a lot of kitschomania as anyone (possibly more so), but I think there's more to this - that in a genuinely *un*ironic way the hip-music world has come round to an appreciation of pop as a Good Thing in itself in the past few years. you can hear it in people saying "we're not trying to be silly by playing these pop covers - we *like* these songs." you can hear it in many of the best indie bands, and I think (I know it is for me) a weariness with the pointless game of keeping up with hip trends and cooler-than-thouness that began especially with punk rock, and a new wariness against the kind of disdainful ironic stance that was ubiquitous in post-punk circles towards pop culture. The embrace of pop is also part of a new eclecticism, in which everything from 60s soundtrack music to disco to musique concrete to Tuvan throat-singing sits happily in the alterna-bricolage. (Oh, and country should be on that list, too.) I do however see a couple of problems with this: first, I think a lot of people in the alterna-world have never developed good ears to be able to tell a great pop song from a mediocre one, and tend just to respond to whatever reminds them of being 12; second, the just-wanna-have-fun impulse that's good for pop can lead to a shutout of more genuinely experimental and innovative efforts, an over-suspicion that anything not willfully bouncy is pretentious. Still, I think pop revivals are always a good thing for the music-creativity cycle in the long run. Music being music, you need to feel it all over. Carl W.
Re: Robbie Fulks and covers
Aw, Dave's back. Hi everyone. Did I miss anything good? Smooches, Dave Actually, you didn't. Marah is still the future of alt-country. g marie
RE: Robbie Fulks and covers
The first time I heard their version was on the televised portion of the Opry a few years ago; that flat 7 chord jumped right out at me. Uh... as a non-musician who doesn't even aspire to play three chord Lou Reed songs, what the hell are you talking about? Hah, am I glad you asked, because it's not a flat 7, it's a flat 6 (so much for this "non-musician" pose). The first two lines of the verse go 4 chord to 1 chord, but at the start of the third line, it goes to a flat 6 chord - C in the key of E - and that's not something you find a lot of in bluegrass, or in country music in general (there's a flat 6 in the second part of "Snowflake Reel"/"Snowflake Breakdown," but after that it gets hard to recall any right now). If you recall the chord pattern for "All Along The Watchtower," the chord that the pattern goes down to is the flat 6 (1minor, flat 7, flat 6, flat 7,1minor, repeat ad infinitum); another example of it is in "I've Been Loving You Too Long," where it's used in the vamp (a passage that you play over and over, like a loop). Maybe that will give you the idea of the sound. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: Robbie Fulks and covers
Dina asked why a person might scream out for a cheesy pop cover... Well, speaking only for myself, I have to say that I enjoy "Jet." A lot. So sue me g. On the topic of covers, generally, I enjoy the occasional incongruous cover that an artist throws into the set, even the cheese. Especially when the artist can make the cover song sound uniquely "theirs." I guess I like the novelty of it. A song ends and I expect to hear another fabulous original. But no, instead I get "Jet." Fabulous! Hilarious! I'm thinking of the first time I heard The Derailers' cover of Prince's "Raspberry Beret" or The V-Roys' cover of IOU by The Replacements. I guess one could make the argument that the above songs are not really cheese, but I like 'em all. Still standing by my plan to scream for "Jet," Jennifer
Re: Robbie Fulks and covers
At 04:40 PM 3/2/99 PST, John K. wrote: I never thought I'd be glad to hear "These Boots Are Made For Walking" again until I heard Candye Kane reinvent it on her CD. My favorite version of this song is Loretta Lynn's. And she don't do it campy, neither--I mean, she is all but out the door! --david cantwell
very long piece on Replacements and Covers (was fulks and covers)
Well, I've held off burdening the whole list with this for a couple of years now, although I have sent to a few folks I thought would enjoy it. But since Dave Purcell brought it up, I'll post this behemoth against my better judgment. I do think it's germane. And I also think that when Fulks covers "Jet" he takes part in the tradition I talk about in the piece. At some level, it's part of what puts the "alt" in his alt country categorization (imho). Actually, I'd argue that it's a big part of what puts the "alt" in alt-country generally. But I won't belabor that here. I think it will make more sense if you read the thing. As you'll see, I'd argue that at this point, it's impossible for Fulks' actions not to be viewed as somewhat ironic by the audience. Nevertheless, I view irony primarily as a shield in this context anyway (although it may not be a shield Fulks himself needs anymore). A good pop song has the power to touch us at the deepest emotional level, especially one from our childhood before we knew all about hipness, etc. Unfortunately, many of us from the post baby-boom generation forgot or have been too insecure to admit this truth, especially in our late teens and twenties. So irony helps create a space for us to safely be nostalgic about some rather absurd times. Anyway, sorry in advance for the length. I also hope the formatting isn't too screwed up. I'm afraid I write in pretty long paragraphs sometimes. This thing has never been published anywhere. Indeed, I'm not even sure why I wrote it. I guess I just think about this stuff too much sometimes. That's why I love this list. It's one of the few places where I've found some kindred spirits. Enjoy or delete. JL Sucking in the Seventies: Paul Westerberg, the Replacements, and the Onset of the Ironic Cover Aesthetic in Rock and Roll (It's Only Rock and Roll But I Like It) By Jacob London, Copyright 1996 All Rights Reserved A while back, my local "alternative" radio station began playing a cover version of the Bay City Rollers' "Saturday Night" by the U.K. band Ned's Atomic Dustbin. The first time I heard it, I didn't even think about changing the station, even though the Rollers were one of the most critically unhip bands of the 1970s. I just sat back and listened, slightly amused, but mostly taking the whole experience for granted. Such is the state of things now that the practice of "alternative" bands covering "bad" songs from the 1970s has become so commonplace. If it isn't Ned's Atomic Dustbin, it's Seaweed or Smashing Pumpkins doing some Fleetwood Mac song like "Go Your Own Way" or "Landslide." Few question the full-on embrace of 1970s popular culture anymore. It's even got it's own "American Grafitti" film in Richard Linklater's "Dazed and Confused." Linklater's take on the past is a little more self-conscious and cynical than George Lucas's vision of the early 1960s in "American Grafitti." But Linklater's remembrance of teen life in 1976 remains a warm one, especially in its unself-consciously reverant use of the period's music. It pushes all the same buttons as Lucas's film, although neither Linklater nor his audience would ever completely admit it. For even as the residue of 1970s has reasserted itself in the American cultural life of the 1990s, a lingering tinge of reticence remains, as people continue to adjust to the idea that openly embracing the mainstream culture of the 1970s no longer entails being instantly labeled a loser or a philistine. Back in the early 1980s, when I was starting college in Ann Arbor, Michigan, things were a lot different. There was plenty of risk involved in embracing the mainstream music of the 1970s, at least among the community of rock and roll hipsters I hung out with. A friend later summarized the stakes very well in a different context: "There's a lot on the line when you tell other people what kind of music you like; people know they'll be judged based on what they say. If they give the right answer they'll be accepted. If they don't, people may look down on them." This was true in Ann Arbor during that time as it has been everywhere I've lived since. The rules determining inside and outside were generally unwritten, but they weren't hard to figure out. Punk rock was cool. Some New Wave was cool. David Bowie, he was pretty cool (his glam rock was sort of New Wave and Punk before they were invented). Dylan, the Beatles, the Byrds, the Stones, the Who, Motown, and the other classics of 1960s rock, that was cool too, as long as you weren't too much of a hippie about it. But the mainstream music of the 1970s was not cool. Disco sucked, including George Clinton and his P-Funk allies. Foreigner was not cool. Lynyrd Skynyrd was not cool. Neither were Black Sabbath, Led Zepplin, Peter Frampton, Foghat, Bad Comp
RE: Robbie Fulks and covers
Slonedog says: Or perhaps it's because the artists actually like the songs. I for one love "Dancing Queen", "Jet" and "I Will Survive". They're not "guilty pleasures", they're just fun songs. I don't like to do the "But that's what I said in the firts place" thing--but I did--before those, uh, social decsriptions. Robbie Fulks did those songs in dead earnest and they were swell--and I never said I didn't like 'em for their own sake in the firts place. What we were looking at is the reason for the seemingly out of proportion response to 'em compared to the rest of a terrific set of his own stuff. That's all. Barry
Re: very long piece on Replacements and Covers (was fulks andcovers)
Jake--can I call ya Jake-- That's as good a dissection of the issue Dina's question raised as I've seen anywhere. And also something of an excellent defense of something which probably SHOULDN'T have needed to be defended--an audience's recation to what it herad, the way it heard it. Now, I'll wager (hope!) you won't feel generationally pressured or doubt my word if I say that, tho born in 1950, right dab in the middle of those years you corrcetly identify as core "boomer" -I think I was always enough of an ironic type not to fall into the sorts of traps you note many of about my age have. (At least, I've done a reasonable job of resisting the impulse.) I also happen to despise the word boomer--even moreso when used all smiley cuddley beaming with daisies by somebody who is of that post-war generation themselves BTW --and just want to note that damn few people my age have ever felt or had reason to feel that we're arrived at power let alone hegemony over much of anything. As many of us as there are, and as intimidating and annoying as the sheer fact of us must often seem, those sheer numbers have largely reduced the power of most of us as individuals--and even opportunities. But enough of that morose stuff. Part of the beauty of all this is that none of us at all have to abide by the reductive, too dismissive, and often media-constructed notions of who we're supposed to be based ond when (or where, BTW) we were born and raised. In many ways--a lot of us around here seem to avoid falling into sociological stereotypes--one of the charms of P2--with members from--what did that report just say--18 to 65? Thanks for some original thinking and unusually potent writing. This sort of stuff is what made Postcard2 BTW, even if it's almost forgotten now. Somehow iIt figures that Mr. Cantweell was one of those who got to see this stuff early. He's no opponent of "Really Long". Fortunately. Yet Sometimes I also just want to say about our "generations"--"to hell with all of 'em."There are real differences in experiences, of course--bu tas for these capital G Generations monumentalized in stone. sometimes, for the individual, I think they mean about as much as decadesdo --not so much in the larger scheme of things.. Ol' Barry M. Peeping out from behind the hegemonies.
Covers: A Follow-up
Thanks, everyone for all the comments. Now I just want to be sure my understanding is correct. 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. If you are an alt-country star and you cover a 70's pop or rock hit, you will probably be lauded for it. Not even mentioning the casual listeners who might be drawn into fandom for you because of it, even your most ardent fans will appreciate this cover even more than they do your own songs. Did I get it right? Dina
Re: Robbie Fulks and covers
Excerpts from internet.listserv.postcard2: 1-Mar-99 Re: Robbie Fulks and covers by Dina Gunderson@mindsprin OK, OK, finally I just have to ask "WHY?!!!" I just don't get it. Why do people love for country or alt.country bands or so-called alt.country bands to do covers of godawful cheesy rock songs? I dunno, but Fulks plays the hell out of that song, so I think he really likes it. Jamie S. will testify to how well he did it in Pittsburgh last fall. Carl Z.
Re: Robbie Fulks and covers
Wait. . .I've never heard Robbie do this particular cover. Are you referring to that cheesy rock song Suffragette by the Beatles? curious, Linda In a message dated 3/1/99 9:04:26 PM Central Standard Time, [EMAIL PROTECTED] writes: Jennifer, who is going to scream for "Jet" at the top of her lungs when Mr. Fulks hits town next month... OK, OK, finally I just have to ask "WHY?!!!" I just don't get it. Why do people love for country or alt.country bands or so-called alt.country bands to do covers of godawful cheesy rock songs? Why do people respond to these more than they do to the, OK, I'm going to say it, "real" songs? Dina
Re: Robbie Fulks and covers
Wait. . .I've never heard Robbie do this particular cover. Are you referring to that cheesy rock song Suffragette by the Beatles? curious, Linda That's Jet all right, Linda--but it was by Wings. OK, OK, finally I just have to ask "WHY?!!!" I just don't get it. Why do people love for country or alt.country bands or so-called alt.country bands to do covers of godawful cheesy rock songs? Why do people respond to these more than they do to the, OK, I'm going to say it, "real" songs? Dina Two reasons I think. 1. If you do like the twang--then these covers arrive as an incongruous SURPRISE. You get a response. 2. For those at these alt.country shows who DON'T actually like twang but only the tiniest rock and roll allusions to it (and they're always afoot), it gives them something they actually relate to. So why WOULDN'T those add up to what sounds like more response! And bonus 3: It is a passing peculiarity of the late 90s that it passes for ultrahip to celebrate the most addlebrained and plain dull pop pablum of years gone by, at the deliberate expense of what somebody's older brother with taste liked. So you scream for Karen Carpenter and ABBA, natch, and explain why Jimi Hendrix was the plague and the Beatles overrated. These choices prove you are most-definitely alternatively, dude. THIS WILL PASS. And watch this lil hipster wannabees: in 15 years someone will announce that Son Volt, Nirvana, and say...Beck..were pretentious 90s shits, and the embarrassing lunkheads of that time never saw the genius of Shania Twain...just passing them by...and, of course, that great, unheralded Norman Fibber Hall. How could those idiots have missed HIM? Barry
Re: Robbie Fulks and covers
In a message dated 3/2/99 3:45:36 AM !!!First Boot!!!, [EMAIL PROTECTED] writes: Wait. . .I've never heard Robbie do this particular cover. Are you referring to that cheesy rock song Suffragette by the Beatles? Linda! I know that this isn't a Beatles discussion group, but I'm shocked that you didn't know that "Jet" was a Wings song, not a Fab Four comp. Mitch Matthews Gravel Train/Sunken Road
Re: Robbie Fulks and covers
Carl Z. says: I dunno, but Fulks plays the hell out of that song, so I think he really likes it. Jamie S. will testify to how well he did it in Pittsburgh last fall. Yeah, I'll testify. Here's my deal, Dina--usually I don't like it much when a band covers a cheesy song. I'm thinking of that awful disco thing that Cake covered a couple years back, for instance..."I Will Survive", was it? Anyhow, to me, the difference is, Robbie made "Jet" sound like the best damn song ever written when he played it. (And that takes some doing. g) I think it was his sheer enthusiasm. Next, I want him to cover "Heart of Glass". Hee hee. I heart Robbie Fulks, Jamie S. [EMAIL PROTECTED] http://www.wavetech.net/~swedberg http://www.usinternet.com/users/ndteegarden/bheaters
Re: Robbie Fulks and covers
In a message dated 3/1/99 10:10:38 PM Central Standard Time, [EMAIL PROTECTED] writes: That's Jet all right, Linda--but it was by Wings. I knew that. lr, sleep deprived from the Tweedy show. he covered some Uncle Tupelo. I don't think the Woody Guthrie stuff counts as covers.
Re: Robbie Fulks and covers
Jaime sez: Robbie made "Jet" sound like the best damn song ever written when he played it. (And that takes some doing. g) I think it was his sheer enthusiasm. Or sheer perversity. Tom Moran The Deliberate Strangers' Old Home Place http://members.tripod.com/~Deliberate_Strangers/index.html
Re: Robbie Fulks and covers
Have I ever mentioned that I like the Stones better? lr
Re: Speaking of covers
CK wrote: So did anyone else catch the non-ironic Primus cover of The Devil Went Down to Georgia on MTV's 120 Minutes last night? Quite the nifty clay-mation type video. Indeedin fact, the first time I watch few segments of 120 Minutes in literally years, and I see that *and* the new Sparklehorse video! Still, cover for cover, I think I prefer the Levellers' version over the Primus one, however, that Primus video couldn't have been cheap to produce! Paul
Speaking of covers
Hey there, So did anyone else catch the non-ironic Primus cover of The Devil Went Down to Georgia on MTV's 120 Minutes last night? Quite the nifty clay-mation type video. Later... CK It's a common failing of the listening public that they listen to old Rhythm and Blues records and miss the fact that this is folk music. Frank Zappa ___ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO [654-5866]
Covers
I've just heard the new Reckless Kelly album Acoustic Live at Stubb's BBQ with the mind-blowing cover of the Led Zeppelin classic Whole Lotta Love. I like such acoustic versions of great rock songs. Like the stunning Okra All Stars cover of Purple Rain (recentley re-issued). Do you know other good examples? HP NP: Blaze Foley: In Tribute and Loving Memory... Volume One
Re: Covers
Jamie- I would be interested in that cd! Contact me via this e-mail [EMAIL PROTECTED] to get a copy of it! I wonder what my listeners would think? Hm... R.W. Shamy WDVR-FM -Original Message- From: jamie [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Wednesday, February 03, 1999 9:48 AM Subject: Re: Covers We do "You Shook Me All Night Long" by AC/DC, in 3/4 time, on our new CD. The fiddle player has a pretty amazing break on it. The CD is available at finer Wal-Marts...HA! We actually have a distribution deal in the works. Until then, email me if you're interested and I'll tell you how to get one. jamie . jamie dyer. Cornerstone Networks Central Virginia's
