Re: Emmylou, Gram tribute, Crow the hack
The Welch is wonderful. It has a hint of Beth Orton-like electro-ambience that is very cool. I am confused. Please explain. Sounding like Beth Orton--a hugely overrated critics' darling whose voice is almost completely without timbre and whose songwriting reminds me of the sort of bad poetry that teenage girls scribble in their diaries--is a good thing? I am confused. --Amy
Re: Emmylou, Gram tribute, Crow the hack
Regarding the Gram tribute disc, Stevie Simkin wrote: Is there a release date yet for this? ICE Newsletter says June 15. TWM -- Tom Mohr usually here: [EMAIL PROTECTED] sometimes here: [EMAIL PROTECTED]
Re: Emmylou, Gram tribute, Crow the hack
Tom Mohr wrote: Regarding the Gram tribute disc, Stevie Simkin wrote: Is there a release date yet for this? ICE Newsletter says June 15. Thanks, Tom. Looking forward to Whiskeytown doing their thing on "A Song for You" in particular. As long as Caitlin's intact, it should suit them perfectly, in Houses on the Hill / The Battle mode... Stevie
Re: Emmylou, Gram tribute, Crow the hack
Stevie Simkin wrote: Sheryl Crow does a very creditable duet with Emmylou on the forthcoming Gram tribute (anyone have an advance of this yet?) Emmylou Harris was interviewed on radio 2 (UK) last night, and they played that track and a weird and wonderful version of Ooh Las Vegas by a distinctly ambient Cowboy Junkies. Sounds like it should be a great album. I'm bummed they didnt play the Welch and Rawlings' Hickory Wind. Is there a release date yet for this? It gets bumped each month. Current story sez July 13th. And it's not even on Watermelon!! Bill Lavery http://villagerecords.com/
Re: Emmylou, Gram tribute, Crow the hack
I am confused. Please explain. Sounding like Beth Orton--a hugely overrated critics' darling whose voice is almost completely without timbre and whose songwriting reminds me of the sort of bad poetry that teenage girls scribble in their diaries--is a good thing? I am confused. Well, confused girl, I said nothing about the sound of Orton's voice nor lyrics in comparing her to Gillian Welch's Parson's cover. I said that Welch sounding Orton like with electronica ambience, or some sort of mumbo jumbo, meaning, that there is a bit of a atmospheric synth stuff that colors what is otherwise typically wonderful acoustic folkage. Thus, it make me think of the folk electronica hybrid that Orton's doing, a chemistry which I happen to like mucho. Cheers. Neal Weiss
Re: Emmylou, Gram tribute, Crow the hack
Sheryl Crow does a very creditable duet with Emmylou on the forthcoming Gram tribute (anyone have an advance of this yet?) Emmylou Harris was interviewed on radio 2 (UK) last night, and they played that track and a weird and wonderful version of Ooh Las Vegas by a distinctly ambient Cowboy Junkies. Sounds like it should be a great album. I'm bummed they didnt play the Welch and Rawlings' Hickory Wind. Is there a release date yet for this? The Welch is wonderful. It has a hint of Beth Orton-like electro-ambience that is very cool. Actually, I'm mostly impressed with this collection, even if I was prepared to not be, my preconception being that it was just gonna be more of the same ol'-same ol'. Chrissie Hynde, Lucinda, Whiskeytown and Welch all do some might fine stuff, to name a few off the top of my noggin. The downside so far: Wilco and Hillman/Earle, essentially for the same reason, being that their versions sound like little more than late-set bashings, and the Cowboy Junkies, which, while plenty inventive, just seems to be confused over what it is. The Crow track, is perfectly fine, methinks, if nothing that revelatory. My two centavos. Neal Weiss np - Al Green on shoutcast.com. T1 connex rule.
Re: Emmylou
On Wed, 10 Feb 1999, stuart wrote: Emmylou Harris carries on crusade against music categories "If it sells, it's country," she said laughing. "If it doesn't, it's folk." Good way to define it. Can we all agree to this? Jon? Don? Hell, I've been sayin' that for years!g--don
Emmylou
Emmylou Harris carries on crusade against music categories BRIAN MCCOLLUM * 02/07/99 The Milwaukee Journal Sentinel (Copyright 1999) What's in a name or a music category? You can bet that an Emmylou Harris song filed under any of them would sound as sweet. Harris, keen song interpreter and bearer of that golden voice, certainly knows something about getting pigeonholed across the musical map. Three decades into a versatile career, she can recite the definitions by heart. "If it sells, it's country," she said laughing. "If it doesn't, it's folk." Harris inhabits a dusky stylistic world that has long tripped up critics, a place that's both rural and cosmopolitan, traditional and progressive. Her name turns up in annals of rock, pop, country and folk, as she maintains her lifelong crusade, as she says, to "fight against categories." Meanwhile, as her adopted home of Nashville has turned its sights over the last decade toward younger, pop-oriented acts, it's not surprising that she's seen her place on the country charts usurped. Like so many who have idealized American roots music, Harris understands that her yearning for a richer culture might be hopelessly romantic in the face of commercial demands. *"I always had a vision of country music that never realized itself," she said. "It's odd. I never really came from Nashville. I live here, but I was always just circling." She's quit listening to country radio "maybe I'm missing something," she said diplomatically and keeps her ears tuned now to a modest but limber local station that plays everything from Fats Domino to Patty Griffin. "There are obviously a lot of talented people out there, but they're struggling," she said. "But, you know, music good music is always going to survive. And ultimately history will be the judge of what we remember and what touches us. I feel like there's fantastic music being made now, and always has been." Harris says she felt right at home last summer when she played a string of dates on the Lilith Fair tour, the traveling contingent of female artists that became the year's biggest rock festival. She immediately became a fan of left-field rocker Liz Phair and groove band Luscious Jackson. "It's great to be around creative people, to see the variety of music that's out there," she said. "You don't get a chance, when you're an artist, to see as many people live as you'd like. You're always on the road." Last year was supposed to be Harris' break from work. As it turned out, she said, "it became a kind of running joke about Emmy's year off." Not long after Lilith came the release of "Spyboy," showcasing Harris' concert work with her top-notch backing band, the album's namesake. As much a career retrospective as a concert disc, it featured a rare live recording of her legendary "Boulder to Birmingham," a track from the 1975 debut album she recorded shortly after the death of mentor Gram Parsons. So now 1999 is the official year off; aside from occasional gigs, Harris is keeping herself at home to write songs. Already recorded and due out soon is "Trio II," with Linda Ronstadt and Dolly Parton. *She says she envies artists such as country rocker Steve Earle, who "spoils it for the rest of us" by effortlessly writing on the road. "You can't wait around for that muse. This is a job," she said with a laugh. "But you do have to give yourself the time. You have to cordon yourself off from distractions and force yourself to wait for the muse."
Re: Emmylou
Phil Connor wrote: Emmylou Harris carries on crusade against music categories "If it sells, it's country," she said laughing. "If it doesn't, it's folk." Good way to define it. Can we all agree to this? Jon? Don? Stuart n.p. Chris Wall: Tainted Angel I like this honky tonk stuff. I vaugly rememberd the name from amongst the hundreds that get mentioned here that I know I'll never see in a store around here, and will probably never here cause I never get around to buying stuff on the net, only when I stumble into stores. Anyway, it was on the listening station at Borders. Now how did that happen?
Re: Emmylou
Phil Connor wrote: Emmylou Harris carries on crusade against music categories Like so many who have idealized American roots music, Harris understands that her yearning for a richer culture might be hopelessly romantic in the face of commercial demands. Yah, Emmylou and Herman Melville. But never say hopeless!
Emmylou
Emmylou Can't Stay Away Ray Purvis * 01/15/99 The West Australian Copyright West Australian Newspapers Limited, all rights reserved. Between guesting on other people's albums and touring, the First Lady * of contemporary country music, Emmylou Harris, finally found the time to make her own record. She tells RAY PURVIS how she's always done her own thing. LOVE or hate the music industry, sometimes you just can't get away from it. Emmylou Harris's recent well-earned sabbatical turned out to be not only a busman's holiday-from-hell but one of the most intensively creative periods in her glittering career. "It ended up to be 12 months of full-on work," she says by telephone from her home in Nashville. "We'd just spent nearly two years on the road touring (her last album) Wrecking Ball and I figured it was time to slow down, take some time off and get some material together for the next record. But it just didn't work out that way." Within the space of the year - besides taking part in last year's US celebration of female artists called Lilith Fair - the prolific, angelic-voiced singer confirmed her commitment to the new (and not-so-new), breed of roots-based musicians by guesting on more than a half-a-dozen albums, as well as finishing some projects she was developing. This new body of work is now starting to filter through to the record shops. The list of CDs is startlingly impressive. There's the brilliant new McGarrigle Sisters album (The McGarrigle Hour) on which Emmylou is described in the liner notes as an "honourable McGarrigle". She sings backing vocals on Willie Nelson's atmospheric new Teatro and performs a guest vocal on her Nashville neighbour - 'we only live two doors away from each other" - Lucinda William's triumphant album Car Wheels On A Gravel Road. Add to that backing vocals for Nanci Griffiths (Other Voices, Too), Vic Chesnutt (The Salesman And Bernadette), Kate Campbell (Visions Of Plenty), Patti Griffin (Flaming Red) and duets with longtime friend and contemporary Linda Ronstadt (Tammy Wynette tribute album) and actor Robert Duvall (The Apostle soundtrack). Also awaiting release are a Gram Parson's tribute album (with contributions from Beck and Sheryl Crow), a duet CD with Linda Ronstadt as well as Volume 2 of the successful Trio album (released in 1987) with Ms Ronstadt and Dolly Parton that features a surprise appearance of now Zen Buddhist monk Leonard Cohen. Somewhere among this mind boggling array of projects, the workaholic, singer-songwriter found time to compile a new album - her first live CD * since the traditional, bluegrass-sounding Live At The Ryman (1992) recorded with her then band the Nash Ramblers. Called Spyboy, the new album features the same exceptional musicians - * Buddy Miller on guitars (seen in Perth early last year with Steve * Earle), Daryl Johnson on bass and Brady Blade on drums. Blade accompanied Emmylou on her 1997 Australian tour. "Well this album was the top priority for me," says the fine looking, naturally grey-haired 51-year-old singer about the sparse, exciting Spyboy CD. "It is both a souvenir of the Wrecking Ball tour as well as a chance to sing some of the songs from my past. I also very much wanted to record our version of Daniel's (Lanois) song The Maker that we'd been performing on the tour. These guys in the band (except for Miller) played on Wrecking Ball and that was a ground-breaking step for me, so I wanted to capture the live splendour of the shows." Harris says her desire to record with Lanois - best known in the pop world for his work with U2 (co-producing The Joshua Tree) and Peter Gabriel - dates back to hearing his production on Bob Dylan's Oh Mercy, The Neville Brother's Yellow Moon and Lanois' own 1989 debut Arcadie. "I put myself in his hands. I wanted him to take my voice and my vision and make me part of his landscapes, another colour in his palette, so to speak. I knew that no matter how far out he gets it's the melody and the song that's at the centre of it all." Her much acclaimed singing on Wrecking Ball (1996) - her first album away from Warner Bros and Asylum - won a Grammy for Best Contemporary Folk Album. It also revitalised a career that is full of crossover appeal and has spanned nearly 30 years and over 25 albums. * In some regards this watershed alternative country/pop album is reminiscent of her early 70s dark, transcendental music with her mentor Gram Parsons, the man about whom she later wrote the song Boulder To Birmingham. Born in Birmingh
Emmylou Discussion Listserv (fwd)
Yippee!!! -- Forwarded message -- Date: Fri, 15 Jan 1999 06:38:10 GMT Subject: Emmylou Discussion Listserv A mailing list for fans of Emmylou Harris has just been created by longtime Emmylou fan, Maudeen Wachsmith. To subscribe to the list, go to http://www.onelist.com/subscribe.cgi/Emmylou and follow the directions. Subscribers can receive either individual e-mails or a digest version where they will receive one message daily.If you have any questions, you can contact Maudeen privately at [EMAIL PROTECTED]
