Re: Updates and SXSW Stuff
On Thu, 22 Apr 1999 20:00:01 -0500 Christopher M Knaus [EMAIL PROTECTED] wrote: What's on the list of "Cities with good alt.country music scene's that get a large amount of press." Um, Austin, erm, Chicago, maybe Nashville, maybe St. Louis - that's about it isnt it? Chapel Hill usedta be mentioned in the same breath as the above. I reckon it still should be, right? They've got pretty good basketball there too, he said begrudgingly. No quarter must ever be given to that team from Durham, tho. William Cocke Senior Writer HSC Development University of Virginia (804) 924-8432
Re: Updates and SXSW Stuff
CK sez: Dave, who hates all things Chicago... Not true. Just very glad to be back home, that's all. And as far as your specific examples go, you eliminated one from the genre - even tho they are the 'corner stone band' on an insurgent country label, and you dismiss another band (who loads of people like) because they're not your 'bag of chips.' Kinda reduces the number of data points, eh? Read Linda's concert list tomorrow - there's ALOT of stuff going on. Well, in throwing out the Wacos, it's not a matter of reducing the number of data points, it's pointing out the relative weakness of a supposedly great scene when one of the "cornerstones" of the alt.country lot is, in fact, a rock band (and a good one -- I like the Wacos a lot) and three others -- Moonshine Willy, the Blacks, and Handsome Family -- suck. Most others are mediocre at best. And are we separating press coverage from the acts themselves? Is there a fantastic Sioux City music scene with all great original alt.country bands and no sucky ones and there just arent enough music journalists to cover it? Doubt it. Do folks pay attention to what it going on in Chicago just because its a big city? Yup. Erm...how exactly could a scene be overrated w/o some sort of attention being paid to it? I'm not saying there aren't any good alt.country bands in Chicago -- there are a handful, and I listed the ones I like. My point is that the scene isn't deserving of all the accolades and attention throw its way. The majority of the alt.country in Chicago is the kind that deserves the scorn Mark's Deep Throat pal was railing on: bands full of poorly written songs, scenesters climbing on the bandwagon, and loads of bad Yee Haw! hillbilly schtick. I'll wouldn't get so rankled about it if so much attention weren't paid to bad bands. I'm hardly a roots music purist, but watching indie rock hipsters don overalls and write bad songs about moonshine and fucking their cousins and crap like that pisses me off, when there are so many good and deserving bands who don't get the attention. Just speaking of local bands: Big In Iowa are doing just fine here, but if they were based in Chicago, they'd be huge; Prospect Hill has more chops and great original songs than most bands anywhere; and Dallas Moore does the outlaw country thing as well as anyone. Any number of the good bands on P2 are deserving of more attention than shit like Moonshine Willy. CK going to see the over rated chicagoan Sally Timms opening for the over rated Alejandro Escovedo Orchestra Dave, who thinks Sally Timms has a gorgeous voice but sings country music with all the soul of a wet dishrag, and who would never call Alejandro overrated in a million years...I'm seeing him four blocks from my house on Tuesday, in fact... *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Clip: Steve taylor (no twang, but interesting industry stuff nonetheless)
ny other college kids of his era, he was drawn to punk and new wave music. "The Clash were far and away the biggest influence," he says. "I really liked the fact that when they got together they couldn't really play their instruments. I was a music major, and I was pretty good at composition and theory, but I was having the hardest time passing piano proficiency. And then there were the lyrics. They were great with the turn of a phrase, and they were so passionate about what they were singing." But Taylor wasn't just inspired by bands like The Clash--he was challenged by them. "What was interesting was that The Clash and Sex Pistols were great at pointing out all the problems of the world, but they were short on solutions. So I figured, `Well, if I'm a Christian, I think I know absolute truth--why would I not want to write songs with that same kind of conviction, and yet offer some hope?' " After a year, he transferred to the University of Colorado, which had a fledgling film department. He learned some technical basics and made a couple of earnest if uneven films, including one based on a true story in which a couple tried to trade their baby for a car. Ultimately, he would recognize both music and film as callings. In the early '80s, Christian music simply wasn't prepared for Steve Taylor. Much of the genre consisted of what current Gospel Music Association (GMA) president Frank Breeden calls "Sunday school lessons set to music." If country needed Waylon and Willie to help make it hip for hippies, Christian music needed Steve to help make it speak to new wavers and modern rockers. He began recording demos and peddling them in L.A. "I thought it was ironic," he says. "The mainstream labels, when I was able to get in, said, `Your music is interesting, but your lyrics would offend our listeners.' The Christian labels said, `We don't like your music, and your lyrics would offend our listeners.' The future didn't look very bright." He went back to Denver and kept at it. In 1982, he was invited to perform at the annual Christian Artists Retreat, a Christian music confab in Estes Park, Colo. Taylor cobbled together a band from the studio musicians who'd played on his demo. Thanks in part to his song "I Want to Be a Clone"--an indictment of Christian conformity that received a standing ovation--his first real gig was a runaway success. Sparrow Records founder and then-president Billy Ray Hearn was one of the people in the audience. "He was awesome," Hearn remembers. "He was so fresh--different from anything I'd ever seen." More important, though, Hearn asserts, "I knew he was the kind of person I would like to have on the label. The quality of him as a Christian and as a person was to me as good as his talent." That didn't mean the music would be an easy sell. "He's a creative genius," Hearn says, "but he was so far out of the mainstream of what Christian music was that I wasn't sure we could sell a full album of him. So we did a six-song EP." He pauses and shakes his head. "That thing sold like hotcakes." Fans of Steve Taylor say that he has always made really great music. But looking back over his career, it's clear that his creative growth has been remarkable. That first EP, I Want to Be a Clone, was a modest debut to be sure, recorded in nine days for $7,000. It was musically tentative in spots, but it was clearly the work of a compelling new voice. The songs went after humanism, religious leaders who use scripture to defend abortion, lying politicians, hipness, and hedonism. Reaction was immediate. When Sparrow followed that up with a full-length LP, Meltdown, Taylor was off and running. He quickly established himself as a manic, almost spastic performer, as interesting visually as he was musically. His shows were "kind of half a play and half rock band," remembers drummer Cactus Moser. "It was fairly courageous in the face of the rest of the Christian music business. He was wearing makeup and stuff, and it was just too much for some places. There would occasionally be people in the lobbies picketing or praying. They just thought it was too bizarre. It wasn't like a gospel quartet. It was like David Bowie." His approach hardly endeared him to right-wing Christians. Jimmy Swaggart, before his own voyeuristic motel dalliances clipped his wings, said Steve's music had "no Jesus, no God, no nothing." The Rev. Bob Jones called him a "satanic influence upon the lives of young people." Kids, meanwhile, loved him. He became a favorite on the campuses of Christian universities. Meltdown sold over 150,000 copies, a terrific figure for the genre. With each successive record, Taylor continued to build an audience and expand his own capabilities as a songwriter and musician. In the process, he became a key player in bringing Chris
SXSW stuff
I don't really think the guy had to name names, he certainly said enough to identify who he was talking about. Obviously not a big fan of insurgent/punk attitude. I would have to agree for the most part. ALthough there seems to be a market for this stuff . . . so some fans are diggin' it. There was a comment made in the (SXSW Saturday??) Statesman by the columnest on the inside cover, that named CHicago as a highly over-rated music scene in that he had never heard such bad singing and fake accents,etc. I think he named Freakwater among others . . . just reporting the facts here. -jim
Re: SXSW stuff
On Thu, 22 Apr 1999, James Gerard Roll wrote: I don't really think the guy had to name names, he certainly said enough to identify who he was talking about. Obviously not a big fan of insurgent/punk attitude. Perhaps. But the writer also made clear that combining country and rock isn't necessarily a bad thing, and I can think of plenty of bands who do a good job of it. Then again, I can also think of plenty who don't.g--don
Re: SXSW stuff
Jim Roll wrote: There was a comment made in the (SXSW Saturday??) Statesman by the columnest on the inside cover, that named CHicago as a highly over-rated music scene in that he had never heard such bad singing and fake accents,etc. I think he named Freakwater among others . . Yep, I've said that out here, oh, 30 or 40 times g. When I was there, if you take away Robbie Fulks, you're not left with much (the Wacos are fun, but face it, they're a rock band). Since then, the fabulous Kellys -- Kessler and Hogan -- have emerged, along with Anna Fermin, so perhaps things are getting better. Although Chicago scores extra negative style points for Moonshine Willy and the Handsome Family, two of the worst alt.country bands of all time (though, I did like a couple of HF songs Mark Wyatt played for me, and though I'm told they're quite nice people, they're not my bag of chips live). Bring it on, CK. Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Updates and SXSW Stuff
Hey there, Dave, who hates all things Chicago... Yep, I've said that out here, oh, 30 or 40 times g. When I was there, if you take away Robbie Fulks, you're not left with much (the Wacos are fun, but face it, they're a rock band). Since then, the fabulous Kellys -- Kessler and Hogan -- have emerged, along with Anna Fermin, so perhaps things are getting better. Although Chicago scores extra negative style points for Moonshine Willy and the Handsome Family, two of the worst alt.country bands of all time (though, I did like a couple of HF songs Mark Wyatt played for me, and though I'm told they're quite nice people, they're not my bag of chips live). Bring it on, CK. Mark snipped... As for Jerald's note about the Statesman rating Chi-town as an "overrated music scene," be aware that they practice what I like to call "opposition journalism" so take that into account. OK, we've got "Austin's just jealous" covered. And the rest of this is gonna be quick and not that well developed but perhaps I'll write more this weekend. Remember back when Chicago was the 'new Seattle'? Urge Overkill, Liz Phair, and The Jesus Lizard were all over the place. THAT THEN was an over rated music scene. THIS NOW is alot of people playing the same type of music. And due to a bell curve some are gonna suck and some are gonna be great. And some are gonna start out sucky and practice real hard and then get better. And because there are alot of places to play and alot of bands you're gonna hear just about all of that bell curve once or twice. And as far as your specific examples go, you eliminated one from the genre - even tho they are the 'corner stone band' on an insurgent country label, and you dismiss another band (who loads of people like) because they're not your 'bag of chips.' Kinda reduces the number of data points, eh? Read Linda's concert list tomorrow - there's ALOT of stuff going on. And are we separating press coverage from the acts themselves? Is there a fantastic Sioux City music scene with all great original alt.country bands and no sucky ones and there just arent enough music journalists to cover it? Doubt it. Do folks pay attention to what it going on in Chicago just because its a big city? Yup. What's on the list of "Cities with good alt.country music scene's that get a large amount of press." Um, Austin, erm, Chicago, maybe Nashville, maybe St. Louis - that's about it isnt it? And one more thing... Funny...I was at a real country bar out in the county on Saturday, and remarked to a bandmate that someone like Moonshine Willy or SCOTS would get their asses stomped if they got on stage. Does this prove anything other than people in real country bars are mean? Later... CK going to see the over rated chicagoan Sally Timms opening for the over rated Alejandro Escovedo Orchestra ___ 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: Updates and SXSW Stuff
Excerpts from internet.listserv.postcard2: 22-Apr-99 Updates and SXSW Stuff by Christopher M Knaus@juno What's on the list of "Cities with good alt.country music scene's that get a large amount of press." Um, Austin, erm, Chicago, maybe Nashville, maybe St. Louis - that's about it isnt it? The San Francisco Bay area doesn't do too badly, though Chicago's given me as much new music to like (Gastr Del Sol, Pinetop Seven, Freakwater, Robbie Fulks, Green, Flying Luttenbachers, Kahil El'Zabar, Handsome Family, Wacos/Mekons/Sally Timms, 8 Bold Souls, Oliver Lake, Dianogah, etc.) as any town has this decade. Carl Z.
Re: SXSW stuff
At 3:04 PM -0400 on 4/22/99, the guy who said, "You have to understand, Bob, Robbie Fulks and the Wacos *are* our music scene" wrote: Although Chicago scores extra negative style points for Moonshine Willy and the Handsome Family, two of the worst alt.country bands of all time (though, I did like a couple of HF songs Mark Wyatt played for me, and though I'm told they're quite nice people, they're not my bag of chips live). The Handsome Family opened for Vic Chesnutt recently. Wow. The sucking sounds are still echoing in Schuba's. The Timbuk 3 of alt country, except with less content. Nice voices, though (we were right up front and got the stage mix, which was pretty good). And to be fair, this wasn't a crowd that wanted to see anyone other than Chesnutt, and the HF knew it and handled it humorously. (Among themselves. We could hear the off-mic stuff pretty well.) Nonetheless, that isn't enough for me. Bob
Re: Ex-Husbands tour dates and stuff
Hey - thanks for the heads up there, I hadn't received this date from their agent yet, but I'll ask if this is happening... Hope you're doing great. Jeff -Original Message- From: Ph. Barnard [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Friday, April 16, 1999 2:35 PM Subject: Re: Ex-Husbands tour dates and stuff Jeff, if I'm not mistaken, The Ex-Husbands are also playing Saturday 5/22 at The Replay Lounge, Lawrence KS --junior
Re: Cool stuff on TV.....
Stuart wrote; Dan posted a bunch of upcoming TV stuff, but omitted Mandy Barnett's appearance on Letterman tonight (Wednesday). Well, that's cause Yates was so high on that record. You gotta consider the source, sometimes. dan bentele
Ex-Husbands tour dates and stuff
New record soon. Really. 15 songs worth...and currently #17 on the alt.country list at www.mp3.com - we're not afraid of no MP3.. Ex-Husbands: 5/1/99 - Lynaugh's, Lexington, KY 5/2/99 - The Empty Glass, Charleston, WV 5/3/99 - The Mohawk Place, Buffalo, NY 5/5/99 - The Southgate House, Newport, KY 5/7/99 - Mac's Bar, East Lansing, MI 5/8/99 - Schuba's Tavern, Chicago, IL 5/9/99 - Gabe's Oasis, Iowa City, IA 5/11/99 - Lee's Liquor Lounge, MInneapolis, MN 5/12/99 - Saddle Creek, Omaha, NE 5/13/99 - Knickerbocker's, Lincoln, NE (w/Junior Brown) 5/14/99 - Finnegan's, Kansas City, MO 6/12/99 - Twangfest Angry Johnny plays the Rodeo Bar tonight, New Yorkers. Martin's Folly (I'll keep saying it: do NOT miss this band live) 4/23/99 - Sam Adams Brewhouse, Philadelphia, PA 4/30/99 - Manitoba's, New York, NY And King Radio will be on another national tour in late May in June that will go to Seattle and back. Dates are coming soon. Despite Bob Soron's hatred for Ray Mason, our tribute album to him will be out Tuesday. It features the following brand new songs: a pretty ballad by Cheri Knight an acoustic ditty by The Ass Ponys a rocking big hug from Charlie Chesterman a Cars/Cure hybrid song from King Radio an unbelievable solo/blues/country tune from Eric Ambel a rollicking rocking tune from ex-Scud Tom Shea an appearance by NRBQ's Joey Spampinato the marvelous space-pop sound of Claudia Malibu a punk tune from Angry Johnny a super instrumental from Boston's Pete Weiss and Steve Westfield and his fabulous Slow Band. 18 tracks in all. And basically it stands for everything we love: power pop and roots music. For the latest news update on Tar Hut, click here: http://www.tarhut.com/news.htm For the latest baseball scores, click here: http://espn.go.com/mlb/today/sco.html If you need to look up a zip code, click here: http://www.usps.com/ncsc/ For the latest news on the city of Boston, click here: http://www.boston.com And for some real fun, click here: http://rinkworks.com/dialect/ My next email to P2 will feature that dialect site I just mentioned. It will be this very email, translated into jive. Enjoy. Jeff Copetas ~ Tar Hut RecordsPO Box 441940 ~ Somerville, MA 02144www.tarhut.com ~ (617)776-5106 Two monologues don't make a dialogue.
Dialectized: Ex-Husbands tour dates and stuff
Noo reco'd soon, as enny fool kin plainly see. Really. 15 songs wo'th...an' currently #17 on th' alt.country list at www.mp3.com - we is not afraid of no MP3.. Ex-Husbins: 5/1/99 - Henriettaaugh's, Lexin'ton, KY 5/2/99 - Th' Emppy Glass, Charleston, WV 5/3/99 - Th' Mohawk Place, Buffalo, NY 5/5/99 - Th' Southgate House, Noopo't, KY 5/7/99 - Mac's Bar, East Lansin', MI 5/8/99 - Schuba's Tavahn, Chicago, IL 5/9/99 - Gabe's Oasis, Iowa City, IA 5/11/99 - Lee's Likker Lounge, MInneapolis, MN 5/12/99 - Saddle Creek, Omaha, NE \5/13/99 - Knickerbocker's, Lincoln, NE (w/Junio' Brown) 5/14/99 - Finnegan's, Kansas City, MO 6/12/99 - Twangfest Angry Johnny-Boy plays th' Rodeo Bar tonight, Noo Yawkers. Martin's Folly (I'll keep sayin' it: does NOT miss this hyar ban' live) 4/23/99 - Zephaniah Adams Brewhouse, Philade'phia, PA 4/30/99 - Manitoba's, Noo Yawk, NY An' Kin' Radio will be on t'other nashunal tour in late May in June thet will hoof it to Seattle an' back. Shet mah mouth! Dates is a-comin' soon, as enny fool kin plainly see. Despite Billy Bob So'on's hatred fo' Ray Mason, our tribute album t'him will be out Tuesday. It features th' follerin' bran' noo songs: a purdy ballad by Cheri Knight an acoestic ditty by Th' Ass Ponys a rockin' trimenjus hug fum Charlie Chesterman a Cars/Cure hybrid song fum Kin' Radio an unbelievable solo/blues/country tune fum Eric Ambel a rollickin' rockin' tune fum ex-Scud Tom Shea an appeareence by NRBQ's Billy Joey Spampinato th' marvelous space-pop soun' of Claudia Malibu a punk tune fum Angry Johnny-Boy a super instroomntal fum Boston's Pete Weiss an' Steve Westfield an' his fabulous Slow Ban'. 18 tracks in all, ah reckon. An' basically it stan's fo' ev'rythin' we love: power pop an' roots moosic. Fo' th' latess noos update on Tar Hut, click hyar: http://www.tarhut.com/noos.htm Fo' th' latess baseball sco'es, click hyar: http://espn, as enny fool kin plainly e.go.com/mlb/today/sco.html Eff'n yo' need t'look up a zip code, click hyar: http://www.usps.com/ncsc/ Fo' th' latess noos on th' city of Boston, click hyar: http://www.boston.asenny fool kin plainly see.com Jeff Copetas ~ Tar Hut RecordsPO Box 441940 ~ Somerville, MA 02144www.tarhut.com ~ (617)776-5106 Two monologues don't make a dialogue.
Re: Old 97s review and other Texas stuff
MPB Dave writes: For the weasels with advance copies is the new record any better than the last (which was terrible)? Dave, Dave, Dave, The last record wasn't terrible (although I'm curious why you think so), it made my Top Ten for that year if I remember correctly. The new record is just as good, IMO. Not as much twang perhaps, but good melodies and LOTS of energy. The first couple of times through I wasn't sure if I liked it or not. Now I listen to it a lot and new things pop up with every listen. (I love when that happens.) Finally got to the Electric Shaver record last night. Full of surprises and great songs. Could be in my Top Ten for this year. As far as Ana Egge, she's a young singer/songwriter based in Austin, with an interesting voice, who's a top notch guitar player and writes touching songs. Not everyone's cup of tea perhaps but I think she's a tremendous talent. Jim, smilin' cause he's already SPENT his tax refund
Re: Old 97s review and other Texas stuff
Smilin' Jim scribes: Dave, Dave, Dave, The last record wasn't terrible (although I'm curious why you think so), it made my Top Ten for that year if I remember correctly. Mediocre, unmemorable, samey songs and the worst production job I've heard in years (like listening to a record while the vacuum sweeper is running in the next room). Thanks for the Ana Egge info, she sounds very interesting. Looking way forward to hearing the new Shaver Dave np: Slobberbone - Barrel Chested *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Re: Cool stuff on TV.....
Dan posted a bunch of upcoming TV stuff, but omitted Mandy Barnett's appearance on Letterman tonight (Wednesday). SM
Cool stuff on TV.....
all times Eastern; wed 8:00 pm TNN Century Of Country: Bluegrass And Western Swing this 13-part documentary series is a tribute to a Century of Country music; explores the distinctive varieties of country music found is bluegrass and western swing; features Ricky Skaggs, Del Mccoury Band, Chris Thile, Nickel Creek, Bill Monroe, Monroe Brothers, Pete Seeger, Rainbow Quest, Lester Flatt and Earl Scruggs 10:00 pm BRV Profiles: Naked Nashville "My Heroes Have Always Been Cowboys" - Part two of a three-part profile chronicles the current country music trend of marketing bland pop confections by tracing the careers of two Nashville up-and-comers -- the gritty, hard-living Dale Watson and aspiring singer-songwriter Keith Harling; includes interviews with Willie Nelson, Tim McGraw and MCA Nashville president Tony Brown thurs 3:00 pm BRV Profiles: Naked Nashville "My Heroes Have Always Been Cowboys" - Part two of a three-part profile chronicles the current country music trend of marketing bland pop confections by tracing the careers of two Nashville up-and-comers -- the gritty, hard-living Dale Watson and aspiring singer-songwriter Keith Harling; includes interviews with Willie Nelson, Tim McGraw and MCA Nashville president Tony Brown 9:00 pm ABC The Drew Carey Show Drew and the guys decide to resurrect their high school band in an attempt to win a "Battle of the Bands" contest at the Warsaw. But their road to rock and roll stardom is hampered by their lead singer (who can't sing) and competition from the same band who used to make them miserable in school, The Undesirables (played by the psychobilly band, The Reverend Horton Heat (rerun) Profiles: Naked Nashville "Hillbilly Hollywood" - Everyone in Nashville writes songs and the final episode of this exclusive, three-part profile tries to uncover the secrets of songwriting success by talking with country music's reigning king, Harlan Howard, and rising star Matraca Berg; includes interviews with Kris Kristofferson, The Lynns (Peggy and Patsy Lynn) and Tony Brown 12:35 am NBC Conan O'Brien musical guest: Latin Playboys sat 5:00 pm TLC Rock N' Roll Moments Rare footage of legendary performers, including Elvis Presley, Bruce Springsteen, Janis Joplin, Jimi Hendrix, Roy Orbison and Aretha Franklin sun 8:00 pm TNT All-Star Tribute to Johnny Cash A musical tribute to Johnny Cash, including performances by Emmylou Harris, Kris Kristofferson, Lyle Lovett, Willie Nelson, Brooks Dunn, June Carter Cash, Sheryl Crow, Chris Isaak, Wyclef Jean, Dave Matthews, Marty Stuart, Rosanne Cash, Bruce Springsteen, U2 and Trisha Yearwood (there's also a bunch of great Stones and Burritos stuff on Sundance and MuchUSA, but I don't know anyone who has those channels dagnabbit...) danTV
Re: Jon Dee Graham (and other new stuff)
While there's been little or no speak of it, must admit the new Jon Dee record is pretty darn worth your hard-earned dollars. Staying in a Southwest frame of mind, the recent Lydia Mendoza collection from Arhoolie as well as their "best of" Flaco disc are also worth seeking out. And while a tad generic, New Haven's Big Bad Johns' new one on Feralette Records is helpin' me get my yah yah's out. Boudin Dan
Re: Corn stuff
Now refresh my memory..Did Homer Jethro do Kellogg's Corn Flakes commercials, or was it for that once heavily advertised but I think long-gone alt. brand " Country Cornflakes"--scorched in my memory with TV chickens finishing off the brand name--as in, "New Country Cornflakes, New Country Cornflakes, bock-bock-bock-buck, ba-bock-bock-buck"? I need to keep these things straight, ya know. Barry M ... but I believe Homer Jethro made use of the wor (cornfusion) in one or another of their pieces related to their Kellogg's Corn Flakes ads, and I'm pretty sure it was also used at least occasionally on Hee Haw. Jon Weisberger
Re: Corn stuff (was:RE: Clip: RIAA's 1998 Consumer Profile)
Jon Weisberger wrote: Wasn't Cherlyn, that was Cheryl... but anyway, to give credit where credit is due, Tom Ekeberg is the one who first confessed to being cornfused. Not to take anything away from the lovely and talented Mr. Ekeberg, but I believe Homer Jethro made use of the word in one or another of their pieces related to their Kellogg's Corn Flakes ads, and I'm pretty sure it was also used at least occasionally on Hee Haw. H J released an album on Guest Star records in 1963 titled "Don't Be Cornfused". -jp
Re: Corn stuff
Jon Weisberger writes: I have an HJ album out on loan, so I can't check, but if I remember correctly, the title is "Cornfucius Say," and the cover photo is them in "Chinese" outfits, eating corn flakes with chopsticks - and the corn flakes box is a Kellogg's one. Anyway, it seems virtually impossible that the minds that came up with "Cornfucius" could have overlooked "cornfused" I have a book at home (a birthday gift a couple of months back from my brother) that collects pictures of cereal boxes and cereal prizes from the '60s. There are one or two pictures in the book of HJ's appearances on Kellog's cereal boxes. I'm up in New Hampshire as I write this but I can follow up on this when I get back home if anyone's really that interested. --Jon Johnson [EMAIL PROTECTED] Wollaston, Massachusetts
Re: Twangfest Auction - P2 stuff
Hey ya'll - I found a great old policemans shirt at the trift store Sat that has a P2 patch with two stripes on each sleeve. Hey, I can even emroider the name of the winner on the pocket! Can't promise, but I am asking some well known Memphis cats for stuff. Nancy (with way too much time and not enough gigs this week)
More Iggy stuff (was: Re: April issue of Gig Magazine - Pittsburgh Content)
In a message dated 3/17/99 5:40:02 PM !!!First Boot!!!, [EMAIL PROTECTED] writes: Also, this Iggy thing has me all worked up. I've been listening to "The Idiot" and "Lust for Life" since Sunday night. Could a cover of "Give Me Danger" be far off? One of our local record labels put out a compilation recently called "Pop O.D.", which is basically a bunch of local bands, most of whom are members of the local Detroit Musicians Alliance (gag!), covering Iggy songs. Jeez, you'd think the local press had just gotten their hands on the next "Sgt. Pepper." Nothing but praise for it, but you talk to the locals, and none of them have even considered purchasing it. I've listened to it, and believe me, I'll stick with the original. Mitch Matthews Gravel Train/Sunken Road
RE: A Question [Extremely LONG] and other stuff
Jon writes re the Kenny/Ann-1979, G*rth/Shania-1999 comparison: It's not a bad comparison, especially if you look forward a little bit - 1979 was a low point, followed shortly by the Neo-Trads (Skaggs, early McEntire, et.al.) - but it has its limits; "rules" is a pretty slippery term. Murray and Rogers each had 3 #1s that year (one of Rogers' was with Dottie West), but Conway Twitty did, too, Waylon Jennings had 2, John Conlee had 2, Charley Pride had 2, Don Williams had 2, and Mel Tillis, Moe Joe, and Willie Nelson Leon Russell all hit that position, and when you get deeper into the charts there was plenty of good stuff around (e.g., Emmylou Harris had two Top 10s and another two that just missed). The problem, as it were, is that country music history is generally too complicated to allow for the kinds of general statements about the health of the field that folks often seem compelled to make. I don't think that Wahl was comparing radio play (other people have had #1 records this past year, too, obviously) but was looking at in terms of *sales*, which is what most of the articles I've read have focused on as well; You have G*rth and Shania and then everyone else. And re: McCall on Chesnutt and the Damnations: I guess McCall thought there was some other point; maybe he thought that enthusiasm is a *starting* point for making good music, not the ending point. I wouldn't give the new Chesnutt 4 stars, but I wouldn't give the Damnations TX 3, either, not on a country music scale, anyhow (meaning both albums). Guessing don't count for much g. But I think this goes a long way to explaining why Jon doesn't "get" much of what most people refer to as alt.country, where enthusiasm is *only* the point of making good music. Re: Country.com encyclopedia: Walser's in there, and so are Dale Watson, Kelly Willis, Townes Van Zandt, BR5-49, Julie Buddy Miller, the Flatlanders and Foster Lloyd, to take a few randomly-chosen (ha) instances. I don't have the disk to check, but I'm almost positive Walser is *not* in there. The main problem I have with it is that it's almost exclusively Nashville country based and doesn't take into account non-Nashville acts. I'll keep the disc, though, My dog loves shiny frisbee. g. Jim, not running for president of anything
RE: A Question [Extremely LONG] and other stuff
Jim says: I don't think that Wahl was comparing radio play (other people have had #1 records this past year, too, obviously) but was looking at in terms of *sales*, which is what most of the articles I've read have focused on as well; You have G*rth and Shania and then everyone else. Ah, well, that's different. But in that case, it seems to me that a comparison with sales in other genres today is relevant, too, i.e., do you find the same kind of inverted pyramid with respect to sales, with a handful of acts accounting for a hugely disproportionate percentage of units. I will be surprised if the situation is radically different in pop or rock, and if that's so, then it would suggest that a solution might not be specific to country music either, and that one would want to look at least as closely at the situation in other fields as at the situation in country music 20 years ago. Still, it sounds worth checking out. And re: McCall on Chesnutt and the Damnations: I guess McCall thought there was some other point; maybe he thought that enthusiasm is a *starting* point for making good music, not the ending point. I wouldn't give the new Chesnutt 4 stars, but I wouldn't give the Damnations TX 3, either, not on a country music scale, anyhow (meaning both albums). Guessing don't count for much g. But I think this goes a long way to explaining why Jon doesn't "get" much of what most people refer to as alt.country, where enthusiasm is *only* the point of making good music. No, I get it just fine. I just don't generally *like* music that features enthusiasm sans skill. There are plenty of musicians who have both (IMO, of course; enthusiasm is at least in part in the ear of the listener), so I don't see much reason to settle for just the one. Obviously, there are exceptions, but not many. Re: Country.com encyclopedia: Walser's in there, and so are Dale Watson, Kelly Willis, Townes Van Zandt, BR5-49, Julie Buddy Miller, the Flatlanders and Foster Lloyd, to take a few randomly-chosen (ha) instances. I don't have the disk to check, but I'm almost positive Walser is *not* in there. That's interesting. If you don't mind checking, I'd appreciate it; I'm curious as to whether there's much difference in content between the print version and the CD-ROM one, and Walser is definitely in the former. The main problem I have with it is that it's almost exclusively Nashville country based and doesn't take into account non-Nashville acts. Aw, baloney. It might not devote enough space to "non-Nashville acts," whatever that means (what's a Nashville act? One on the Nashville division of a major label? recorded exclusively in Nashville? recorded sometimes in Nashville? lives in Nashville? lived in Nashville for a while?), to suit some folks, but I'll bet there's not a dozen pages out of the 600+ in the print edition that doesn't have a "non-Nashville act" entry by any reasonable definition of the term. Maybe the CD-ROM's different... Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: A Question [Extremely LONG] and other stuff
Cheryl writes: Our second question is: Where can I find Merle Haggard's tribute to Jimmie Rodgers? I almost spit coffee through my nose on this one line. LOL! Ya know this name thing has really got me bugged, especially cause I need to name something centered around this"Big Tent" type of music and I can't find a one that's satisfactory. AND I've been looking for YEARS! On another note, been reading some 'zines lately and found some interesting stuff. I recommend Modern Screen Country Music (Shania Twain centerfold inside-I kid you not) for the column by Waylon Wahl that draws comparisons to the country music scene of 20 years ago (ruled by Kenny Rogers and Ann Murray) and today (ruled by G*rth and Shania)? Also, how could Michael McCall give the new Mark Chesnutt 4 stars and the Damnations 3 stars in the new Tower Pulse. Seems kinda backward to me, especially because he doesn't like the D-nations for having more "enthusiasm than expertise." I thought that was the point. I received a copy of "Country.com's Century Of Country Music: The Definitive Country Music Encyclopedia" CD-ROM. Went looking for the Derailers. Not there. Thing is fairly useless. I do understand that David Goodman has a revised copy of Modern Twang coming out. I'll wait for that one. Enough rambling... Did I say "I (heart) Cheryl Cline, today? Jim, smilin
RE: A Question [Extremely LONG] and other stuff
On another note, been reading some 'zines lately and found some interesting stuff. I recommend Modern Screen Country Music (Shania Twain centerfold inside-I kid you not) for the column by Waylon Wahl that draws comparisons to the country music scene of 20 years ago (ruled by Kenny Rogers and Ann Murray) and today (ruled by G*rth and Shania)? It's not a bad comparison, especially if you look forward a little bit - 1979 was a low point, followed shortly by the Neo-Trads (Skaggs, early McEntire, et.al.) - but it has its limits; "rules" is a pretty slippery term. Murray and Rogers each had 3 #1s that year (one of Rogers' was with Dottie West), but Conway Twitty did, too, Waylon Jennings had 2, John Conlee had 2, Charley Pride had 2, Don Williams had 2, and Mel Tillis, Moe Joe, and Willie Nelson Leon Russell all hit that position, and when you get deeper into the charts there was plenty of good stuff around (e.g., Emmylou Harris had two Top 10s and another two that just missed). The problem, as it were, is that country music history is generally too complicated to allow for the kinds of general statements about the health of the field that folks often seem compelled to make. Also, how could Michael McCall give the new Mark Chesnutt 4 stars and the Damnations 3 stars in the new Tower Pulse. Seems kinda backward to me, especially because he doesn't like the D-nations for having more "enthusiasm than expertise." I thought that was the point. I guess McCall thought there was some other point; maybe he thought that enthusiasm is a *starting* point for making good music, not the ending point. I wouldn't give the new Chesnutt 4 stars, but I wouldn't give the Damnations TX 3, either, not on a country music scale, anyhow (meaning both albums). I received a copy of "Country.com's Century Of Country Music: The Definitive Country Music Encyclopedia" CD-ROM. Went looking for the Derailers. Not there. Thing is fairly useless. Well, like with any encyclopedia, stuff's gotta get left out. Walser's in there, and so are Dale Watson, Kelly Willis, Townes Van Zandt, BR5-49, Julie Buddy Miller, the Flatlanders and Foster Lloyd, to take a few randomly-chosen (ha) instances. Personally, I think giving as much space to Walser and Watson combined, or to Jim Jesse, as to Shania Twain isn't a half-bad approach. I'm sure someone would be happy to take that fairly useless CD off your hands. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Labels and other headache-inducing stuff (long)
I have a feeling some of you will say it wouldve been cool for BM
to take a crack at soft rock.
Chris Orlet
OK, in an attempt to tie up some of the loose synapses in my head (and on
this list), let me begin by undressing this statement. First of all, there
is no such thing as "soft rock." If the creature at hand is "rock," by
definition it is not "soft." "Soft Rock" and "Lite Rock" were ways for the
industry to categorize more easily the pop, ballad-oriented stuff guys like
Paul McCartney--who had been typically associated with "Rock" and provides
an easy example--were doing. And I think this is some of the problem with
this infernal, good-for-something-we're-just-not-sure-what-it-is ND tag.
Whether Uncle Tupelo invented "alternative country" or not is very
debatable, but that they've been categorically represented as such isn't.
They have become the point guards for this movement-that-may-or-may-not-be,
and it's forced all concerned to react accordingly. That is, the media
players, label players, and most importantly, the musical players themselves
have to reckon with this "alt.country/ND" tag. For some it's restrictive,
while for others it's liberating, and a way to sell more records to a
relatively-defined consumer base. For some of the media folks it's a
convenient way to identify, for an otherwise uninformed public, who these
young cats are. Unfortunately, these press clippings are then read by the
artists themselves who don't wish to be represented as such. The labels (in
general, I'd say) don't really care how their artists are represented as
long as they can recoup their investment. If it helps to be "alt.country,"
fine. If "ND" is the tag-du-jour, that's OK, too. Hell, if "rock 'n' roll"
meant anything--and, as far as I'm concerned that's what most of these folks
are doing--than that now-meaningless label would be dripping off of every
AR guy's tongue by the end of the day.
The problem seems to be that many of these artists have grown up (as artists
and fans both) with a defined antagonism toward the music industry. Many of
them started as punks, and they've seen their friends get signed by labels
looking to cash in on the latest trend ("Grunge," anybody?), pigeonhole
these artists into whatever market they thought they might fit, market these
bands for maybe 15 minutes, and then, subsequently drop them when the
band--surprise, surprise--didn't "make it." (Does anyone else recall the
debt that the Jayhawks accrued with American Records??) So, while guys like
Tweedy seem to be protesting the boxes with which they've been assigned (by
a largely indifferent media industry, and a single-minded music industry,
upon which the former is dependent for promos and other perqs), I think it's
nothing more than a savvy--which is not to say, altogether mature--reaction
to their paradoxical situation. On the one hand they want to be seen as
artists with an individual vision (and represented as such), but on the
other hand, they're contractually obligated to an animal that doesn't care
about art as much as it does profit. So, while these artists would be wise
to start their own record labels (see: Bad Religion, Black Flag, Fugazi, Ani
Defranco), and thereby control (better) their place in the market, they
would probably then lose access to the powerful machinery which allowed them
to have even the tiniest of voices in the first place--distribution, major
radio markets, Rolling Stone, that ever-elusive possibility of appearing on
SNL, etc.
And now you wonder why there are so many band guys who are either junkies,
drunks, or members of AA?? This shit is depressing. But we are here for the
music, and whatever we choose to call it, I think we've done a good job of
keeping the music primary. Even if the music sucks, as in the case of the
Goo Goo Dolls. Kidding!!
Lance . . .
"Kids, you tried and failed miserably. The lesson here: Never try."
--Sage advice from one Homer Simpson
Re: Non-fluffy NEA stuff
Got to give it up to the Ex-Husbands, too. Why these guys still labor in semi-obscurity while bands infinitely their inferiors get accolades is beyond me. Yeah! New record soon..
Re: nea and stuff.
At 01:16 PM 2/15/99 -0500, you wrote: I took off early to see the Predators play against the evil Penguins, So Mr. Copetas: What was it like to attend a hockey game in Nashville? Was there a good crowd? I got to see the Wings dispose of Edmonton on Thursday (my only game this year -- so far). And then yesterday, Peter Klima of all people scored a goal. I still can't believe he's the reason the Wings passed on Jagr. chow chow, Jamie D.
Various stuff from yesterday's digest.
Various stuff from todays digest: Here's a list of upcoming releases *I'm* gonna want to check out: March 16: Tom Russell The Man from God Knows Where Terry Allen Salivation Actually, that's the 23rd. And don't forget the P2 reissue of the year (for 1999, trust me). Jimmy Murphy "Electricity" which has 4 bonus tracks. Haven't heard of him? It doesn't matter, get it anyways. :^) I'm still digesting Mr. Gardner's [passing comment that they're " a little too bluesy for me to get totally obsessive" That be what makes horse races! I guess it's this early, convincing, tasty country and blues merge, well played and sung and utterly outside of the Frank Hutchinson "stiff" style of singing that precisely GETS me about these guys.(Tho I don't have that Bear box...yet!). True true. But I still don't like them because they are a little too bluesy for me (still.) About 10 years ago I got really excited about all blues music (trad to cont.). About 8 years ago I got really sick of all of it. Now, when I hear these oldtime or country bands that are more bluesy I just can't get into it that much. Notice, though, that I said they were a little too bluesy *for me to get totally obsessive* about them. In other words, I don't hate them or anything. I just don't want to spend my money on the Bear Family box. Bill lists a bunch of great new CDs and includes... Stacey Earle Simple Gearle Um, having seen her live you might want to reconsider that. I remember thinking - these songs would sound good with a band and someone else singing. Whether or not I agree, that's pretty damn funny. OK, I realize I should be publicly flogged for being completely ignorant of ND's "Man o' the Decade," but I saw an AE disc sitting patiently in the used section of a local record store and wondered about it. It was called "13 Songs" or something like that--the one with the "Theme Song." Anyway, I also saw a Buddy Miller disc that had the word "lies" in the title. Well, anyway, you get the picture. These are a couple dudes whose names tend to get dropped every day or three, so all you fans let me know what's up. I think I can safely say that Buddy Miller is my favorite country musician of the 90s. So, get that one. But then get his latest Hightone CD because it is even better. I was talking to someone at the last house concert (with Alejandro) who said that "13 Years" was his favorite Alejandro CD. I don't have that one (I hear it is kinda hard to find) but it sounds like a great one. The songs on it are great, I know that much. So, get both. *Boo-Tay* got an F- in the latest Atlanta *InSite* entertainment rag. AN F-!! Quote: "Jesus Christ, there should be a law against music like this!" That makes me actually want to hear it. That's another record to get. It hardly twangs at all, but who cares. It's great. If you don't like loud rock music, though, don't get it. As documents of old punk rock bands go, Flipper=92s Live: 1983 is more= interesting than most. Part of the reason is because, well, as old punk= rock bands go, Flipper was better than most.=20 That reviewer apparently didn't see the same Flipper show I saw! Let's just say on that night they were "off". :^) I still would like to get that CD, though. Among others, Concrete Blonde, the Melvins,= and Sebadoh have covered Flipper songs, and that=92s a homemade Flipper= T-shirt Kurt Cobain=92s wearing on the liner sleeve of Nirvana=92s In Utero= album. R.E.M. covered =93Sex Bomb=94 for its Christmas fan-only single in= 1994, And the Butthole Surfers did an amazing cover of REM's "The One I Love." Cheers. Steve NP: Bad Livers "Dust on the Bible" == Steve Gardner * Sugar Hill Records Radio Promotion [EMAIL PROTECTED] * www.sugarhillrecords.com WXDU "Topsoil" * A Century of Country Music [EMAIL PROTECTED] * www.topsoil.net ==
Re: Various stuff from yesterday's digest.
Reply to: Re: Various stuff from yesterday's digest. John Kinnamon wrote: np: Jimmy Lafave, Austin Skyline (anyone know when his new double is due?) LaFave's double album "Trial" is just released (09/02/99).
Re: Various stuff from yesterday's digest.
Reply to: Re: Various stuff from yesterday's digest. John Kinnamon wrote: np: Jimmy Lafave, Austin Skyline (anyone know when his new double is due?) LaFave's double album Trial is just released (09/02/99).
Re: Various stuff from yesterday's digest.
My word from Rounder is Trail is due out in mid-march Iceman Hanspeter Eggenberger wrote: Reply to: Re: Various stuff from yesterday's digest. John Kinnamon wrote: np: Jimmy Lafave, Austin Skyline (anyone know when his new double is due?) LaFave's double album "Trial" is just released (09/02/99).
Re: Stuff (Bare Jr.)
In a message dated 2/9/99 10:00:05 PM Central Standard Time, [EMAIL PROTECTED] writes: *Boo-Tay* got an F- in the latest Atlanta *InSite* entertainment rag. AN F-!! Quote: "Jesus Christ, there should be a law against music like this!" That makes me actually want to hear it. you will hate it Jon. Trust me on this. I thought you were gonna call me, you BUM!!! I could be dead by now! Slim
Re: Stuff (Bare Jr.)
*Boo-Tay* got an F- in the latest Atlanta *InSite* entertainment rag. AN F-!! Quote: "Jesus Christ, there should be a law against music like this!" That makes me actually want to hear it. [EMAIL PROTECTED] wrote: ACK!!! I agree with Matt cook! Bare Jr. sound terrible to me. Slim
Stuff
This is very abbreviated: Just got back from a week or so in Austin. Got some good work on the movie done, etc. In particular, I got The Damnations Tx (the TX will drop some day when the 'limitation', or something, runs out on the name Damnation) playing in front of 3000-4000 people. Then, I got them the next night playing in front of a handfull in San Antonio. Lot's of Gourds, Damnations, Prescott Curlywulf, and otherwise magic last week. I regret missing the Bone at the Hole, but seeing The Gourds finally get "Ghosts of Hallelujah" more than half right was probably worth it. Next up is a review of GHOSTS for you guys. I don't think HALF MAD needs my support. Did anybody else see the most recent PEOPLE magazine? --Matt Cook P.S.-Speaking of hype, what is up with Bare Jr.? Talk about some bad songs (at least what I heard live).
Re: Stuff
crackhead! xojns -- From: Matt Cook [EMAIL PROTECTED] To: "passenger side" [EMAIL PROTECTED] Subject: Stuff Date: Sun, Feb 7, 1999, 11:35 PM This is very abbreviated: Just got back from a week or so in Austin. Got some good work on the movie done, etc. In particular, I got The Damnations Tx (the TX will drop some day when the 'limitation', or something, runs out on the name Damnation) playing in front of 3000-4000 people. Then, I got them the next night playing in front of a handfull in San Antonio. Lot's of Gourds, Damnations, Prescott Curlywulf, and otherwise magic last week. I regret missing the Bone at the Hole, but seeing The Gourds finally get "Ghosts of Hallelujah" more than half right was probably worth it. Next up is a review of GHOSTS for you guys. I don't think HALF MAD needs my support. Did anybody else see the most recent PEOPLE magazine? --Matt Cook P.S.-Speaking of hype, what is up with Bare Jr.? Talk about some bad songs (at least what I heard live).
Re: Stuff (Bare Jr.)
Well, the crack in my head may have had something to do with it, but I didn't like it too much. At that in-store they were at their best when they were loud and 'crappy', and the songs didn't getin the way. But I haven't heard anything else besides that tape they gave me, which has a rip-off song Mint says is a hit (oh brother), and another boring rant. You and Gaines seem to love their stuff. But I'm not quite sure who's crack is bigger on this one (Gaines has one of the biggest, and best). --Matt Cook P.S.-Their bass player has a perm. Jennifer Sperandeo wrote: crackhead! xojns -- P.S.-Speaking of hype, what is up with Bare Jr.? Talk about some bad songs (at least what I heard live).
Re: Stuff (Bare Jr.)
In a message dated 2/8/99 12:46:19 PM Central Standard Time, [EMAIL PROTECTED] writes: Well, the crack in my head may have had something to do with it, but I didn't like it too much. At that in-store they were at their best when they were loud and 'crappy', and the songs didn't getin the way. ACK!!! I agree with Matt cook! Bare Jr. sound terrible to me. Slim
Re: New Cesar Rosas, and some Los Lobos stuff
I've heard that David Hidalgo has a solo album coming out later this year (although I don't know when). Does anyone know if/when Los Lobos will be releasing their next album as a band? According to a fan website, www.mindspring.com/~krazyfish/loslobos/index.htm, the new David Hildalgo solo CD *AND* a new Latin Playboys CD are both due out March 2. David's CD is to be called "Houndog" and the Playboys' will be "Dose." It also states that the new Los Lobos CD is in the can, and that they are "finalizing things" with Hollywood Records. While I'll probably pass on the Playboys' disc, I'm excitedly awaiting the mailman leaving the new Rosas disc at my house, and I'll order the Hidalgo as well. I've been thinking for a while about starting a Los Lobos mailing list through onelist.com. Anyone have any better suggestions for a list host? Larry [EMAIL PROTECTED] [EMAIL PROTECTED] "For once, maybe someone will call me 'Sir' without adding 'you're making a spectacle of yourself.'" -Homer Simpson, The Simpsons
Re: Motown stuff
Once The
Corporation let Wonder and Gaye loose on their own, they produced some
great albums, no question--but they also produced Here My Dear and The
Secret Life of Plants, for example
Cantwell
Wasn't "Here, My Dear" Marvin's alimony "settlement" to his ex-wife? If so,
I could see how he may have been less-than-inspired to create anything more
than a toss-off. Not that it excuses it mind you, but it does make for
interesting context.
Yeah, the Temptations had the smooth/gritty thing down cold. Really
polished harmonies backing David Ruffin's gospel shouts, all backed by
an ace band -- it got no better than this.
Carl Z.
Though I can't disagree with this assertion, the three-year period following
Ruffin's departure deserves a shout-out. Replacing the
seemingly-irreplacable Ruffin with Dennis Edwards of the Contours ("Do You
Love Me?") was an inspired choice, and made for such classics as "Cloud
Nine," "Runaway Child, Running Wild," "Don't Let the Joneses Get You Down,"
and the, ahem, very Stax-influenced "Gonna Keep on Tryin' Till I Win Your
Love." By the time Eddie Kendricks left in '71, the Temps--and Motown as a
whole, I would say--began to noticeably suffer a drop in their game. But
until then . . . man. It really didn't get much better than that.
Lance . . .
Re: Motown stuff
At 11:47 AM 2/2/99 -0600, about Marvin Gaye's Here My Dear, Lance wrote: Wasn't "Here, My Dear" Marvin's alimony "settlement" to his ex-wife? If so, I could see how he may have been less-than-inspired to create anything more than a toss-off. Not that it excuses it mind you, but it does make for interesting context. It was part of the alimony deal, at least as I recall, but it was also just a very angry and vindictive and honest and (often) beautiful way of getting back at a spouse and dealing with a divorce. I think marvin would've argued--and many others have definately done so-- that this situation created more inspiration in him, not less. He certainly didn't intend it as a toss off, as even a casual listen to this lush and intricate double album will attest. --david cantwell
RE: Motown stuff
Mark me down as a big fan of Here, My Dear, from the music to the cover art. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/ Website revised 2/1/99
Re: Motown stuff
Excerpts from internet.listserv.postcard2: 2-Feb-99 RE: Motown stuff by "Jon Weisberger"@fuse.ne Mark me down as a big fan of Here, My Dear, from the music to the cover art. Oh yeah, and that gatefold Monopoly board sleeve. Man, what a statement. Berry Gordy could not have been happy about having to release that slam at his daughter. Carl Z.
Fw: Nevers Tour Stuff
Howdy, Since we were talking about the Nevers, Judybats, et. al., the other day... -Original Message- From: [EMAIL PROTECTED] [EMAIL PROTECTED] Date: Sunday, January 31, 1999 06:05 PM Subject: Nevers Tour Stuff Hey Everybody: We have some more live dates to announce. FRI, FEB. 5 - Nashville TN - Exit/In SAT, FEB. 6 - Knoxville TN - Moose Lodge (formerly BH, the Library) FRI, FEB. 12 - Nashville TN - NEA Extravaganza - 12th and Porter That's right, we're finally returning to Knoxville - where it all started. It's important that we get up there every now and then to make sure nobody's knocked over the Sunsphere. Come on out if you can! There are a few new things up at www.nevers.net - so surf on over. There are a couple of .wav sound files up there too. (sorry Mac users, no disrespect intended) See ya! Paul Co. The Nevers
Re: Gracey and Stuff
GoonDaddy: Everything is still in boxes. I never knew how much shit I have. When I was single, everything I ever needed or owned would fit in an army surplus footlocker. Sleeping bag, clean t-shirt and pair of Levis', a frying pan. c'mon now, Jeff - when you were single you didn't have any *clean* t-shirts knowing better, meshel n'vegas
Re: The Sopranos (was:Lucindavision and a bunch of stuff)
Shannon Lasater wrote: On a happier note, I don't think anyone has mentioned HBO's new series The Sopranos. Besides being a very well written show about a subject (a mob family) that I though was exhausted, it also has an incredible soundtrack. The opening sequence uses A3's "Woke Up This Morning" and during the first three weeks viewers have heard Nick Lowe's "The Beast In Me", Booker T and the MGs songs, and numerous other tunes which should be of interest to P2ers. Also, thanks to Joe Gracey for that incredible post, writing like that is the reason I lurk here. Um, what Shannon said, %101. And hey Shannon, you're not lurking if you're posting. gSo why lurk? b.s.
Re: The Secondary Market (Was: a bunch of stuff about Garth)
Tom Mohr wrote: So if I signed a deal with a major label tomorrow, and assuming that I am not quite as popular as Beatles/Metallica et al, then I would still have the option of telling the label "don't sell my stuff to the record clubs"? I did not know that -- I assumed that the major labels and the record clubs had some kind of arrangement. de-lurking a bit, (since I haven't posted in a week, does that qualify me as a lurker now?)... I recall when that 7 Mary 3 album came out (with that annoying single)... I think it was through Mammoth/Atlantic. Anyway, I recall seeing it listed in one of the disc club's magazines, and later I read where 7M3 had it removed, stating that it was in their contract that it not appear in any of those clubs. (there was another artist listed in the article, but I forget who it was). Anyway, I don't think I've seen their name/listing since. (and quite honestly, haven't really looked either! g) I thought Iceman's insight on the Hootie disc was interesting, and makes me wonder what kind of arrangement Radiohead has, considering their 1st 2 are available, but "OK Computer" has never shown up in any of the catalogs. Paul np: 'Mats - All for Nothing
Re: Assorted Stuff
On Sat, 09 January 1999, [EMAIL PROTECTED] wrote: Music content: Did anyone catch Vic Chesnutt and Lambchop on Conan last night? I just finished reading Atlanta's "Stomp and Stammer" where Vic made cover boy of the year. It's pretty hilareous. I haven't checked the web site but it's www.stompandstammer.com I thought he was just adorable on Conan (that's not a word I ever really expected to use to describe Vic Chesnutt), though I couldn't quite figure out what he was doing with his guitar up to his face at the end. It didn't seem to be producing any sound, and the cameras didn't seem to want to show too much of whatever he was doing. Thanks for the "Stomp and Stammer" info. It is quite a hoot, especially his explanation of why he was kicked off of Capitol, and his ongoing Jewel tirade. I, for one, would pay to see Vic hit Jewel "in the fucking face" with his duct-taped hand. What an image. Tracy __ Go Cubs Email - The Official Email Service of the Chicago Cubs Get your free Go Cubs Email account http://www.cubs.com
Re: Stuff I Think is Interesting
Quotable Matt Cook says: Both of these guys left bands that have WAY more financial potential than The Gourds. Keith left The Damnations who signed a major label deal and have been getting unending positive press in anticipation of their debut. (snip) I hope it stays the same in March when Wilco and The Damnations' new records are selling like crazy, and GHOSTS is being ignored. I don't want to take any credit away from the Gourds, of course, but I think you might be overstating the case here, Matt, at least as far as the Damnations are concerned. "Unending positive press" and "selling like crazy" are relative terms. I've heard that the Damnations themselves are worried about the amount of attention they've gotten this early in their careers, and though that's understandable, it's not like they've gotten *that* much attention. They've gotten lots of nice local press in TX, and they've turned more than a few heads in the alt-country world at large (mine included), but that's not necessarily going to translate to massive radio play or record sales, or even features about 'em in Spin or Rolling Stone; in fact, it's a fairly safe bet that their record won't sell like crazy among the buying public in general, even if it sells well among p2ers and our ilk. They're a great alt-country band, one of the best to come along so far (if we're using the narrow definition of alt-country, that is--the one that some folks would call country-rock). But that's a pretty limited market, and for a variety of reasons, I don't see mass success in the Damnations' future. For that matter, the Gourds have gotten plenty of good press themselves, and when they first emerged, there was certainly a lot of buzz about them, too. So I think casting the Gourds as underdogs here is a little disingenuous; they may be underdogs in the music biz at large--as are the Damnations and most of the other bands that get discussed here--but I'm not convinced they're really underdogs in the world of alt-country. Wilco are another matter; I'm told their forthcoming record has a shot at earning them mass success, in which case maybe the Gourds can look forward to having their next record stickered with "Featuring Max Johnston, formerly of Wilco!" --Amy "If I said I don't want what I don't have/And all the answers are in love/If I said I believed in myself and that's enough/I'd be lying"--Sam Philips
The Secondary Market (Was: a bunch of stuff about Garth)
Howdy, I realize that this thread has faithfully morphed into an Anti-Garth thread somehow, but if I may return to the original premise for a moment... g Garth's (and some other, less vocal, artists') statements about used CD sales represent a valid concern about royalty revenues. However, as much as I try to be in favor of artists getting paid for their creation, I find the anti-used CD stance to be a bit weak. Mainly because, economically, I've never seen it work. Attempts by members of the primary market to control the secondary market have generally had the exact opposite effect that the primary market folks hoped for. Some boring personal background-- When I was 18, I helped launch a series of magazines aimed at collectors of limited edition art figurines of various artists. Picture it as a "beany babies" culture of the late '80s. The magazines were aimed at collectors of those Emmett Kelly, Jr. clown figurines, a god-awful line of African-American themed collectibles, collectors of those gnome figurines that used to be all over Cracker Barrel gift shops until angels apparently invaded, and a general interest magazine for collectors of everything from those collectible houses (David Winter, Dept. 56) to Precious Moments and Hummels. Here's how the economy of that system worked-- Corporation mass produces figurines and sells to gift shop which sells to collector. That's your primary market. Then the secondary market kicks in. Collectors begin selling to one another. Harder to find items inflate in "value." We even printed a stock market-like chart that tracked the national trends based on regular interviews with some stores that sold "secondary market" items, highly active collectors, and assorted sources. The problem in the economy of the system kicked in when a few of the companies, tried to do one of two things. Some companies tried to influence the secondary market by purposely creating a short supply of some items. In the short term, this works, by creating a "demand" for product, big PR, lots of publicity about "popularity," etc. These companies were usually profiting under the books by selling excess stock of the selected items on the secondary market themselves. (Highly unethical and representative of the more correct usage of the term "gray market" that a record company rep was tossing about in an earlier Philclip.) Eventually, this catches up to the company. Over inflated values usually crash (Quick, anybody want to buy a beany baby? g) and the collectors either quit before this happens because they can't find the items they want or quit after the crash because they got burned. The second instance, which I think is representative of part of the used CD argument and the point of this thesis, involves companies trying to cut out the secondary market altogether. These companies did all they could to control the system and set the secondary market values themselves. Essentially, if collector A wanted to sell to collector B, he had to register the sell with the Corporation. The theory here was that the corporation (arguing familiarly that the original artist should somehow benefit from the repeated transaction) would charge a fee to handle the transaction. The end result was people didn't use the system, worked around it entirely and created a black market that could not be tracked by the company or through recognized secondary market services such as mine. In the end, the product was still traded but had become valueless commercially. I realize this isn't a direct match to the used CD argument, but I think there are some interesting lessons to learn from it all. The record companies would do just as well to find some other crusade. I think attempts to control the secondary market will only create ill will between the labels and the consumers. If the labels are truly worried about artists getting proper royalties, then perhaps they should consider raising the royalty payment on the primary transaction. I note, with interest, that book publishers tried to pick this fight once a while back with used book stores but eventually backed down. The publishers eventually took the viewpoint that they'd have to reconcile themselves to making their 40% markup on the primary transaction and let folks like Burke's in Memphis, and McKay's in Knoxville help collectors happily buy used and out-of-print books. I believe there was data to suggest that such folks actually bought more *new* books than folks who didn't buy any used books. Makes sense. I've rambled enough. I've got some new music to listen to, along with the used disc I also bought tonight. Take care, Shane Rhyne Knoxville, TN [EMAIL PROTECTED] NP: Lone Justice, The World Is Not My Home
