RE: instrumentally speaking
...either of Wayne Hancock's records (yeah, I know he sings, but in my mind, they still rank as instrumental albums). Hmmm. Care to elaborate? Of all the instrumental (and I'm speaking of strictly instrumental, that is, *no* vocals) albums I have, my favorite is still Bobby Hicks' Texas Crapshooter (County CO-CD-2706), a 1978 album that features a side of western swing numbers with a hot band that includes Buddy Emmons on steel guitar and Buck White on piano, and a side of bluegrass, with Sam Bush, Alan Munde, former Kentucky Colonel Roland White on guitar and the late Roy Huskey Jr. in a fairly early appearance; why, there's even some twin fiddling with Vassar Clements on it, just to make Jeff Wall happy. The version of Monroe's "Scotland" on there is three of the best minutes you'll ever spend listening to music. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: instrumentally speaking
Excerpts from internet.listserv.postcard2: 10-Mar-99 Re: instrumentally speaking by "Dave Purcell"@one.net Am I listening to the wrong stuff or am I just right in thinking a lot of this stuff is uninspired noodling suckage? Then Carl said I'd say the former, as much that could be called noodling (Phish, bores me to tears and I love Gastr, O'Rourke's _Bad Timing_ LP and so forth. If you don't like John Fahey (a pretty concise player to my ears), this stuff may not be for you. I'd also say listening to it on the wrong format as well. I've always thought that this type of music never really works well on the radio. I'm no expert but subtle changes to recurrent themes and also to recording levels aren't best suited to radio play, making the whole seem repetitive and tedious which it definitely isn't IMO of course. BTW just picked up the new Jim O'Rourke CD and I have to say it's the best record I've heard this year. Andy Benham Email [EMAIL PROTECTED] Tel.No. 0121 414 4126
Re: instrumentally speaking
...either of Wayne Hancock's records (yeah, I know he sings, but in my mind, they still rank as instrumental albums). Hmmm. Care to elaborate? It's just that what I get out of that record mainly comes from the instrumental breaks on it, courtesy Billers, Skelton and Miller. I like Wayne the Train just fine, but remove his vocals from the mix and I'd still treasure "That's What Daddy Likes (or Wants)" or whatever. Course, he did write most, or all, of the tunes... Other instrumental records of note, in the country area, Buddy Emmons' record from the 70s, with "Roly Poly" on it, and a Mike Auldridge record from the same era that I can't recall the title of. Now a question: A lot of folks have had a chance to listen and get acquainted with Steve Earle's new one, "The Mountain." I was curious about how Earle fans, and non-fans for that matter, stack this bluegrass endeavor of Earle's with "Train a Comin," which used bluegrass/folk instrumentation but wasn't (at least to my ears) as solidly bluegrass as "The Mountain." My impression is that "Train a Comin" is the stronger record, by virtue of the songwriting, and the folkier type of bluegrass, which has a bit more appeal to my ears. I'll qualify that judgment, however, by admitting that I still haven't listened to "The Mountain" enough times to form any lasting conclusions. -- Terry Smith ps later today, if I get a chance, I'm gonna attempt to spark another thread about the Nashville Sound: "A country phase that's just as legitimate and 'country' as any other country phase, or a desperate grasp at mass popularity, or both?" -- I've been reading Patrick Carr's essay in the Country Music Foundation's "Country: The Music and the Musicians" and he's providing me some ammo. (But I still can't figure out if he's completely full of shit, or a genius.)
Re: instrumentally speaking
: A lot of folks have had a chance to listen and get acquainted with Steve Earle's new one, "The Mountain." I was curious about how Earle fans, and non-fans for that matter, stack this bluegrass endeavor of Earle's with "Train a Comin," ... My impression is that "Train a Comin" is the stronger record... Terry, I'll pretty much agree with you there. I tend to lean toward Train because it's a little less-defined, more far-reaching, a trait I love so much about Earle. Mountain is really nice, but I can't help but look at it as kind of a side-gig project, not quite the essential Earle as, say, Train and Corazon, imho, of course. Neal Weiss
RE: instrumentally speaking
...either of Wayne Hancock's records (yeah, I know he sings, but in my mind, they still rank as instrumental albums). Hmmm. Care to elaborate? It's just that what I get out of that record mainly comes from the instrumental breaks on it, courtesy Billers, Skelton and Miller. I like Wayne the Train just fine, but remove his vocals from the mix and I'd still treasure "That's What Daddy Likes (or Wants)" or whatever I dunno, Terry; I appreciate the point, but it still seems to me that "instrumental album" ought to be reserved for albums composed exclusively, or at least mainly, of music with no singing on it g. Other instrumental records of note, in the country area, Buddy Emmons' record from the 70s, with "Roly Poly" on it... Uh, that album's title is Buddy Emmons SINGS Bob Wills (emphasis added). There are, though, two bonified instrumentals on it - "Boot Heel Drag" and "Twinkle, Twinkle Little Star ps later today, if I get a chance, I'm gonna attempt to spark another thread about the Nashville Sound: "A country phase that's just as legitimate and 'country' as any other country phase, or a desperate grasp at mass popularity, or both?" My vote, pending some unforeseen revelation from Messrs. Carr or Smith, is for "both." Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
The Mountain (was Re: instrumentally speaking)
Neal, friend to the stars, wrote: Terry, I'll pretty much agree with you there. I tend to lean toward Train because it's a little less-defined, more far-reaching, a trait I love so much about Earle. Mountain is really nice, but I can't help but look at it as kind of a side-gig project, not quite the essential Earle as, say, Train and Corazon, imho, of course. I'll third that emotion. So far, I'm digging the record, but it's not inspiring me to play it, oh, 42 times a day like new Earle releases typically do. The playing and singing on it are great, but I miss the adventuresome nature of his other records, and some of the songs sound a little forced, like he was trying too hard to write bluegrass classics. I'm really wondering if he's going to burn himself out -- he supposedly has seven or eight songs already recorded for the new record. Historically, very few people can churn out that many songs in so short a time and have the quality stand up. CCR, Dylan, and Costello come to mind. Hell, Earle's already ripping himself off pretty badly in spots. Rhode Island and Detroit -- two 12-seeds -- in the sweet 16. You heard it here first. Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Re: instrumentally speaking
Other instrumental records of note, in the country area, Buddy Emmons' record from the 70s, with "Roly Poly" on it... Uh, that album's title is Buddy Emmons SINGS Bob Wills (emphasis added). There are, though, two bonified instrumentals on it - "Boot Heel Drag" and "Twinkle, Twinkle Little Star I think that this is an example of what Freud might have described as repression. Since listening to that record, years ago, I've repressed the bad (or unremarkable) aspects of this record, the vocals. Which, I guess, might be a good way of describing how folks tend to remember music from "the old days." You repress the bad stuff, and generally mainly remember the good. If I could only learn to exert this sort of repression with modern country music. -- Terry Smith
Re: instrumentally speaking
Carl Abraham Zimring wrote: One last post on rock/alt.country instrumentals and then I'll shut up. The body of work by several Chicago and Louisville-based rock musicians spawned by punk and post-punk bands such as Squirrel Bait, Bastro and Bitch Magnet includes a lot of acoustic instrumental work. This is a pretty big tent definition of alt.country, but Jim O'Rourke/David Grubbs/Gastr del Sol do a lot with John Fahey's American acoustic guitar stylings. It's at least alt.Americana if not alt.country. The Pullman record we brought up last summer (featuring members of Tortoise and Come) also fits into this style. Everytime I'd hear some of this stuff on the radio (college radio, that is), it would bore the pants of me. It all sounded like when my guitar player and I would get baked on hash, turn our vibrato and reverb up to 9, and play an E chord for an hour. Am I listening to the wrong stuff or am I just right in thinking a lot of this stuff is uninspired noodling suckage? I dig experimental/ambient stuff when it's done well, I'm just not convinced that O'Rourke and Grubbs are the cat's pajamas that everyone makes them out to be. Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Re: instrumentally speaking
Excerpts from internet.listserv.postcard2: 10-Mar-99 Re: instrumentally speaking by "Dave Purcell"@one.net Am I listening to the wrong stuff or am I just right in thinking a lot of this stuff is uninspired noodling suckage? I'd say the former, as much that could be called noodling (Phish, bores me to tears and I love Gastr, O'Rourke's _Bad Timing_ LP and so forth. If you don't like John Fahey (a pretty concise player to my ears), this stuff may not be for you. Carl Z.
Re: instrumentally speaking
Haven't been following this thread, but for altcountry instrumentalisms, has anyone mentioned the "Travis County Pickin'" album? All twang, no noodling Still the best recent instrumental album I know of, an album that gets regular time in my changer two (or three?) years after it came out. --junior
Re: instrumentally speaking
At 10:24 AM 3/10/99 +, you wrote: Haven't been following this thread, but for altcountry instrumentalisms, has anyone mentioned the "Travis County Pickin'" album? All twang, no noodling Still the best recent instrumental album I know of, an album that gets regular time in my changer two (or three?) years after it came out. hmm, gonna have to check that one out. My favorite is Appilaichan Swing with them Swangin Kentucky Colonels. aka Roland and Clarence White. Hot damn it's good. Jeff Wall http://www.twangzine.com The Webs least sucky music magazine 3421 Daisy Crescent - Va Beach, Va - 23456
Re: instrumentally speaking
Jeff: hmm, gonna have to check that one out. My favorite is Appilaichan Swing with them Swangin Kentucky Colonels. aka Roland and Clarence White. Hot damn it's good. Yeah, Appalachian Swing is a classic that also gets regular time in my changer despite being over 30 years old! g. I always have at least one instrumental album in my changer at home: whether a twang thing like Appalachian Swing, Joe Maphis' "Flying Fingers", West Bryant, or Travis Country Pickin' (which is on Hightone, btw, or the HMG imprint of Hightone), or a surf-twang thing like Duane Eddy, The Shadows, or Calif surf albums Good stuff. --junior
Re: instrumentally speaking
Haven't been following this thread, but for altcountry instrumentalisms, has anyone mentioned the "Travis County Pickin'" album? All twang, no noodling Still the best recent instrumental album I know of, an album that gets regular time in my changer two (or three?) years after it came out. --junior I'll throw in a vote for Trvis County Pickin. Then I'll add to the list "Big Sandy Presents the Flyright Boys" and either of Wayne Hancock's records (yeah, I know he sings, but in my mind, they still rank as instrumental albums). Then, of course, any of the Hellcasters records. And then all those early David Grisman Quartet/Quintet records. Hot Dag -- Terry Smith
Re: instrumentally speaking
Has anyone mentioned "Sandusky", UT. A pure gem of a song. -Original Message- From: Jeff Wall [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Wednesday, March 10, 1999 4:33 PM Subject: Re: instrumentally speaking At 10:24 AM 3/10/99 +, you wrote: Haven't been following this thread, but for altcountry instrumentalisms, has anyone mentioned the "Travis County Pickin'" album? All twang, no noodling Still the best recent instrumental album I know of, an album that gets regular time in my changer two (or three?) years after it came out. hmm, gonna have to check that one out. My favorite is Appilaichan Swing with them Swangin Kentucky Colonels. aka Roland and Clarence White. Hot damn it's good. Jeff Wall http://www.twangzine.com The Webs least sucky music magazine 3421 Daisy Crescent - Va Beach, Va - 23456
instrumentally speaking (was Re: Tweedy quote/alt.country (REAL LONG))
Excerpts from internet.listserv.postcard2: 9-Mar-99 RE: Tweedy quote/alt.countr.. by "Jon Weisberger"@fuse.ne I'd be hard-pressed to think of examples of instrumentals in the alt.country field that don't fall pretty clearly into the out-of-classic-country stream, rather than the, er, UT-and-before-and-after one. One problem I see with your logic, Jon, is that much of the rock side of alt.country's influences (especially the punk artists), for whatever reason, don't include many instrumentals. Bands influenced by the Clash, the Sex Pistols, and the Velvet Ungerground tend to sing (or shout), because vocals are essential to their music. Having said that, Victor Krummenacher's past two records each feature a nice instrumental -- the one on his last album owes a bit to Fleetwood Mac's "Albatross". The Sadies have a few on their album (I think the surf influence has a lot to do with it -- Alex, can you think of other surf-influenced alt.country types?), and Pinetop Seven's been known to do one or two. The Waco's did Geronimo on their first record. But these are atypical examples. Waiting to see mention of a Greg Ginn-influenced Western Swing instrumental band, Carl Z.
Re: instrumentally speaking (was Re: Tweedy quote/alt.country (REAL LONG))
Sez Carl: One problem I see with your logic, Jon, is that much of the rock side of alt.country's influences (especially the punk artists), for whatever reason, don't include many instrumentals. Bands influenced by the Clash, the Sex Pistols, and the Velvet Ungerground tend to sing (or shout), because vocals are essential to their music. Sez Jon: That's my point. Even hedged with all kinds of qualifications, I think it's fair to say that in general, where vocals are essential, there's an orientation toward communicating emotions, ideas, etc., and technique and, well, skill - at least instrumental - are more than occasionally seen as, at best, irrelevant to that. See, now, and I thought the whole *point* of punk was to *not* be able to play well. I am not being facetious here. I thought the general punk stance was "F**k this elitist, bourgeois, closed music system. We're gonna play even though we don't know how, and maybe that'll turn the world of music on its ear, and even if it doesn't we'll have a good time with our mates making a whole lot of noise. Being all tied up in technique and knowing how to play is for wankers. Tear up everything." Why have instrumentals if it's important not to be one of those wankers who know how to play? Kelly, ready to have her simplistic understanding of punk adjusted NPIMH "All I Am Is Loving You" by The Teardrop Explodes
Re: instrumentally speaking
Another problem with instrumentals in the alt.country field is that the lack of voices almost automatically pushes the music into either the alt. or country side of things. Without those Freakwatery voices, most bands are going to sound a lot less country. A notable exception would be Jim Campilongo and the Ten Gallon Cats (featuring Jim Campilongo, guitar and Joe Goldmark, pedal steel). Their first album especially showed off instrumental cowboy jazz with a bit more edge to the guitar tone than used by most people working in this vein. A Greg Ginn-influenced Western Swing band? Dude, I'm there. I'd prefer a Robert Fripp influence. The real question is why hasn't there been more of a push towards that combination of sounds. Blood on the Saddle was probably as close as I've heard.
Re: instrumentally speaking
At 01:04 PM 3/9/99 -0600, Kelly wrote: See, now, and I thought the whole *point* of punk was to *not* be able to play well. I am not being facetious here. I thought the general punk stance was "F**k this elitist, bourgeois, closed music system. We're gonna play even though we don't know how, and maybe that'll turn the world of music on its ear, and even if it doesn't we'll have a good time with our mates making a whole lot of noise. Being all tied up in technique and knowing how to play is for wankers. Tear up everything." Well, that WAS part of the ideology of the thing. But one thing I'd say is that it's been a little bit overstated since then--that is, the point wasn't that you didn't have to know how to play your instrument but that you didn't have to know how to play the kinds of comparitively complex shit that, say, ELP played. Punk was three-chords simple, in other words, but it didn't necessarily reject basic competence. The other thing to note, of course, is that Steve Jones and Mick Jones and The Ramones and whoever else really could play their "simple" music pretty damn well, especially after their first albums when all that touring forced them to, uh, practice night after night. --david cantwell
Re: instrumentally speaking
On Tue, 9 Mar 1999, David Cantwell wrote: you didn't have to know how to play the kinds of comparitively complex shit that, say, ELP played. Punk was three-chords simple, in other words, but it didn't necessarily reject basic competence. Sorryhave to make an editorial comment here.replace *shit* (comparitively complex shit) with *music*. Thanks...we now restore you to your regular programming. g NP: Lucinda Williams - Car Wheels JC
Re: instrumentally speaking
Calexico.
Re: instrumentally speaking (was Re: Tweedy quote/alt.country (REAL LONG))
Excerpts from internet.listserv.postcard2: 9-Mar-99 RE: instrumentally speaking.. by "Jon Weisberger"@fuse.ne The Sadies have a few on their album (I think the surf influence has a lot to do with it... Not to mention the bluegrass/country one g, which I'm reminded of because there was a fairly recent inquiry about the Good Brothers over on bgrass-l. True. I offer surf for a reason, as it is an instrumentally-based style of rock. Off the top of my head, I can't think of many twang bands who incorporate surf other than the Sadies (though I haven't heard Jimmy Wilsey's new band yet). Does anyone on this list play music in the style of Dick Dale? For that matter, can anyone think of a twangy band influenced by Camper Van Beethoven's trippy instrumentals? As for technical proficiency, I think David nailed that one on the head. Johnny Ramone's musical vocabulary, while small, is not limiting he does a lot with a few chords. Few Ramones songs could be called instrumentals, though they aren't exactly wordy. Carl Z. fave Ramones song: Warthog.
Re: instrumentally speaking (was Re: Tweedy quote/alt.country (REAL LONG))
In a message dated 3/9/99 3:02:04 PM Central Standard Time, [EMAIL PROTECTED] writes: True. I offer surf for a reason, as it is an instrumentally-based style of rock. Off the top of my head, I can't think of many twang bands who incorporate surf other than the Sadies (though I haven't heard Jimmy Wilsey's new band yet). Does anyone on this list play music in the style of Dick Dale? I think only Dick Dale does Dick Dale, but Junior Brown did a pretty mean surf medley on Semi-Crazy. Joe X. Horn Pledge Drive Survivor
Re: instrumentally speaking
One last post on rock/alt.country instrumentals and then I'll shut up. The body of work by several Chicago and Louisville-based rock musicians spawned by punk and post-punk bands such as Squirrel Bait, Bastro and Bitch Magnet includes a lot of acoustic instrumental work. This is a pretty big tent definition of alt.country, but Jim O'Rourke/David Grubbs/Gastr del Sol do a lot with John Fahey's American acoustic guitar stylings. It's at least alt.Americana if not alt.country. The Pullman record we brought up last summer (featuring members of Tortoise and Come) also fits into this style. Carl Z.
Re: instrumentally speaking (was Re: Tweedy quote/alt.country (REAL LONG))
In a message dated 3/9/99 3:22:44 PM Central Standard Time, [EMAIL PROTECTED] writes: I can't think of many twang bands who incorporate surf other than the Sadies Deke dickerson did a few surfy numbers at the Cheapo instore on saturday. Good stuff. Slim
