from Dempsey Young of the Lost Found. Sure, they had to leave folks out,
but he's every bit at the level of the guys who are on there, including
Jesse McReynolds and Bobby Osborne, and is the best under-appreciated
mandolin player around.
Wait, I thought we agreed that it was Hootie...g
Todd
Which pretty much echoes something that Bill Emerson, banjoist
extraordinaire, told Bluegrass Unlimited a few years ago (I'm hunting for
that Crowe rant):
"The problem with bluegrass is that there's too much unprofessional
bluegrass. It's a type of music that anybody can play anywhere. You
Lousy music is a drag, but since when has sucky music stopped talented
musicians from making great music?
It hasn't, but it can make it harder for them to get heard, both because of
the turn-off factor already mentioned - "Yeesh, those guys couldn't carry a
tune in a paper bag. If that's
Wildcat apologist Dave wrote:
But
given most people's busy schedules and abundant entertainment
choices, there's a good chance a lousy band (and it's not solely a
matter of chops or a lack thereof) *would* turn them off to roots
music for good. How many of us have gone back to a restaurant we
The thread started out from Mr. Anonymous's point that sucky music is
hurting "the roots music movement," which would probably g include some of
the stuff Greg's listed. Think for a minute about how different kinds of
music get exposure. Rock, pop, country - these are mass genres, and anyone
Of course not. Nobody's saying a lousy band will make people abandon
*music*. But if someone goes to, say, their first Malaysian restaurant
(to choose something fringey), and the food is overcooked and greasy
and makes them practically retch, the next time someone suggests a
Hopefully my last post on this one
This is where you lose me, Todd, because I haven't suggested, nor do I think
Mr. Anonymous suggested, that some external authority ought to shut anyone
down.
Yes, perhaps "shut down" is too strongly worded, and I certainly don't
think anyone is suggesting
so my advice to you is to
avoid eating Malaysian food at that terrible place I've heard about, though I
wouldn't counsel you to avoid that kind of food altogether. g
I'll keep that in mind, Bill, and stick with pizza. Have a great weekend
everybody...and Jon, make sure to crack the whip tonight
The first hour of last night's show is once again already up on the KCMU
web page, thanks to the speedy KCMU webmaster. Check it out at:
http://www.kcmu.org/listen.htm
You'll hear new songs from the Old 97s, the Pinetops, Dwight Yoakam, Sheri
Barr Walker and others, along with some cool old
I wrote:
http://www.kcmu.org/listen.htm
You'll hear new songs from the Old 97s, the Pinetops, Dwight Yoakam, Sheri
Barr Walker and others, along with some cool old stuff.
Don, is the new Dwight from a new album or from a soundtrack or something?
Never mind -- guess I should have listened
Everything evil you've ever believed about
the record biz is true, according to this, at least.
Yeah, so much so you wonder whether the piece is legit
TL
once it becomes available anyway (the few boots I have are in
addition to owning entire available catalog - Lloyd Cole, the
Replacements, etc...)
There's a name I don't believe I've seen show up here before (or at least
not in a long time)anyone know what Lloyd Cole is up to these days?
TL
From a Salon interview with Jeff Tweedy. Joshua Green is the
writer. Who is he and why is he such a dick?
Q: I was thinking specifically of the No Depression purists who are
kind of militantly pro-twang, you know what I mean?
A: I really have no concern for them. It's great that they have
Often in these P2 discussions of radio, I'm surprised at the notion
that people could actually make a change in it. I'm much more of the
opinion that the music industry *manufactures* mass taste and the
need for its products. Very pessimistic on that point. I know it's
not a simple equation,
In one respect, I'd add, Postcard 2 works as a sort of backlash
receptacle for many people who are shit-sick of hearing about UT, Wilco,
etc.
Frankly, I'm shit -sick of hearing that my appreciation for UT, Wilco, etc.
is just some youthful infatuation that I'll get over when I grow up and
Great passionate post from Todd "Touch me, I'm shit-sick" Larson,
although I don't remember anyone blaming UT *or* their fans for
anything. FWIW, I placed all my blame on writers who can't seem
to do anything but regurgitate press releases, and I thought Terry,
etc., were also blaming the hype
Terry wrote:
To me, production is like makeup on women; when it draws attention to
itself,
then it's not working.
Actually I think most people view production not as makeup (which can
enhance if applied tastefully) but as a window -- a seemingly transparent
view of the performance on the other
Bill S. said:
It's just sort of tangentially related to this thread Terry, but last week you
were seemingly displeased by the "overproduction" on Dwight's A LONG WAY HOME
record. I was listening to it the other day, and it struck me how well done
("overproduced") the tune "These Arms" is. The
And while I'm not saying that life in a factory is/was just a
life of grimness, I can't see how a stark and depressing arrangement
would appeal to a factory guy, even if he could identify with the song's
theme. No matter the artistic merits of such an arrangement. That's
evidently not
My point is this. Like any cattle call, the bands put all thier hopes and
dreams and wishes into it. They pull together gas money to drive from bum fuck
to attend if they are accepted, and SOMEONE is making a pile of dough on thier
dreams. The least any band can ask if they play anywhere, CATLLE
Someone asked about this a few weeks back. Taken from this week's
Philadelphia Weekly at:
http://www.phillyweekly.com/weekly98/ae/artbeat.html
F E B R U A R Y 3 - F E B R U A R Y 2 7 , 1 9 9 9
Artsbeat:
Local Musicians Experience
Power-Outage
The idea was simple and not particularly
Owen writes: I guess I should mention that the file comes in to your
PC compressed and does need to be opened. You also may have to reboot. I
don't know enough about Macs. The info I sent was from my tech guru, who
thinks we should all know as much as he does.g NOW ONLINE,
Agreed, though Nashville sports a larger central infrastructure of
players (and money to pay those players), which bands working in other
cities don't have access to, regardless of their tastes. I know of
several bands that would love to play live with a steel player but can't
afford or find
country) I thought back to the usual P2 debates, and wuz struck by how
right Jon's been in the past to point out that the altcountry vs. HNC
battles often aren't, emotionally, so much about which is "real"
country so much as a difference in taste about the type of rock
Unfortunately, our webmaster is too squeezed for time to archive the
shows. The archived shows were meant to be a stopgap measure until we
went live on the web. He's been overworking himself, in the hopes that
the ops folks here would get us live on the web, as promised. The live
webcasting
9p EST
TNN - HELLO DARLIN': A TRIBUTE TO CONWAY TWITTY - Vince
Gill; Travis Tritt; Kathy Mattea; Sam Moore; K.T. Oslin;
Michael Bolton; Reba McEntire; Wynonna; Joe Diffie; Mark
Chesnutt; Sammy Kershaw; James Bonamy.(CC)(TVG)
I don't know if this is a rebroadcast.
Damn, thought that last one was off to the fluff channel -- sorry to
broadcast the Saturday morning kids'-tv lyrics on the grown-up list
Todd
(who also remembers a cast band or two on "Saved By the Bell")
The movie "Outlaw Blues" has been on cable this month, and I've got a
question about the theme song that maybe someone here can answer. Who wrote
it? I'm wondering because the music credits at the end of the film list
John Oates. Is this the John Oates of Hall and Oates fame?
(For those who
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