On Thu, 22 Apr 1999, Don Yates wrote:
And it looks like I was right: "Ever True Evermore" was recorded by Patti
Page (as was "With My Eyes Wide Open I'm Dreaming"), and "Mistakes" was
recorded by Vera Lynn. !--don
Friggin' hell! Not *the* Vera Lynn? Sweetheart of the Forces in
WWII? Her
On Thu, 22 Apr 1999, Don Yates wrote:
On Thu, 22 Apr 1999, Jon Weisberger wrote:
The definite oldies are "I've Got A Right To Cry" (Hank Jr.), "Give
Myself A Party" (Don Gibson), "Trademark" (Carl Smith), "Falling,
Falling, Falling" (Ray Price). I assume that the Newbury and Bryants
OK folks. This turns out to be too easy!
"Don't Forget to Cry" was a May '64 single recorded for WB by those
obscure singers of Bryants' songs, the Everly Brothers. It's readily
available on the 2-disc Walk Right Back Warner Brothers Best of... Glad to
be of assistance.
Barry M.
OK folks. This turns out to be too easy!
"Don't Forget to Cry" was a May '64 single recorded for WB by those
obscure singers of Bryants' songs, the Everly Brothers. It's readily
available on the 2-disc Walk Right Back Warner Brothers Best of... Glad to
be of assistance.
Barry M.
...I was curious about that tune,
"Trademark," again on the Mandy Barnett record. Jon identified it with
some country artist, I can't recall who, but the co-writer is listed as
Porter Wagoner (sp?). Did Porter write it, and someone else make a hit out
of it?
Yup. "Trademark" was a #2 for
I had to stop the other day to find out what song was playing on a local
station cos it sounded almost "alt.country." Turned out to be the latest
Dixie Chicks single. Anyone else heard that one?
Jim, smilin'
Tonight the Heartache's on Me, cut by numerous artists in the last few
years
On Wed, 21 Apr 1999, Terry A. Smith wrote:
pps it's been a great week; discovered via the library, Solomon Burke and
Lloyd Price. How'd I ripen into my 40s without having heard these guys?
Mysteries of life.
Yeah, right -- it's 'cuz you live in that cultural backwater known as the
American
On Wed, 21 Apr 1999 [EMAIL PROTECTED] wrote:
I want to add that I hope Mike is right with his observation that some
country stations are leaning towards actually playing country music again.
I had to stop the other day to find out what song was playing on a local
station cos it sounded
I want to add that I hope Mike is right with his observation that some
country stations are leaning towards actually playing country
music again.
I had to stop the other day to find out what song was playing on a local
station cos it sounded almost "alt.country." Turned out to be the
Another twangy Margasak column.
http://www.chireader.com/hitsville/990423.html
Pop Goes the Country
Mandy Barnett grew up in Cumberland County, Tennessee, and by age ten
was singing her summers away at Dollywood. She entertained at political
rallies for both Lamar Alexander and Al Gore, hit
one cubic foot of flat space
in our whole county). We're un-glaciated, and proud of it! -- Terry Smith
ps man, we're getting a lot of mileage out of this "Mandy B." thread,
aren't we? But I did want to ask, seriously, which tunes on her new record
are the classics and which are the newly wr
I've got to say, though, I like "Who (who will it
be)" the best. Is that an old tune?
With a co-publisher named "Twenty Second Century Music," I doubt it g.
The definite oldies are "I've Got A Right To Cry" (Hank Jr.), "Give Myself A
Party" (Don Gibson), "Trademark" (Carl Smith), "Falling,
In a message dated 4/22/99 12:57:37 PM Central Daylight Time,
[EMAIL PROTECTED] writes:
But I did want to ask, seriously, which tunes on her new record
are the classics and which are the newly written ones...I've got to say,
though, I like "Who (who will it be)" the best. Is that an old
In a message dated 4/22/99 1:18:02 PM EST, [EMAIL PROTECTED] writes:
"Who" and "The Whispering Wind," both cowritten by l. russell brown (of
"tie
a yellow ribbon" fame) and pat mclaughlin, are the only two new ones on
barnett's album.
"Whispering Wind" is killing me, currently the
On Thu, 22 Apr 1999, Jon Weisberger wrote:
I've got to say, though, I like "Who (who will it
be)" the best. Is that an old tune?
With a co-publisher named "Twenty Second Century Music," I doubt it g.
The definite oldies are "I've Got A Right To Cry" (Hank Jr.), "Give
Myself A Party"
In a message dated 4/22/99 1:30:26 PM EST, [EMAIL PROTECTED] writes:
*Someone* here has to know who did the
Boudleaux and Felice song ("Don't Forget To Cry").
Beck?
David Cantwell wrote:
At 12:04 PM 4/22/99 -0400, Jon wrote:
I've heard it. It's a good, straight country shuffle; "nothing 'alt' about
it" is right - you can hear a dozen or two like it any Saturday night on the
Grand Ole Opry, and that's not a criticism. It will be interesting to see
The label sent the album's first single only to
Americana and "nonreporting" country stations...
Yeah, I meant to mention that after I read it on a Barnett-devoted website
last night. That might account for its non-appearance on the Billboard
chart (that's who the nonreporting stations don't
Jeez, Kip, you're almost as easy to bait as Curry.g--don
Waddaya mean, *almost* g
Naw, I knew what Yates was up to. But I had just gotten through
defending the Midwest to a friend of mine, so I was already in battle
fatigues and figured I'd play along.
On Thu, 22 Apr 1999 [EMAIL PROTECTED] wrote:
This is the son of Randy "Looking Out For #1" Bachmann, yes?
Yup...
JC
Nice write up on Mandy Burnett in Peter Margasak's column in the Reader this
week. It's at www.chireader.com. The section is "Post No Bills."
enjoy!
Linda
I wonder if Jon could provide a list of records that have made the country
music charts, singles, albums, whatever, that have not come from Nashville
based labels in the past, let's say 5 years.
Just looking for evidence that the "Nashville machine" doesn't exist. g
Jim
I wonder if Jon could provide a list of records that have made the country
music charts, singles, albums, whatever, that have not come from Nashville
based labels in the past, let's say 5 years.
I don't need to. All I need to do is ask if Jim seriously thinks that if
the same album were
Jon is obviously confused. The main reason you aren't hearing Mandy Barnett
on your local country radio station is because it is on a label that is not
based in Nashville. His unwillingness to provide hard data proves my point.
It has NOTHING to do with the music. It all depends on who is paying
On Wed, 21 Apr 1999 [EMAIL PROTECTED] wrote:
Jon is obviously confused. The main reason you aren't hearing Mandy
Barnett on your local country radio station is because it is on a label
that is not based in Nashville.
You really think that's the main reason? Then why didn't her first album
Jim, smilin (of course)
The main reason you aren't hearing Mandy Barnett
on your local country radio station is because it is on a label that is
not
based in Nashville.
I'm hearing it on my local country station, but I guess that doesn't count
since I work in a peon market and program my own
Don writes: I think Jon's main point is that the powers-that-be that
control country radio
(the folks who own the stations and the consultants who help program
them)are primarily responsible for what you hear on country radio. That
seems pretty obvious to me.
Sure, the Nashville-based major
Pshaw. Since when does the press have any real impact on radio playlists?
(Don't get me started on my exercise-in-futility rant about being a
journalist.) I'd be curious to know how much Allison Moorer, the last
great
country critical darling, has benefited from her press. Anyone?
I'd say
On Wed, 21 Apr 1999 [EMAIL PROTECTED] wrote:
My point, and I think we keep missing each other, is that country radio
(which is NOT based in Nashville) and the country music labels are in bed
on this together. Believe it or don't, the BIG labels pay the consultants
(who control many
Jim says:
My point, and I think we keep missing each other, is that country radio
(which is NOT based in Nashville) and the country music labels are in bed
on this togetherthere are under the
table deals made in all formats that control what gets played
Sure it's called the
For those of you keeping score at home, in the last 3 emails from Don, Jon
W, and Jim C, the word "Nashville" has appeared 10 times in 3 paragraphs.
Jon Weisberger wrote:
Back to Don's question: why didn't the singles off The Key do better
Maybe MCA found out he drove a Volvo.
~Greg
___
Get your free, private email at http://mail.excite.com/
why didn't the singles off The Key do better?
Cos like Mandy Barnett, they were "too country."
Jim, smilin'
Dammit, you all aren't allowed to have this country radio/Nashville fracas
without me. If there's gonna be any geographical knee-jerking -- what an
image! -- around here, then I'm gonna do it! -- Terry Smith
ps seriously, I'm holding out hope that Mandy Barnett's record will chart
on country
Two observations about this Jim vs. Don and Jon debate (a side issue: when
the hell do we get Don vs. Jon?). Anyhow, first thing, aren't a lot of the
sensitive ballad weiners coming out of Nashville not doing that well
either? So it's evidently not just material that's "too country" that's
having
If the Garthman had made an album like The Key, you bet your ass it
would be on the radio!
Second thing, I'm not convinced by Don and Jon's example of Vince Gill's
"The Key." It's one record, and I think we need some more examples.
There's other factors that may have contributed to its lack
Two observations about this Jim vs. Don and Jon debate (a side issue: when
the hell do we get Don vs. Jon?).
Whenever the subject of the original alt.country comes up.
Anyhow, first thing, aren't a lot of the
sensitive ballad weiners coming out of Nashville not doing that well
either? So
If the Garthman had made an album like The Key, you bet your ass it
would be on the radio!
I dunno, John, I don't think "Longneck Bottle" did nearly as well as his
poppier stuff, like that Dylan song. I guess we won't really know, though,
until he releases that version of "The Fields Have
Like most conspiracy theories, Jim's may be attractive for those who
like simple explanations for the complicated doings of the real world, but
that doesn't make it right.
Well, I don't want to prolong the agony of this too much longer, but I just
wanted to point out that I know it's a LOT more
Finally snagged Mandy Barnett's new record, "I've Got a Right to Cry," and
haven't had so much fun listening to a record in a long time. Don's right;
this is the best of the year (that I've heard). I also prematurely
nominate Harold Bradley's electric guitar solo on "Who (Who Will It Be)"
as the
In a message dated 4/20/1999 8:23:07 AM Eastern Daylight Time,
[EMAIL PROTECTED] writes:
Barnett's perfect-fit vocals (the
stretched out notes on "Who..." made me grin), to a great assortment of
pop and country songs, with so many poppy hooks that it nearly ripped my
earlobes.
Nashville
--
Jim_Caligiuri wrote:
Sire is NOT part of the "Nashville machine." Commercial country programmers and
consultants only pay attention to records out of Nashville. The Derailers, also on
Sire, ran into the same problem.
That is part of the problem but not really, when these acts signed to
Tiffany says: But Americana does embrace these artists, we just have to
make the format grow and Jessie Scott is one step in the right direction in
making that happen.
Oh please. You've been saying the same thing (Insert Chris or Rob for
Jessie at will) for too long now. Americana ain't
Americana ain't happening until it can
cross artists like Mandy and the Derailers over to other formats. We've
been through this before. Americana won't be a REAL format until it has
quite a few influential major market stations playing the music
24-7.
Let's see. It ain't a REAL format
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