// Much of this week's traffic was a continuation of the Naptser
// debate, with additional discussion of vinyl vs. CDs. Those
// messages are availble to those of you who are interested...send
// me a note at bpage@itol.com.
// This digest has the rest of the messages, including word that
// someone named Nanci Griffith may be headed back into the studio.
// Enjoy...[BP]

_________________________________________________________________


Subject: NN: "Drowning ballads and castle-knocking-down songs" 
         (More Kate Rusby)
   Date: Tue, 03 Oct 2000 09:50:39 +0100
   From: Alan Rosling (alan.rosling@northampton.ac.uk>

Glad Kate Rusby is getting an airing on the list. What hasn't been
emphasised is how good she is. Taking traditional folk and giving it a
warmth and freshness, and writing her own material which retains all the
qualities of the traditional while still feeling very 'modern'.
She has also championed the cause of the independent - running her
own cottage-label with the help of mum and dad
(http://www.purerecords.demon.co.uk/). The two late 90s album are both
winners (Hourglass and Sleepless), with an unusual combination of
earthiness and shining beauty. Find them if you can.
She obviously also likes Nanci - she covered Gulf Coast Highway on
the 1993 Intuition (Fat Cat records) which showcased six Yorkshire women
folk singers.

Alan Rosling

_________________________________________________________________


Subject: NN: pertinent facts & rumors
   Date: Tue, 3 Oct 2000 12:16:38 -0700 (PDT)
   From: Reid Mitchell (reidmitchell@yahoo.com>

Folks,

I have heard from a source near Nanci that Ms.
Griffith will be going to the recording studio in
November to start work on the next album.  Linda
Ronstadt may be contributing.

Reid "breathless" Mitchell

_________________________________________________________________


Subject: Re: NN: pertinent facts & rumors
   Date: Tue, 3 Oct 2000 16:07:12 EDT
   From: Tricia9999@aol.com

reidmitchell@yahoo.com writes:

> I have heard from a source near Nanci that Ms.
>  Griffith will be going to the recording studio in
>  November to start work on the next album.  Linda
>  Ronstadt may be contributing.

Woohoo!! Thanks Reid. Been having a bad couple of days and this is just a 
nice smile. Old dogs don't last and have lost 2 in the last 2 months. It's 
tough - one develops real attachments to these wonderful critters. 
I certainly look forward to a forthcoming Nanci effort.

Tricia

_________________________________________________________________


Subject: Re: NN: pertinent facts & rumors
   Date: Tue, 03 Oct 2000 16:34:21 -0500
   From: Ed Maier (evmaier@dhc.net>

Reid Mitchell wrote:
> I have heard from a source near Nanci that Ms.
> Griffith will be going to the recording studio in
> November to start work on the next album.  Linda
> Ronstadt may be contributing.

Hot dog! I hope the title is something like "I shall Go Back To Folk."

Eddie
-- 
"I was drunk the night my mom got out of prison
And I went to pick her up in the rain
But before I could get to the station in my pickup  ...truck
She got runned over by a damned old train"

-Steve Goodman

_________________________________________________________________


Subject: Re: NN: pertinent facts & rumors
   Date: Tue, 3 Oct 2000 22:13:18 EDT
   From: Halesbop@aol.com

While any news of a new Nanci cd is most welcome, I'm really hoping this time
she does a pure Nanci Griffith record, and keeps the guest star "contributions"
to a minimum.

Steve, 

_________________________________________________________________


Subject: NN: what you're missing
   Date: Tue, 3 Oct 2000 15:06:28 -0700 (PDT)
   From: Reid Mitchell (reidmitchell@yahoo.com>

I was so excited by the prospect of Nanci recording
that I almost forgot to tug people's elbows on what
they might be missing the next two weeksends--the
Swamp Fest.  Here's some propaganda and a web page for
those interested.

You ain't lived until you've drunk beer and eaten
alligator while dancing to zydeco.

Reid " --[insert witicism here]-- " Mitchell

"The Louisiana Swamp Festival has become one of 
Audubon  Zoo's most popular events--breaking 
attendance records every year. The event attracts a 
wide cross section of visitors from across the state
and gulf coast and has developed into a considerable 
tourist draw. It is focused on Cajun life in
Southwest Louisiana.  Three music stages are scheduled
with the finest in Cajun and Zydeco sounds from
Louisiana artists. Authentic Cajun cuisine ranging
from fried alligator to boudin and couchon de lait to
catfish po-boys to fried okra and cracklins can be
sampled from food vendors who come from all parts of
Louisiana to participate in the festival."

_________________________________________________________________


Subject: NN: The Age of the Down Load
   Date: Wed, 4 Oct 2000 20:49:40 -0400
   From: "Scott Johnsen" (sjohnsen@webhire.com>

BOOKS:

My x-wife loved to buy, read and collect hard cover books.  She read her share
of paper back books too, but these she easily parted with.  She loved the
tangible possessions.

A very close friend of mine told me that his wife recently donated a large
carton of paperback books he owned to a local charity.  Even though he had
already read them, it pained him greatly to part with the.  My friend loved the
tangible possessions.

In my case, I have less time for casual reading.  As such, the library requires
that I get the book back to them in most cases, before I am finished with them.


MUSIC:

When albums (LPs) were popular, I couldn't own enough of them.  I collected the
album covers as much as the music.  When cassette tapes became the primary
medium, I found I had less interest in owning the original music.  If I
borrowed a tape and made a copy, I was happy with the play list written in my
own hand, partial information about the recording and absolutely zero
graphics.  It didn't matter to me.  I just wanted to be able to play music of
my choosing when I wanted to hear it.

With CDs, I find that I have a great desire to own the original again.  I
recently down loaded a Victoria Williams CD.  I enjoyed the music so much that
I immediately bought the CD.  I am not sure I would have done that if I had to
order that on cassette tape. 

Finally, NN Content:

My only criticism of Nanci's CD releases has been that I think she re-records
too many of her songs on subsequent collections.  By way of example, Trouble in
the Fields appears on at least Dust Bowl Symphony, One Fair Summer Evening,
Storms and Country Gold.  So when Dustbowl was released, I refused to buy it
because there were so many songs on it that had been previously recorded.  It
wasn't until I saw the CD case that I decided I had to buy it.  (I have also
been accused of buying a CD because I liked the picture of the artist on the
cover.  Carly Simon, No Secrets. Guilty!  But I was young.)  I bought Nanci
Griffith's Blue Roses from the Moons because I loved her picture on the cover.

The other great thing about owning the CD (or tape, LP, etc.) is I spend a
great deal of time reading the credits, lyrics, enjoying the photographs, etc.
while listening to the music.  I lose that if I rely on down loaded  music.

There are many reasons why it is important to me that I own the music and not
simply down load it.  But in the end, I think music is my sea shells.  I don't
have to travel to beaches around the globe in order to collect them, but I do. 
I saw Nanci Griffith in Burlington, Vermont (about 270 miles from home), I saw
Ellis Paul in Dallas, Texas (about 2,000 miles from home) and I saw James
Morrison in Sydney Australia (12,000 miles?).  In each case, I came home with
at least one CD for both the opening act and the headliner.  Sea shells. 
That's really the answer.

Scott
(sorry for the long winded message.  You see, I should really be completing my
self-evaluation.  Verbose. There, now I can get a little further on this.)

Now playing:  Bill Morrissey, "Songs of Mississippi John Hurt" 

_________________________________________________________________


Subject: NN: Kate Campbell
   Date: Thu, 5 Oct 2000 10:13:58 -0400
   From: "Nina Gooch" (nina-gooch@mindspring.com>

Kate Campbell is scheduled to play at the Bluebird Cafe on
November 1.  Alas, I no longer have cable and will not be
able to catch it on TV.

Also, does anyone know the name of her new gospel album?  Is
it out yet?  I want to ask for it for Christmas, but suspect
"Kate Campbell's new gospel album" is insufficient info.
We've been playing Visions of Plenty we bought when she
played in Atlanta in July, and need more!  (I know Christmas
is 3 months off, but my family for various complicated
reasons is probably celebrating the beginning of December,
plus I have to have all my shopping done by the middle of
November.  I am not normally this efficient!)

Nina Gooch
Atlanta

_________________________________________________________________


Subject: Re: NN: Kate Campbell
   Date: Thu, 5 Oct 2000 12:38:55 -0400
   From: kenn lippert (lippert@nauticom.net>

Nina,

The gospel album is titled "Wandering Strange".  You can order it directly from
Kate at:

    Large River Music
    Box 121743
    Nashville, TN 37212

Cost is $17 (shipping included)

There is an order form to print out at Bruce Armstrong's page: 
    http://www.navnet.net/~wmba/form.htm

Her new recording company, Eminent Records, has picked it up and is 
going to re-release it Februrary 20, 2001, with expanded liner notes 
and a *hidden track*.  Also look for a Christmas time "Single" cd 
with Kate singing "Dear Little Stranger" and a Guy Clark song.

If you are going to be in Virginia or the Carolinas in October, check 
her itinerary on the same web page, you can pick up a copy at any 
concert too.

This is very special music (not just "Wandering Strange", all of 
Kate's music), and needs to be shared and spread.

kenn "See Kate Campbell" lippert

-- 
 ________________________________________________________
| kenn lippert
| lippert@nauticom.net
|
| "Reach me down my Tycho Brahe,  I would know him when we meet...
|  Though my soul may set in darkness, it will rise in perfect light;
|  I have loved the stars too fondly to be fearful of the night."
| -Sarah Williams
| "See Kate Campbell"
|
| "The moon, the music, and me."
|  -Vince Bell "Texas Plates"
|_________________________________________________________

_________________________________________________________________


Subject: NN: RE: Covers and Copyrights
   Date: Thu, 5 Oct 2000 13:09:25 -0500
   From: "Ron Hennessy" (rhennesy@coserv.net>

I first saw Nanci in the "Daddy Said" video on Waco TX NBC Country Television
around 1985.  I liked it enough to write down her name, but could not determine
the name of the song (which is not intuitively obvious from listening it) for
some time.  As I remember, the video identified the singer but not the song
title.

At the record store I looked through her CDs and was entranced by the cover of 
"Storms," with her melancholy profile seen through a rain-specked screen door. 
So "Storms" was the first Nanci album I bought.  I loved the music immediately,
started collecting her albums ("Last of the True Believers" was 2nd), and
eventually acquired "Once in a Very Blue Moon," with the elusive song "Daddy
Said."

As to the copyright issue, I tend to like the idea of allowing, say,
minute-long samples of songs available for download, to determine whether or
not I want to buy to whole album.

I'm a frustrated writer/composer myself, and have yet to be paid a dime for
some 40 years of intermittent activity.  Right now I'm trying to get musicians
in my new church in Dallas to perform a musical setting of the 23rd Psalm I
wrote and had performed 12 years ago; and I am also attempting to write an
opera (text and music) about the American patriot/traitor Benedict Arnold.  I
don't see any paychecks for these in the foreseeable future.

So, yes, I feel strongly that artists should be paid for the pleasure they give
us.

Best wishes,

Ron Hennessy

_________________________________________________________________


Subject: Re: NN: RE: Covers and Copyrights
   Date: Thu, 05 Oct 2000 16:30:26 -0400
   From: "Donate von Bredow-Gardner" (dvbgardner@genelogic.com>

Ron Hennessy wrote:((I'm a frustrated writer/composer myself, and have yet to
be paid a dime for some 40 years of intermittent activity. >>

Ron, I agree with your suggestion of the sound "bites" as "teasers" -- 
professional recording artists should get paid for their work.But for those of
us who are not full-time performers/writers, this goal is hard to achieve and
maybe not always desirable.
Like you, I have been an on-again/off-again frustrated writer and composer
(life and responsibilities and all that jazz have gotten in the way ). 
Among various styles, I also write spiritual/Christian music on occasion - some
of it was performed in the past, other pieces are yet to be "discovered".   One
of my pieces was adopted by a group a long time ago, when I presented it as an
"anonymous" work that I had come across.   It wasn't until much later that they
found out I was the actual songwriter, but by then it had already caught on
amongst them.  I guess what I'm saying is you should perhaps do the same with
your piece ("The Lord is my Shepherd") and maybe your fellow church musicians
will be more responsive.

I've written special-tailored songs for weddings, funerals and other occasions
- never for pay, always as my gift to the jubilants.  I am very proud of a
couple of these songs and sometimes wish more people would hear them.  But they
were written with a special occasion in mind and thus inspired on a totally
different spiritual level than if I had written them with a "commercial"
audience in mind.  So - in theory - if by chance someone were to stumble across
my "specially commissioned-yet-unpaid works" and find them worth publishing,
perhaps they would reach some kindred spirits and that would be okay.   If they
were, however,  to become Number One Hits and a success with the broad masses,
I would feel my soul exposed to "voyeurs" perhaps, or, even worse, feel the
meaning of my work diminished by the sheer fact that they had "mass appeal".  
(Sorry, giving up cigarettes drove me to the bottle, so perhaps I don't make
sense here.  Hiccup!)
I think Shawn Kimbro touched on this subject in a related example earlier today
- the country music awards.

All I ever wanted for my writings was to capture glimpses of life and perhaps
pass on some thoughts/ideas and information to kindred or amenable spirits. All
I ever wanted for my music was that it would make a difference in someone's
life... no matter how small or large the audience. Thus I believe that your
success as a writer/composer should not be measured by the degree of notoriety
or financial gain you achieve.  Much too often a truly good piece of music or
writing might be diluted and its value diminished by the sheer act of marketing
it ... or perhaps even by the wrong people hearing it?

There are several nancinetters on this board who are involved in music
ministry.   If all else fails, we all could be each other's fan club and buy
each other's recordings?
Dominus Regit Me
Donate

_________________________________________________________________


Subject: NN: CMA Awards - Things Change?
   Date: Thu, 05 Oct 2000 14:30:13 -0400
   From: Shawn Kimbro (skimbro@bhset.org>

It's no secret that the country music industry is on the ropes.  Justifiably
so, some might say.  Did anyone catch last night's CMA award show?  If you
missed it I wouldn't fret too badly.  It was about as predictable as the chord
progression to the next song you'll hear on country radio.  I'm not sure who
makes up the Academy of Country Music, but there's no doubt in my mind now that
there is no objectivity in the selection process.  The awards seemed designed
with one goal in mind -- mass appeal in hopes of bringing country back into
public favor.

For example, Alan Jackson & George Strait received an award for performing
Larry Cordle's "Murder on Music Row."  The song is a scathing rebuke of the
16th avenue music industry, and very popular among traditionalists.  A verse
goes: 

  The almighty dollar and the lust for worldwide fame
  Slowly killed tradition and for that someone should hang
  They all say "not guilty" but the evidence will show
  That murder was committed down on music row.

But that was just a token nod to tradition, and nobody was being hung last
night. Soon after the award, male vocalist of the year Tim McGraw stepped up to
the microphone and performed "Things Change." The song, which is yet to be
released, is a direct response to "Murder on Music Row," and celebrates the
accomplishments of industry old-timers while delivering the message that a new
era requires changes in country music.  The crowd of music execs, industry
people, and the artists who know where their paychecks come from, gave the song
one of the best ovations of the night. 

Afterwards, George Strait perfectly illustrated the contradictions in pop
country when he backed away from the sentiment behind "Murder On Music Row." "I
don't know how seriously this song was written," he said, "but it was recorded
as kind of a joke."  I suspect he may have also backed away from a few fans
with that statement since songwriter Cordle has said on numerous occasions that
the message was sincere.

Since I don't listen much to pop country, I've never heard the Strait/Jackson
version, but Cordle's, from his album by the same name, has received a lot of
Americana airplay in recent months. My personal opinion is that, if there was a
murder on music row, it was just as much the fault of arrogant artists who took
their fans for granted as it was the record companies.

The song strikes me as a bit whiney. And I think McGraw is right, except for
one major flaw, "Things Change" is more of the same formula country pop that
we've been hearing for the past decade.  I believe the only thing that will
continue to change is the FM dial - as fans turn away from country radio. 

  .---. ___________
  |===|////SEE/////\  Warm Regards,
  |  ////ROCK////[]\ -Shawn
  | ////CITY////|__|\
  |  ^|^^^^^^^^^^|  |  "Years go by and everything changes
  |   |  |  |But nothing does"  -Kate Campbell
  |__ |___[X]____|__|
   http://mountainsoul.cjb.net 

_________________________________________________________________


Subject: Re: NN: CMA Awards - Things Change?
   Date: Thu, 5 Oct 00 21:57:16 +0100
   From: John Edward Graveling (kai21@dial.pipex.com>

Here here to Shawn, I couldn't agree more about pap (sorry pop) country. Just
the same old bland, formulaeic songs being churned out, by admittedly talented,
but 9 to 5 office song writers. There is very little heart and soul in these
things, sane rock guitar sounds and riffs (the one in the middle of Reba's "So
Good Together" being particularly nauseating). I had the pleasure of being on
the road with Nashville session guitarist Pat Buchanan, and he has some very
interesting insights into what goes on in Nashville music circles. There are
some great artists still coming out of Music City, but they are mostly on small
indie labels, or self releasing their own material. John Prine broke away from
the major labels a long while back and has forged a marvelous career for
himself, a pity more artists can't make a similar break through.

John Graveling

_________________________________________________________________


Subject: Re: NN: CMA Awards - Things Change?
   Date: Thu, 05 Oct 2000 18:28:47 -0500
   From: Sarah Wrightson (sarahwrightson@vincebell.com>

Shawn Kimbro wrote:
(( It's no secret that the country music industry is on the ropes.  Justifiably
so, some might say.  Did anyone catch last night's CMA award show?  If you
missed it I wouldn't fret too badly.  It was about as predictable as the chord
progression to the next song you'll hear on country radio. >>

Yeah...but I was proud that some of Nashville Ballet's dancers were
chosen to dance at the awards this year.  CMA (sounds like those old hot
sauce commercials) suffered from the "its not good unless its New York"
syndrome and used to import dancers.  NOT to say New York dancers aren't
the greatest, but it better when you stand up for who you are, what you
do, where you come from.

P.S.  Remember Nashville Ballet is doing This Heart Feb 9 & 10 and let
me know if you're interested in coming.

Back to your regularly scheduled programming,

Sarah

_________________________________________________________________


Subject: Re: NN: CMA Awards - Things Change?
   Date: Fri, 6 Oct 2000 11:37:18 EDT
   From: Petop@aol.com

skimbro@bhset.org writes:

(( I'm not sure who makes up the Academy of Country Music, >>

   The people who vote on the CMA awards are disc jockeys (making up the
largest voting bloc--in fact, there is a major DJ convention that goes on in
Nashville during the week of the CMA awards) and record company executives.
   I covered the CMA awards ceremonies for seven years while I was the music
critic for a major daily newspaper and it was a blast. I remember the year that
"Fairytale" won the award for best single of the year and how jaws dropped over
all the place when four black women walked on stage to claim the award. These
people did not know the Pointer Sisters were African-Americans until that
night.
   There was also the year when the CMA traditionalists were up in arms over
all the pop artists who had been up for awards (i.e., The Eagles got a lot of
nominations for "Lyin' Eyes"). That year Charlie Rich announced the award for
entertainer of the year and when the winner turned out to be John Denver, Rich
pulled a disposable lighter from his pocket and set the piece of paper he read
Denver's name from aflame. Backstage, after the show, a comely lass in a low
cut dress approached Rich and asked for his autograph. He ripped off the front
of her dress and signed his name on her bare breasts.
   Then there was the year Glen Campbell hosted the show. He was plastered long
before the show began. I was close friends with fellow Texan Willie Nelson and
spent the pre-show minutes hanging out with him and his family in their
dressing room. At one point Charley Pride stopped by and did a comic routine
that he would never do in public (and, I will admit, some of it was in poor
taste). At one point, Campbell poked his head into the room, looked at us
through his bloodshot eyes, said hello to everyone, then spotted Pride and said
"Hey, Charley, you look just like one of your records."
    I also remember the very first year I went to CMA, in 1975, and making a
very close friendship with Dolly Parton and quickly realized why Bob Dylan
admired this woman so much. What an incredible individual she is. But, for the
most part, I remember having good times at CMA. I remember promising the writer
of "You're the Reason God Made Oklahoma" that I would not tell anyone that his
tune was nothing more than slowed-down "Rocky Top." Apparently, I was the only
person who had noticed it and he was up for Song of the Year.
  Perhaps not as good as the Grammys (the post-award Grammy parties are usually
superior), but not bad. But, for the most part, these people are rather inbred
and insular as far as what is going on in the world outside of country music.

_________________________________________________________________


Subject: Re: NN: CMA Awards - Things Change?
   Date: Sat, 7 Oct 2000 00:23:15 -0400
   From: "Shawn Kimbro" (kimbroj@charter.net>

> But, for the most part, I remember having good times at CMA. I remember
> promising the writer of "You're the Reason God Made Oklahoma" that I would
> not tell anyone that his tune was nothing more than slowed-down "Rocky
Top."
> Apparently, I was the only person who had noticed it and he was up for
Song
> of the Year.

Interesting observation. I'm sure you meant "they" instead of "he." Felice &
Boudleaux Bryant co-wrote "You're the Reason God Made Oklahoma," they also
co-wrote "Rocky Top" along with about a couple of dozen other top 10 hits
recorded by artists as varied as Buddy Holly, The Everly Brothers (writing
nearly all their biggest hits), Jim Reeves, Sonny James, etc. etc.  They've
been inducted into the Country Music Hall of Fame and the Nashville Songwriters
Hall of fame, so I bet they were pleased when you didn't tell on them.

-Shawn

_________________________________________________________________


Subject: NN: Re: CMA awards - Things Change
   Date: Thu, 5 Oct 2000 22:52:38 +0200
   From: "Marius Molstad" (marius.molstad@c2i.net>

Hi,

This discussion has been going forever among country fans. Both artists and
record companies share the fault of what has become a mass-production  of a
winning formula. As a fan of most country styles (from Nanci to Townes to Tim
McGraw to George Jones to Bob Wills to Bill Monroe etc.) there are some very
disturbing factors that tend to overshadows the actual music. What it all comes
down to is what people want (or think they want). 

When Garth Brooks gave country a new boost it was noticed that he had a unique
twist that the audience liked, of course there were a lot of artist/companies
that saw the potential in copying this. Then there are more mainstream friendly
artists coming along and after awhile the steel guitars have become a novelty
factor and distorted guitars and vocoders are the main attractions. Obviously
there's a trend toward young female singers who mainly become Britney Spears in
pink cowgirl boots
. 
When country music will more and more lose its interest there are some
survivors who will keep the tradition alive until the wave again hits the
shore. No matter what genre of music we're talking about there are people who
want to reach as many as possible, and in the process they lose sight of where
they come from. "Murder on Music Row" might be whiney and true at the same
time. George Strait, who along with Alan Jackson sings this song has just
released a new album that's just as mainstream as many who fit inside the
target they're trying to hit. Alan Jackson is one of those who have managed to
combine the heritage from Merle Haggard and George Jones and still sound
contemporary.  Of course neither of these artists really mean that the changes
are unwelcome, but I think they're trying to say that: "hey, great to move on
and see new sides, but we should remember where we come from".

I'm not afraid that country music will disappear into the adult contemporary
and pop umbrellas, there are always some artists who do what they do because
they want to, not because they want to make money. Every time things become too
polished and produced there comes a contra-revolution, and look at the outlaws
in the seventies and Dwight Yoakam in the eighties. In the beginning they're
afraid of their jobs in Nashville, but after awhile things are accepted. There
are a lot of artists/album/songs these days that shows that there's hope
outside the doors of the Grand Ole Opry. Mark Chesnutt, one of the big stars
has just released his new single "Lost in the feeling" which is a country waltz
that would've made George Jones proud. Brad Paisley, who was heavily nominated
at the CMA awards released a great debut that sound country and new at the same
time - it even included an old gospel tune (played like gospel) and an
instrumental barn-burner just like old Buck Owens albums. Look at the Ricky
Skaggs compilation "Big Mon" where a lot of country (and bluegrass) musicians
honor Bill Monroe. Dolly Parton put out one bluegrass album and is on the verge
of recording a new one. Clint Black's latest album features stripped down
acoustic versions of some of his older songs. John Michael Montgomery's latest
single "The little girl" shows that the songwriter tradition of thought-evoking
lyrics still are valid today. Allison Moorer, who seems to have a few fans on
this list are finally being recognized by the Nashville audience. And not to
mention when my band has put out our demo CD that soon are finished!(G>

In summary to this very long post I would say that country music is great, has
been great and will be great, even if current trends are obscuring the roots.
As long as people have broken hearts, wants to party or want to tell what they
have on their minds there will be country music. 

Marius

_________________________________________________________________


Subject: NN: New Van Morrison
   Date: Fri, 6 Oct 2000 17:58:11 EDT
   From: Petop@aol.com

Is anyone other than me looking forward to Tuesday's release of the new Van
Morrison album, You Win Again, which he recorded with Jerry Lee Lewis' sister,
Linda Gail Lewis?

_________________________________________________________________


Subject: NN: Heartbreaker
   Date: Sat, 7 Oct 00 10:32:56 +0100
   From: John Edward Graveling (kai21@dial.pipex.com>


I'm a little surprised that that there has been no mention on the lists of
"Heartbreaker", the wonderful solo debut from Whiskeytown frontman, Ryan Adams.
Surprised, well not only are the great talents of Gillian Welch, banjo/acoustic
guitar, electric bass and harmony/duet vocals and David Rawlings acoustic,
electric guitars, bass, tambourine and backing vocals all over the disc, but
their pictures are also on the back of the insert booklet. To top things off
Emmylou Harris  sings on "Oh My Sweet Carolina" and Kim Richey does the honours
on "Come Pick Me Up", which seems an appropriate title, as I would have thought
a few folks out there would have done likewise and given some attention to a
fine talent.

John "that's all for now" Graveling

_________________________________________________________________


Subject: NN: Re: Heartbreaker
   Date: Sat, 7 Oct 2000 15:48:01 +0200
   From: "Hans Janssen" (hjanssen@zeelandnet.nl>

> I'm a little surprised that that there has been no mention on the lists
> of "Heartbreaker",

I'm not surprised I didn't mention this CD, because when I went in town this
afternoon the message was that it wasn't released yet. It could be ordered, but
they couldn't mention a price or date.

I'm surprised it isn't mentioned on the Emmylou or Gillian list.

met vriendelijke groeten,

Hans Janssen.

np John Prine - Souvenirs 15 old songs recorded again.

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Subject: Re: Heartbreaker
   Date: Sat, 7 Oct 00 14:56:11 +0100
   From: John Edward Graveling (kai21@dial.pipex.com>

Ryan Adams "Heartbreaker" was released on Bloodhot Records BS 071 on 5th 
September in the USA and on Monday 2nd October in the UK.

John Graveling

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