NanciNet Digest 3-28-00
// When is a guitar not a guitar? MP3 from Hooker, some reviews of
// other artists, and a NNer launches his own label...
// Enjoy...[BP]
_________________________________________________________________
Subject: Re: NN: Re: post review
Date: Sun, 26 Mar 2000 00:43:32 -0500
From: "Shawn Kimbro" (kimbroj@charter.net>
"Those who can, do. Those who can't, critique."
That was James Hooker's frustrated response to particularly nasty comments
in a review published a few years ago. Of course that isn't always true,
but his words adequately illustrate the frustration artists feel when
dealing with ill-informed critics. The article in The Post is another
perfect example of a dumb review by a critic who doesn't seem to have a clue
about his subject material.
I believe critics have a right to pan an album or concert if they don't like
it. But, a statement like, "guitarless backing band" in a review of a Nanci
Griffith concert just doesn't make sense. Ms. Griffith's Sunburst Taylor
512 *is* the band's guitar. While she's performed in past years with a
group member playing Stratocaster, suggesting the Blue Moon Orchestra needs
another guitar is like saying the Police needed another Bass or Genesis
needed another drummer. I wonder if this genius would say the same thing
about a Clapton concert or a Junior Brown show? Nanci Griffith's guitar is
an integral part of her act, and she plays it with unequaled artistic
brilliance. Hundreds, if not thousands have emulated her style. While the
addition of supporting instruments, or an entire orchestra, is nice, the
core of her performance is always her voice and her guitar. She has never
been in a "guitarless" band.
That little tidbit of idiocy reminds me a little of the struggle critics are
having with COLD DOG SOUP, Guy Clark's latest and greatest album. While
most reviews have been positive, in the dozen or more that I've read, not a
single critique, including those by Billboard and Rolling Stone, pointed out
one of the most essential elements of the album--Clark's use of traditional
folk tunes. Oh there are occasional comments like, "The traditional
sounding Sis Draper," or "the familiar tune to "Water Under The Bridge," and
one wanna-be reviewer, George Graham, even got close when he said, "If the
song Sis Draper borrowed from the traditional song Turkey in the Straw, a
Clark composition called Water Under the Bridge draws on the folk standard
Little Sadie.." Sorry George, but the tunes are "Arkansas Traveler" (duh)
and "Shady Grove."
I obviously enjoy reading reviews, and those of you who know me know that I
also like writing them occasionally. But is it too much to ask for a critic
to do little bit of research, a tad bit of preparation, or to possess a
small element of musical knowledge before they publish?
Warm Regards,
-Shawn
` _________________Nanci Is My Aeroplane___________________
| __ ___ Shawn Kimbro |
| "And they danced | \____o__/_/___| kimbroj@charter.net |
| all night to the \(>-----_/_/____]> Morristown |
| fiddle and banjo" `o | Tennessee |
|__________ http://www.geocities.com/~trailzzone _________|
_________________________________________________________________
Subject: Re: NN: Re: post review
Date: Sun, 26 Mar 2000 16:40:56 EST
From: Petop@aol.com
kimbroj@charter.net writes:
(( But, a statement like, "guitarless backing band" in a review of a Nanci
Griffith concert just doesn't make sense. Ms. Griffith's Sunburst Taylor
512 *is* the band's guitar. While she's performed in past years with a
group member playing Stratocaster, suggesting the Blue Moon Orchestra needs
another guitar is like saying the Police needed another Bass or Genesis
needed another drummer. >>
It makes no difference if Nanci is playing guitar; if no one in her backing
band is playing guitar, then it is, by definition, a guitarless backing band.
The comparisons to Police and Genesis are apples and oranges, because they
are self-contained units. If Dylan got rid of Charlie Sexton and Larry
Campbell and replaced them with a piano player, then he, too, would be
playing with a guitarless backup band, even though he still plays guitar.
_________________________________________________________________
Subject: Re: NN: Re: post review
Date: Mon, 27 Mar 2000 13:20:44 EST
From: Catelaw@aol.com
Hey y'all,
Both Shawn's point, i.e., "Nanci has never been in a guitarless band" and
Pete's point, that the reviewer specifically described her "backup band" as
"guitarless" are well-taken. But truly, would anyone ever suggest that
Junior Brown needs another guitar? Hardly. Having been at the show, however,
the reviewer did get certain factual details wrong, something which drives me
crazy, too. Even if you are ostensibly writing for people who can't verify
the details, shouldn't a journalist still be factually correct when stating
facts? Opinions, certainly, are a different matter...
Granted, the details are minor, but again, why include them? Nanci was NOT
wearing leather pants, nor was the fabric one that would easily be
misconstrued as leather. As my husband aptly put it, this is not subtle,
like the difference between rayon and silk, and if the reviewer wasn't
sitting close enough to tell, (although as thin as she is and as small as the
Birchmere is, it still seems odd) why bother to get it wrong? I definitely
would have told you guys if the Nanster had been wearing leather pants.
Secondly, Guy Clark did not come back on stage to sing "The Hammer Song," he
rejoined the group after its performance. Verlon Thompson was added for "The
Hammer Song." Further, there were ad-libbed solos by virtually every member
of the ensemble during "Old Friends" that were overlooked, but perhaps it was
because they didn't add any "welcome edge," in the reviewer's opinion.
As far as differences between my perception of the show and that of the Post
reviewer, well, I'm used to that and that is a matter of opinion. As I told
a friend recently, I am a lonely listener to great music. But I will confess
that it was almost like a bad joke to read about Nanci being slammed for a
pared-down band after hearing her slammed for such a long time for her
complicated and over-produced arrangements and self-indulgence in choosing to
perform with huge casts and orchestras. I thought the arrangements were
spare, simple and accentuated the vocalists rather than detracting from them
and that the newly-installed sound system and acoustics in the Birchmere made
listening a crystal-clear pleasure.
The impression I got from reading the review was that this reviewer somehow
missed a show that built from the opening note of the opening act to that
beautiful crescendo that closed the encore. It also seems possible that the
reviewer only saw Nanci's set, didn't quite get the particular incarnation of
Ms. N. that he/she was anticipating and may have reviewed her performance out
of its appropriate and splendid context and with that overshadowing bias.
Or maybe we just had better seats.
Cate, in Atlanta
np: OVToo
_________________________________________________________________
Subject: NN: Re: Stacey Earle
Date: Sun, 26 Mar 2000 00:47:44 EST
From: SayraLiz@aol.com
(( She didn't play very long as she shared the bill with Mollie O'Brien who
has a very nice voice. Nina Gerber and Mollie's husband whose name I've
forgotten
played guitar with Mollie.
>>
That would be Rich Moore. One of the funniest human beans I have ever known.
SEC
_________________________________________________________________
Subject: NN: Janis Ian and the FBI
Date: Sun, 26 Mar 2000 15:51:21 EST
From: BMiller224@aol.com
Janis Ian moved back onto my musical radar screen in 1998 when I heard her
perform live at an annual Labor Day even in Golden Gate Park in San
Francisco. She's known for songs like "At Seventeen," which to me is the
ultimate in "sensitive" songs. You know, "I was so sensitive/At seventeen,"
or whatever it says. A friend of mine call that "THE most depressing song
ever written.
Only slightly more cheerful was her hit, "Society's Child," one of the first
songs about interracial dating to hit the pop charts. "I can't see you any
more, baby..."
Last week I bought my first-ever Janis Ian CD, "God and the FBI," released
last Tuesday. The title track is reminiscent of Billy Joel's "We Didn't
Start the Fire," although the images in Janis' song relate specifically to
the "McCarthy era" in the US. By my (admittedly narrow) definition, it's not
a "political" song, though most listeners will probably think of it that way.
I will say that with lines like "Stalin is a democrat" and "Freedom is no
alibi," it will raise more eyebrows than Billy Joel's song. It goes without
saying it won't get as much air play.
This CD is released on the Windham Hill label, mainly known for its "New Age"
catalog. New Age and "sensitive" elements do pop up here, especially with
"On the Other Side," whose narrator is a dead person. Yes, I know you can
find that in even in a country ballad like "Long Black Veil." But this one
definitely has a New Agey bent. It also has quite an interesting choral
harmony "Requiem" at the end, similar in concept to the Emmylou Harris/Linda
Ronstadt version of "1917" on the "Western Wall" CD.
I take it from a magazine article by Janis that I recently skimmed that she
has an affectionate but irreverently critical attitude toward the folk music
scene. The final cut, "Murdering Stravinsky," pokes fun at the compulsively
unconventional. (Somehow I don't think she could hack it with Nashville's
Bluebird Cafe's "no talking" policy.) The other songs have a range of
styles, from the jazzy "Jolene" to the techno-tinged "If You Love Someone."
But there are three real standouts on this generally strong album. One is
"Boots Like Emmylou," a lighthearted tribute to Emmy, Dolly Parton and other
great women country singers. It has a kind of rockabilly/ragtime sound and
is just a fun tune.
Another is "Memphis," a Janis Ian/Deana Carter composition with Janis and
Willie Nelson singing duet; Willie actually sings the lead on most of it.
This is a solid country song which struck me from the first time I heard it
as Nanci Griffin-esque in the sweet, nostalgic atmosphere it invokes.
Willie's voice is in top form here, too.
But my favorite cut is a pop number called "Play Like a Girl." Since Janis
is a hard-core folkie at heart, she gets in a few lines of heavily ironic
protest against gender stereotyping. But it's really a lively, sexy song
that makes good use of the multiple meanings of "play." This is the kind of
song Britney Spears should be singing. Just think "Britney Spears" when you
listen to this song and you'll see what I mean.
All over this big wide world
I play like a girl
From the California lights
To the Serengheti nights
I play like a girl
But it occurs to me as I write this that Shania Twain might also decide that
this song would be a nice companion piece to her hit, "Man! I feel like a
bimbo!" and use it herself. But that's okay. A decent song can survive even
Shania Twain recording it.
Bruce "I don't do 'sensitive' " Miller
Oakland CA
// as well we remember...[BP]
// I, on the other hand, am a sensitive new age guy...[BP]
_________________________________________________________________
Subject: NN: What a weekend
Date: Sun, 26 Mar 2000 18:34:47 -0600
From: Ed Maier (evmaier@dhc.net>
Aw, Heck. Had planned to see Cory Sipper about 90 miles from here
Friday night, but Sharon and I were both kinda bushed after a
week of work. The show was at Austin College in Sherman, TX, but
show time was 10:00PM, and we wouldn't have gotten back home until
about 2:00AM. We had reservations in Austin, TX, for Saturday night
and we really wanted to do 6th Street for the weekend. We did. Had
a blast. Saw one group (Fuzz) at the 311 Club, and that guitar
player must have studied a lot of Stevie Ray Vaughn. He was very
good at that style.
Earlier that afternoon we drove on down to Gruene, TX, and did
a lot of wandering around and shopping. Ate some steak, beans,
salad, and strawberry shortcake at the Grist Mill Restaurant.
Food=10 stars; friendly, efficient waiters=9 stars; ambiance=
two stars (it is, after all, actually an old grist mill). Wandered
back inside Gruene Hall and listened to some music from the
jukebox. If you drop a dime, it'll roll between the cracks in
the wood dance floor and you'll never see it again. Many now-famous
artists have played there, including our Nanci. If you want to
see the list, cycle through http://www.gruenehall.com
All in all, it was a nice way to celebrate our thirty-fourth
anniversary. The only thing that could have made it more
nearly perfect is if Shania Twain had been there. What a voice.
If Nanci said she put the "F" in folk music, than Shania put
the belly button in country music. (grin>
Life is sweet,
Ed Maier
N.P. John Hiatt, "Walk On"
_________________________________________________________________
Subject: NN: Radio Show with Bob Harris
Date: Mon, 27 Mar 2000 12:38:36 +0100
From: "ADW" (wizard@mersinet.co.uk>
Hi
Did I miss this or has it not been broadcast yet??
Any help from a fellow UK member would be most appreciated
Alison
_________________________________________________________________
Subject: Re: NN: Radio Show with Bob Harris
Date: Tue, 28 Mar 2000 22:24:28 +0100 (BST)
From: Paul Reeve (paul_reeve_99@yahoo.co.uk>
No you havent missed it - last I heard was it is
scheduled for 27th April
Paul
_________________________________________________________________
Subject: NN: Cat Out Of Bag
Date: Mon, 27 Mar 00 19:35:34 +0100
From: John Edward Graveling (kai21@dial.pipex.com>
Well I guess I've been very quiet for some time (is that cheering I hear in the
distance??), but now I'm back!!! It's been a very hectic three months since the
turn of the year, which culminated in a visit to San Francisco for a friends
wedding last weekend. We had a splendid, although all too brief time there, but
what a wonderful city, quite unlike any other I have visited on my extensive
travels through the USA. Met some wonderful people, John Prine's two elder
brothers (Dave & Doug), who are simply lovely people from a lovely family, and
of course our very own Bruce & Gerti Miller, who treated us to a fabulous meal
in San Francisco. I came back with some marvellous new cd's, three of which are
simply must have's for people with taste. Ellis Paul "Live" is a stunning live
double cd, full of great songs, wonderful stories and sublime picking. Jimmie
Dale Gilmore's "One Endless Night" is quite possibly the finest thing he has
recorded and has the hallmark of his producer, Buddy Miller, stamped all over
it. Finally if you get the chance to see and or listen to Slaid
Cleaves "Broke Down" I strongly recommend you afford yourself the opportunity.
Well what else has taken up so much of my time. If you cast your mind back to
the end of the year top tens, some of you may remember I nominated Kevin
Montgomery's "Another Long Story" as my joint number one of 1999. The end
result of that is that in January Kevin and I set up Road Trip Records (UK) as
a subsidiary of his own US based label, to look after his interests here in the
UK, where he really wants to build a fan base. The cd is being released in the
UK next Monday, 3rd April and we have already had some airplay, four tracks, on
national BBC radio, as well as airplay on Scot FM, covering Edinburgh and
Glasgow in Scotland. The interest this has generated has been phenomenal and
Kevin is arriving here in just under three weeks to undertake his first UK
tour. How I managed to book an eleven date tour with no real knowledge of the
industry still gives me the chills, but it's all come together and everything
is looking rosey. Now I have to revert to being a roadie for two weeks as I
drive Kevin, and his guitar player, Doug Pettibone, around the dates. Kevin has
never visited the UK so is really excited. Doug is a little more moribund
having toured here last year as lead guitarist in Jewels' band. He's used to
playing the Royal Albert Hall and now he's going back to the small clubs!!!! Ah
well you can't have evrything. If all goes well in the coming months we are
hoping to expand the label and offer deals to US singer-songwriters who do not
get good distribution or exposure here in the UK. Keep your fingers crossed.
If any UK based fans are in the following areas over the coming weeks, come
along and see a great live show. It'll only cost you £5-6 depending upon the
venue.
16th April-Live session on Scot FM radio between 6p.m.-9p.m.
18th-Chambers Bar-Glasgow
19th-The Adelphi-Preston
21st-The Southern Hotel-Manchester
23rd-The Ropery-Sunderland
24th-The Star Club(at the Attic)-Edinburgh
25th-Borders Books & Music-Glasgow
26th-The 12 Bar Club-London
29th-The Maze-Nottingham
30th-(2p.m.) Borders Books & Music-Brighton
(7.30p.m.) The Greys-Brighton
Hope to see some of you out on the road.
John "how come the big wigs don't push you better, man that's just another long
story"
Graveling
P.S. Nice to see Little Feat still making their mark after all these years,
they're playing a big gig in Edinburgh in August, sharing the bill with Emmylou
Harris & Spyboy and Steve Earle & The Dukes!!!
_________________________________________________________________
Subject: NN: Re: Broke Down
Date: Mon, 27 Mar 2000 14:52:21 -0500
From: Shawn Kimbro (skimbro@bhset.org>
You're a natural for the music biz, John. Good luck with the production
company and tour. I wanted to second your nomination of Slaid Cleaves' BROKE
DOWN. Cleaves is an exceptional lyricist who writes melancholy stories of life
and love gone awry:
"Sherry had a pawn shop band of gold
A sink full of dishes and a love grown cold
Long came a boy, pretty as the devil
She took his hand the whole thing unraveled"
>From "Broke Down"
Except for a couple of covers which include Karen Poston's haunting "Lydia,"
and Del McCoury's "I Feel The Blues Moving In," the album is all original or
co-written songs that sound like they were penned by someone who has spent a
life-time on the Southwestern skids. Cleaves actually hails from Maine where
he worked as a therapist (and part-time photo lab tech) after obtaining a
Masters in philosophy. But don't worry, this is not another glam/folk album of
plastic angst. Cleaves left his life in Maine and set up shop on the streets of
Austin where he financed his career by busking and acting as a guinea pig for a
drug testing company. Look for shades of Hank Williams and Woody Guthrie with a
touch of Springsteen in what is one of the better Folk efforts to come from
Austin in recent years. BROKE DOWN is on the Philo/Rounder label.
All my best,
-Shawn
_________________________________________________________________
Subject: NN: Ian Dury
Date: Mon, 27 Mar 2000 15:47:11 -0500
From: "Panchyshyn,Roman" (panchysr@oclc.org>
This just off the wire, Ian Dury dead at 57.
Roman
MARCH 27, 15:18 EST
Singer Ian Dury Dies at 57
LONDON (AP) - Singer Ian Dury, who rode the punk bandwagon in the 1970s with
the singles ``Hit Me With Your Rhythm Stick'' and ``Reasons to be Cheerful
(Part 3),'' died Monday. He was 57.
Dury, whose clever, exuberant, Cockney-accented lyrics were backed by a band
called the Blockheads, died after a five-year bout with colon cancer, which
spread to his liver.
A statement from his record label, East Central One, said he died peacefully
at home with his family, with ``a smile on his face.''
Dury was partially crippled by polio at age 7, and he was a lifelong
campaigner for acceptance of disabilities and eradication of polio.
Despite his battle with cancer, he continued to work for children's aid
organizations and appear in television ads.
After graduating from school, Dury pursued a career in art as an illustrator
and teacher. It wasn't until 1970 that he turned seriously to music, forming
a group called Kilburn and the High Roads that was characterized by Dury's
wry, gravel-voiced vocals.
The group mostly struggled for seven years, but the formation of Ian Dury
and the Blockheads in 1977 helped him finally taste success - even though,
at 35, he was almost two decades older than the archetypal punk rocker.
Dury and the Blockheads were signed to independent Stiff Records, and the
group's 1977 tour with other Stiff artists, including Elvis Costello and
Nick Lowe, served as a springboard for the so-called New Wave, a gentler,
more thoughtful offshoot of punk.
As rock 'n' roll became ``exhausting,'' Dury segued into acting, taking
roles in movies ranging from Roman Polanski's ``Pirates'' to Peter
Greenaway's ``The Cook, The Thief, His Wife And Her Lover.''
He also wrote a musical, ``Apples,'' that was staged at London's Royal Court
Theatre in 1989.
Among Dury's survivors are his four children - two from his first marriage,
which ended in divorce in 1985, and two from his second marriage to
sculptress Sophie Tilson.
Funeral arrangements were pending.
_________________________________________________________________
Subject: NN: who is that guy
Date: Mon, 27 Mar 2000 14:46:45 -0800
From: Dan.Gerson@mckhboc.com
I just got ahold of an mp3 file on the net that has Nanci, Emmy Lou, and a male
voice unknown to me doing Townes's song "Rex's Blues" (ain't no dark til
somethin shines). The guy trades verses with Nanci and Emmy. It's sparse and
poignant and simply beautiful.
Can anybody tell me who the male voice belongs to? Please answer privately.
I'm off the Nancinet for a bit.
Dan G.
_________________________________________________________________
Subject: NN: Re: who is that guy
Date: Mon, 27 Mar 2000 17:42:45 -0600
From: "nakramer" (nakramer@icsi.net>
((I just got ahold of an mp3 file on the net that has Nanci, Emmy Lou, and a
male voice unknown to me doing Townes's song "Rex's Blues"(ain't no dark til
somethin shines). The guy trades verses with Nanci and Emmy. It's sparse and
poignant and simply beautiful.>>
That is from Ramblin' Jack Elliott's FRIENDS OF MINE cd. I just saw him
ramble on quite a bit at Jerry Jeff Walker Birthday Bash in Austin. He is
so funny.
Btw, the Paramount portion of JJW Birthday event, was very moving. He
brought in his buddies from the 60's and 70's and they all performed a few
songs. It was great to hear some of the more obscure songs that I don't
hear at every show.
. - .
( (`- )
\ \ "Ain't Life Grand?"
.="""=._) )
/__ ( _ .- ' Nancy
` /_I_
I ``
-"=
_________________________________________________________________
Subject: NN: MP3 and Hooker
Date: Mon, 27 Mar 2000 16:54:09 -0800
From: Kim Cline (threebf@pacbell.net>
I've recently been trying to figure out how to record small loops of
music for a class I'm taking on the software Flash for web designers and
have had a lot of fun on MP3.com. Doing a search for many of our
favorites results in varied success. I truly enjoy listening to many of
the new folk artists. I even ran across Gypsy Soul, a local So. Calif.
duo I've heard often...worth listening to. Anyway, I figured the
Hookmeister is probably on this since he is computer literate and
probably into such means of promotion. I found him at
http://artists.mp3s.com/artists/27/james_hooker.html
Several of his own songs can be sampled and I thought some of you would be
interested in seeing another side of the leader of the BMO.
Regards,
Kim Cline
_________________________________________________________________
Subject: NN: Starry Starry Night Again
Date: Mon, 27 Mar 2000 21:35:58 -0500 (EST)
From: "Donate von Bredow-Gardner" (dvbgardner@genelogic.com>
James_Troiano@umit.maine.edu wrote:
((Hello again: A couple of readers took issue with what was perceived to
be my assessment of Nanci's performance in the Mclean special.>>
I somehow missed out on any reviews of the DonMcLean/NG show. But James
Troiano's message just reminded me that I meant to ask around what everyone
thought of the PBS special earlier this month. After having waited for that
show with great anticipation (I even got my husband to watch it with me), I was
thoroughly disappointed -- both in McLean and Nanci. Much as I admire Don for
reviving his old repertoire for the sake of fundraising for the Arts, he simply
is not the same performer I remember. I'm not speaking of age-related changes
- there was something about him that just didn't seem to jive with the old
DML. He reminded me more of a wannabe cross between Roy Orbison and some
lounge lizard in his mannerisms. But that's just my impression. Then came
Nanci....... restricted to merely singing a low, low harmony that showed
little of her talents and at times actually seemed a little "off". I was
hoping she'd get to sing a full song and have Don harmonize, but her
performance was limited to the above. Anyone who didn't know Nanci before this
show certainly didn't get the right picture of her true talents, her sweet
voice or her personal charm in this performance. Since
this was my husband's first visual introduction to NG, I'm sure he was secretly
wondering what my enthusiasm for NG is all about. But being the sweet,
supportive chap that he is, he didn't say a negative word. Very very
disappointing show for me, though....... Did anyone else feel the same way?
Donate "still wishin' I had come to the Birchmere shows" von Bredow-Gardner
_________________________________________________________________
Subject: NN: Thanks
Date: Tue, 28 Mar 00 06:35:03 +0100
From: John Edward Graveling (kai21@dial.pipex.com>
Jeez guys, I just woke up to a mailbox full of your good wishes about my
venture into the music business. Thanks to all those who dropped me a
line, I guess it's what makes this list so special, great people.
John "overwhelmed" Graveling
_________________________________________________________________
Subject: NN: Bill Staines
Date: Tue, 28 Mar 2000 09:31:04 -0500
From: nmrs@freeway.net
My husband and I saw Bill Staines perform last Friday night. I only
knew of him from Nanci's glowing reference to him on One Fair Summer
Evening introducing Roseville Fair. Now, that CD has long been near the
top of my list of Nanci favorites so I was really eager to hear Bill
sing his own songs. However, we felt some disappointment. He is a
talented songwriter and musician but his performance seemed to lack
energy or something. I am wondering if this is not typical of him
because he was introduced as if he was a really respected entertainer.
And his version of Roseville Fair did not have the spark that Nanci's
version does. Maybe he was just in the middle of too much touring and
we as an audience didn't inspire him. But this concert was part of a
series of concerts connected with Blissfest, an annual folk festival in
Northwest Michigan, that tries to keep us entertained throughout the
year and not just the one time a year. They usually have really
excellent concerts...so I will go the next time. I guess I'd even go
see him again if I thought this appearance wasn't typical.
Oh, well. Guess I'll just have to wait for Nanci at Interlochen.
Anne
_________________________________________________________________
Subject: NN:concerts, new york, croydon & edinburgh(!)
Date: Tue, 28 Mar 2000 22:36:14 +0100 (BST)
From: Paul Reeve (paul_reeve_99@yahoo.co.uk>
Hi all
Well things arew now back to normal (of sorts) some 2
weeks after my quick trip across the pond to see Nanci
in Tarrytown. Following other posts, on reflection I
suppose the hall wasnt full (about 80-85%?). I deeply
sympathise with those who found a concert cancelled:
it would have been (almost) the end of the world if
I'd gone all the way from England to find a cancelled
concert! Anyway apart from Nanci, Guy and Rodney, I
did the usual things (Empire State at night, WTC by
day, Staten Island, Circle line tour) and some
shopping in the rain - and boy did it rain. I took
advantage of the abolition of sales tax in NY on
clothes under $110. Disappointed with the selection of
reasonably priced CDs on offer - most I could get from
the net in the UK cheaper. I did find OFSE for $9.99
in Virgin, Trio 1 and the Dixie Chicks, but Cry Cry
Cry was $15 or $16 and by the time sales tax is added
- well I ordered it from amazon at home for UKP11.99
plus postage.
I have my ticket for Croydon also so if anyone else is
going, perhaps a preshow drink would be in order.
John - hi - where did the information about Emmylou
come from? I've been hoping to see her also in the UK
for some time: is she doing any more shows?
Anyway, enough of my ramblings - I have to take a
kitchen cupboard off the wall!
Best wishes
Paul
_________________________________________________________________
Subject: NN: autobiography
Date: Tue, 28 Mar 2000 14:54:54 -0800
From: JOHN PRIVE (prive@internetcds.com>
I read an article in a local paper about a couple of authors that put
together a book that asks artists about their favorite performers and
albums. The book is called "Listen to This", and has interviews with 101
artists. Among them: Don Everly, Willie Nelson, Ani DiFranco, Jeff
Tweedy, Lucinda Williams, BB King and Joseph Shabalala. To quote the
article, "Joni Mitchell and Nanci Griffith couldn't talk because they're
in the midst of writing their autobiographies." Is there another book
on the horizon?
Molly P.
PS I enjoyed Shawn's story about growing up with his irish name. 17
years ago, when my son was born, everyone at the Salt Lake City hospital
where he was born kept rhyming his name with "bean". I moved to So.
Oregon where everyone has known how to pronounce Sean! Whew!
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Subject: NN: Music Reviews
Date: Tue, 28 Mar 2000 21:21:54 EST
From: BMiller224@aol.com
Shawn wrote a few days ago about music reviews.
(( I obviously enjoy reading reviews, and those of you who know me know that
I also like writing them occasionally. But is it too much to ask for a
critic to do little bit of research, a tad bit of preparation, or to possess
a small element of musical knowledge before they publish? >>
For those of us who have essentially none of the latter, that could be a real
hindrance!
Then again, I've never tried to publish a music review, though I occasionally
inflict them on my friends and online acquaintences on lists like these. My
alibi is Aaron Copland, who argued that LISTENING to music was a skill all
its own, one not dependent on knowing how to MAKE music. (Of course, no one
could accuse him of not knowing how to play or write music!)
I do get annoyed, though, by people who do reviews of records or concerts who
seem not to have really been paying attention. That's poor listening, among
other things. Sometimes you get the impression that they just read the
conventional wisdom about the artist and repeat it with a couple of
references to the album or event they're reviewing.
Not a few reviewers seem to think that unless they can say something smug and
negative they aren't doing their job. Also, trade-paper jargon is a pet
peeve of mine in music reviews. A three-paragraph review written like that
can put me to sleep.
I always look forward to the "Oxford-American" annual music issue, because
they tend to have some very good writing about music and musicians. I think
the feature articles and the longer reviews in "No Depression" also tend to
be very good, though the shorter reviews are prone to the trade-paper-jargon
trap.
Bruce Miller
Oakland CA
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