NanciNet Digest 7-03-00
// Very little NN content on the past week, but an Aussie and a Brit
// manage to create a tempest in a teapot...
// Plans continue for the great get together in Atlanta...looks
// like it's one to make, if you can!
// Enjoy...[BP]
_________________________________________________________________
Subject: NN: July 8 Weekend
Date: Thu, 29 Jun 2000 23:56:04 -0400
From: "Shawn Kimbro" (kimbroj@charter.net>
Hi Folks --
Great news that Vince Bell is confirmed for the Red Light Cafe party and
also great that Lee Saterfield and Kevin Montgomery might join us. We'll
unfortunately miss the Nanci concert on Friday night due to a previous
obligation, but we're looking forward to the party Saturday. In a
backchannel message Steve mentioned T-shirts, and other goodies. I just
wanted to chip in that I'll have a few NanciNet T-shirts to give away as
door prizes (sorry, none for sale). I know there are a lot of folks on the
fence about whether or not to come. I'm really impressed by the
organization and professional way Steve has put this thing together, so I
have complete confidence that this is going to be about the best
get-together we've had. So c'mon y'all, get off the rail and come on down
and join the fun!
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: NN: Red Light Cafe
Date: Mon, 3 Jul 2000 00:14:27 -0400
From: "Shawn Kimbro"
Hey folks --
Steve has asked me to MC the Redlight Cafe show and jam Saturday. Since I'm
in the process of putting together a performance line-up, I'm wondering if
there are any musicians among us who want some performing time. Here's who
I have so far:
Justin & Linda Marquez - Traditional folk/gospel with hammered dulcimer &
guitar
Kenn Lippert & Amy McKibbin - Contemporary folk
The Kimbros & Mountain Soul - Original & traditional Appalachian
folk/bluegrass
Kevin Montgomery - Singer/Songwriter
Vince Bell - Singer/Songwriter
Kate Campbell - Singer/Songwriter
Additionally, there will be an open jam session in which anyone and everyone
may play or sing along. But there's plenty of additional time available for
solo/ensemble performances, just let me know so I can put you on the
schedule.
Warm Regards,
-Shawn
_________________________________________________________________
Subject: NN: Redlight
Date: Mon, 3 Jul 2000 05:02:51 -0400
From: "Richard" (rweintraut@msn.com>
>Steve has asked me to MC the Redlight Cafe show and jam Saturday.
I've missed something here... could someone please give me a
little "what" "when" & "where" on the Redlight Cafe show & jam.
Thanks,
Trout
_________________________________________________________________
Subject: NN: Re: Redlight
Date: Mon, 3 Jul 2000 17:10:47 -0400
From: "Shawn Kimbro" (kimbroj@charter.net>
> I've missed something here... could someone please give me a
> little "what" "when" & "where" on the Redlight Cafe show & jam.
What: NanciNet/Moonpie list get-together, show & jam.
When: Nanci Griffith plays Friday evening, the get-together kicks off at
1:00 P.M. Saturday.
Where: Nanci's concert is at Atlanta's Chastain Park amphitheater, the
remaining events at The Redlight Cafe, 553 Amsterdam Ave, Atlanta Ga. Find
directions and a map here: http://www.redlightcafe.com
I think our host Steve Robertson still has some tickets, or they are
available at the venues.
See you there,
-Shawn
_________________________________________________________________
Subject: NN: Hart Rouge
Date: Fri, 30 Jun 2000 21:23:47 EDT
From: Tricia9999@aol.com
While we're awaiting reports from Atlanta...
I heard these folks for the first time last week-end and was qite impressed.
They are from Canada (Saskatchewan) of French Canadian farmers - 3 siblings
plus 2 others - and have a great sound. Wonderful harmonies, many songs sung
in french. NG content - on one of their cds they do "Love at the Five and
Dime".
Many of you are probably already familiar, but to those that aren't, they
sure sound nice.
Tricia
_________________________________________________________________
Subject: NN: Country gems
Date: Sat, 1 Jul 00 12:47:50 +0100
From: John Edward Graveling (kai21@dial.pipex.com>
When Trisha Yearwood released "Real Live Woman" I thought it would be
hard to beat as the best country record of the year. About a month ago,
Lee Ann Womack just about topped it with "I Hope You Dance". Unbelievably
another female artist has now topped that, Allison Moorer's new cd, "The
Hardest Part" has just been released here in the UK and it is simply
unbelievable. If you think her sister, Shelby Lynne, can smoulder then
listen to Allison's voice. She has written all the songs, Kenny
Greenberg's production adds all the right rustic touches, the pedal steel
wails and moans and soars, the mandolins and fiddles dance in and out,
and the lyrics paint pictures of love lost and lifes little games.
It's very interesting that as country music tries to regain ground, it is
the female artists who are pushing the boundaries, challenging the
listeners, making real music, while their male counterparts concentrate
on merely being clones of former greats or trying to be hip pop crossover
stars.
John Graveling
_________________________________________________________________
Subject: Re: NN: Country gems
Date: Sun, 02 Jul 2000 09:44:41 -0400
From: Tony Cox (tonycox@pacific.net.au>
John Edward Graveling wrote:
> When Trisha Yearwood released "Real Live Woman" I thought it would be
> hard to beat as the best country record of the year. About a month ago,
> Lee Ann Womack just about topped it with "I Hope You Dance". Unbelievably
> another female artist has now topped that, Allison Moorer's new cd...
and
> It's very interesting that as country music tries to regain ground, it is
> the female artists who are pushing the boundaries, challenging the
> listeners, making real music,
I hope you don't mind me taking up this debate, John; I sort of agree with
what you're claiming - Lucinda, Nanci, MCC and Iris to name but a few are
evidence of this (though let's not write off Steve Earle and Lyle Lovett and
others), but the 3 female artists you mention in the lead up to this
conclusion - pushing boundaries? challenging? Sorry, but what I hear when I
listen to the likes of Trisha Yearwood or Lee Ann Womack is still just safe
Nashville formula country-pop, albeit competently performed and produced.
There's nothing wrong with liking this stuff - I myself enjoy the occasional
Trisha or Shania tune - but to claim that there's anything ground-breaking
about this stuff is surely moving from enthusiasm into the realm of
hyperbole.
It's always interesting checking out the recommendations, though, so keep 'em
coming!
Tony (oops! I've done it again)
_________________________________________________________________
Subject: Re: NN: Country gems
Date: Sun, 2 Jul 00 01:21:15 +0100
From: John Edward Graveling (kai21@dial.pipex.com>
Tony there is one fatal flaw in what you wrote, the mention of the Shania
word. There is nothing safe, nor predictable, in the Trisha or Lee Ann
cd's, just listen to the musicianship. If Buddy Miller and Chad Cromwell
are predictable, safe musicians then I'm the proverbial "monkeys uncle".
Like with Allison Moorers cd, they are moving away from using the same
old session players, and bringing in their own players to get a rootsier
sound, that is moving away from the slick Nashville sound and a million
miles from the power pop that Shania plies.
Sorry Tony, but you need to open up to what is real, as opposed to
manufactured, music. The themes and lyrics contained in the three
aforementioned cd's also make real country music, and if the final
(hidden) track on Allison Moorers' cd isn't real country, it's about her
and her sister, Shelby Lynne witnessing their father murdering their
mother, then turning the gun on himself, then I've lost the plot. Enough
said, real enough for you!!!!
John Graveling
_________________________________________________________________
Subject: Re: NN: Country gems
Date: Sun, 02 Jul 2000 10:00:47 -0400
From: Steve Robertson (stever@mindspring.com>
John Edward Graveling wrote:
> Unbelievably
> another female artist has now topped that, Allison Moorer's new cd, "The
> Hardest Part" has just been released here in the UK and it is simply
> unbelievable.
>
> It's very interesting that as country music tries to regain ground, it is
> the female artists who are pushing the boundaries, challenging the
> listeners, making real music, while their male counterparts concentrate
> on merely being clones of former greats or trying to be hip pop crossover
> stars.
Allison's latest music video certainly seems to be making a strong
statement about making real music. Whoever came up with the image of
Gram Parsons strolling out of a flaming Joshua tree must be a creative genius.
Hidin Out in the Georgia Pines,
Steve Robertson
_________________________________________________________________
Subject: Re: NN: Country gems
Date: Sun, 2 Jul 2000 14:12:42 EDT
From: Petop@aol.com
tonycox@pacific.net.au writes:
(( but the 3 female artists you mention in the lead up to this
conclusion - pushing boundaries? challenging? >>
If you want to find a female country artist pushing the boundaries, check out
"I Am Shelby Lynne." In his review of the music for the first half of the
year, Robert Hilburn, of the Los Angeles Times, called in the second best
album of the year (not just in the country category, but overall). Here is
what he said about it:
""After years of fighting in vain to express her own musical ideas in the
conservative setting of Nashville, this 31-year-old singer-songwriter circled
home to Alabama a couple of years ago, determined to make a record she was
proud of--and she came up with it. This is one of the most inspired examples
of Southern-accented pop-soul since Dusty Springfield's "Dusty in Memphis"
album three decades ago.
There's an intimacy to the songs that is seductive and heartfelt, as Lynne,
who wrote or co-wrote most of the material, takes us on a journey through her
troubled relationships that enables us to share her pain and hard-won
lessons. For all the moments of despair, "I Am Shelby Lynne" conveys a
liberating strength and hope. The diverse styles--from full-force rock to
country to wistful country blues--seem unwieldy at first, but they weave
together to reflect the wide emotional range of the album itself."
I recommend you check it out.
_________________________________________________________________
Subject: Re: NN: Country gems
Date: Sun, 2 Jul 00 21:17:50 +0100
From: John Edward Graveling (kai21@dial.pipex.com>
Her sister plows the same territory in her new cd "The Hardest Part".
Check out Allison Moorer.
John Graveling
_________________________________________________________________
Subject: Re: NN: Country gems
Date: Sun, 2 Jul 00 21:27:26 +0100
From: John Edward Graveling (kai21@dial.pipex.com>
I agree wholeheartedly about Shelby Lynne, and as with Allison Moorer us
Brits had the record some months ahead of our American counterparts. "I
Am Shelby Lynne" was released last October here in England, and I believe
the USA has to wait until this October for the Allison Moorer cd.
John "lucky to be in England" Graveling
_________________________________________________________________
Subject: Re: NN: Country gems
Date: Mon, 03 Jul 2000 07:53:12 -0400
From: Tony Cox (tonycox@pacific.net.au>
John Edward Graveling wrote:
> Tony there is one fatal flaw in what you wrote, the mention of the Shania
> word.
I was simply bracketing her with Trisha Y as someone bland who sometimes
comes out with something good to sing along to.
> There is nothing safe, nor predictable, in the Trisha or Lee Ann
> cd's, just listen to the musicianship. If Buddy Miller and Chad Cromwell
> are predictable, safe musicians then I'm the proverbial "monkeys uncle".
Hiring a couple of "names" to lay down a few funky licks doesn't fool me -
these two CD's are still candy-floss underneath: someone else's songs,
probably even chosen by someone else, with "Nashville production-line"
stamped all over them.
> Like with Allison Moorers cd...
At least she's singing something that came from her own experience, but the
songs on her "Alabama Song" album nonetheless left me underwhelmed: I've
heard a million songs like them. I should add that I haven't heard the new
album (which is why I didn't refer specifically to it)
> Sorry Tony, but you need to open up to what is real, as opposed to
> manufactured, music. The themes and lyrics contained in the three
> aforementioned cd's also make real country music
Well, John, Britney makes "real" teenage music, but I'd have to resume
drinking for this kind of stuff to sound real in any meaningful way! My idea
of real: well, I can't think of a more obvious example than Flyer, or maybe
"Stones In The Road" by Mary Chapin Carpenter. Or Patty Griffin's "Living
With Ghosts". You get the sense that there's a lifetime of wisdom,
*personal* experience and emotion in these albums - and of course creativity.
With Trisha etc, I get the sense that she just booked a studio for a couple
of days in between hairdresser appointments and then resumed her comfortable
stress-free lifestyle. Listening to her sing (someone else's) songs about
suffering and love gone bad sure doesn't sound "real" to me. But yes, the
albums are professionally performed and produced - no rough edges and some
clever licks - and perhaps there's some merit in that to some people. For
me, I can fully understand why so many *genuine* artists turn their backs on
the Nashville machine.
> , and if the final (hidden) track on Allison Moorers' cd isn't real
> country, it's about her and her sister, Shelby Lynne witnessing their
> father murdering their mother, then turning the gun on himself, then I've
> lost the plot. Enough said, real enough for you!!!!
Sure sounds it. I'll have to get to hear this exception to the rule - so
much so that they decided to hide it!
Tony, just trying to get some perspective back into music reviews.
_________________________________________________________________
Subject: Re: NN: Country gems
Date: Sun, 2 Jul 2000 18:42:07 -0400
From: "Dave Bronsveld" (dbrons@ptd.net>
Pardon me for jumping in, but I've kind-of felt as Tony does. Despite the
good press she gets, I've never cared for Trisha Yearwood. Recently though
I've heard a song "On a Bus to St. Cloud" Where did this beautiful song come
from? Reminiscent of Nanci's work IMO.
Dave
_________________________________________________________________
Subject: Re: NN: Country gems
Date: Sun, 02 Jul 2000 19:37:43 -0400
From: Diane (diwilkes@erols.com>
Dear Dave,
Gretchen Peters wrote On a Bus to St. Cloud. She's a fine
singer-songwriter in her own right.
I love Trisha Yearwood. She's wonderful in concert, and has a sensibility
and sensitivity seen in the best interpreters. She doesn't write much of
her own material, but has (imo) depth and style. The fact that she chooses
such high-caliber songs should count for something. At least, it does with
me.
I think it's a bit unfair to assume that her life is ideal because she's
rich. She's in the midst of a divorce and that doesn't cheer anyone up,
even if one has the option of taking a chauffeur-driven limo to the
hairdresser...
Diane
_________________________________________________________________
Subject: Re: NN: Country gems
Date: Mon, 3 Jul 2000 13:34:37 EDT
From: Janf1914@aol.com
kai21@dial.pipex.com writes:
(( Kenny
Greenberg's production adds all the right rustic touches, the pedal steel
wails and moans and soars, the mandolins and fiddles dance in and out,
and the lyrics paint pictures of love lost and lifes little games. >>
This is great to hear! I'm a great fan of Kenny's guitar playing but did not
know that he was now producing. Has he done any other things that I'm just
not aware of?
-Janet
_________________________________________________________________
Subject: Re: NN: Country gems
Date: Mon, 3 Jul 00 21:52:10 +0100
From: John Edward Graveling (kai21@dial.pipex.com>
Tony I'm baffled by your vision of perspective. By tarring all the cd's I
mentioned with the "typical Nashville production" brush you are merely
echoing the thoughts of the alt-country mob (of which I purchase plenty),
and jumping on the 'let's knock Nashville bandwagon'. There is still some
very creative work coming out, as the aforementioned cd's prove. There is
plenty of great playing, you suggest if it doesn't have rough edges it
isn't worthwhile, which is utter nonsense. It's interesting that Jay
Bennett (multi-instrumentalist in Wilco) plays all the keyboards on
Allison Moorers cd.
Trisha Yearwood picks excellent songs, by the finest songwriters, to
record and I believe she chooses them. Of course you'll find that hard to
knock, as her excellent new cd starts with a Mary Chapin Carpenter/Kim
Richey co-write, "Where Are You Now", and proves, without a doubt, that
she is the best interpreter of other peoples songs since Linda Ronstadt.
I love artists to record their own material, but to suggest that artists
who don't write their own material have little or no merit, again is a
contemptuous statement, and one with no musical value.
Lee Ann Womack's cd is fuelled by some fabulous playing and great songs,
again only one of which she had a hand in writing, but if songs by Julie
Miller, Buddy Miller, Bruce Robison don't carry the quality you look for,
then I appreciate you need to look elsewhere.
Of course Allison Moorer writes all her own material, and if players of
the ilk of Marty Stuart, Kenny Greenberg, Chad Cromwell (more noted as
Neil Young's drummer ten years ago), Russ Pahl and Joe Spivey are your
typical Nashville production line players, then I have to feel sorry for
you, as you obviously cannot hear wonderful playing by great, inventive
players.
If you want to shut your ears to what you perceive as 'standard Nashville
music' then so be it, but interestingly, the British music press who have
slagged off 'big-hair Nashville production line music' for some years
now, are giving rave reviews to these cd's and Lee Ann Womack, in
particular, is getting a lot of airplay on BBC rock radio.
Perspective- oh yes the ability to see both sides of the debate. Tony you
only see one!!!
John "plenty good music to listen to" Gravelinmg
_________________________________________________________________
Subject: Re: NN: Country gems
Date: Tue, 04 Jul 2000 08:20:57 -0400
From: Tony Cox (tonycox@pacific.net.au>
John Edward Graveling wrote:
> Perspective- oh yes the ability to see both sides of the debate. Tony you
> only see one!!!
All these albums contain some good musicianship (the standard is universally
high these days), and accepting also that there's merit in the occasional
good cover version (I was blown away listening to Julie Miller's "Two
Soldiers" just yesterday), I still have more respect for performers who are
able to communicate their *own* songs in a unique and interesting way;
they're sharing the contents of their hearts with us.
Like you, John, I have a large music collection, and there's a bit of
everything (including a Trisha Yearwood CD!), but to state that even 10% of
it is "challenging" or "pushing boundaries" is to invite a response.
Admittedly, I may overstate the counter-arguments to make my point, but if I
were to make extravagent claims for something unexceptional, then I'd expect
someone to "give me heaps" for it - i.e. restore some perspective.
In a world where little Boo Spears (as I shall now always think of her -
thanks to Bruce :-)) has probably already outsold the entire Joni Mitchell
catalogue, I'll go on doing what I can to promote my own idea of real music,
just as you do, John, and if it's different from that of the music critics or
the CD-buying public, then so be it. There's much to enjoy out there, as you
say, but true artistry and originality are rare and precious qualities.
Tony
_________________________________________________________________
Subject: NN: Nanci's support of Mine's Advisory Group
Date: Sun, 2 Jul 2000 02:07:56 -0400 (EDT)
From: "John Woodward" (john25@btinternet.com>
There's a short article about Nanci's support of MAG during her recent
UK tour and an onstage pic on the MAG website at
http://www.mag.org.uk/update2k/magapl/apl282k.htm
John
_________________________________________________________________
Subject: NN: Wimoweh
Date: Sun, 2 Jul 2000 17:07:00 EDT
From: BMiller224@aol.com
Since my attempt at irony in my last post about hyper-produced teen pop left
some of my friends thinking I was losing my marbles, I'm sticking to a
straight folkie topic in this one.
Someone mentioned several weeks ago that the 5/25/00 issues of "Rolling
Stone" had a good piece by Rian Malan called "In the Jungle," giving a rather
detailed history of the song "Wimoweh." Nanci's cover of it on "Other
Voices, Other Rooms" was one in long line, and by no means the last.
The original tune was written by a black South African popular singer named
Solomon Linda in 1939 and called "Mbube." Malan's article is an
investigative report on what happened to the song, its copyright, the profits
made on it and how much - or how little - of those profits made it back to
Solomon Linda.
In the first part of the story, I thought I detected some of the
superficially cynical tone I associate with Rolling Stone. And I think
Malan initially intended to do a story about how allegedly idealistic folk
musicians like the Weavers callously exploited a poor black South African's
work.
But it's a credit to his work that the article winds up being a fascinating
bit of detective work that presents a nuanced picture of a situation that is
a genuine concern in the music business, not just in the folk world. Pete
Seeger in particular comes across as a guy who takes his ethical concerns
about rewarding songwriters quite seriously, beyond his legal obligations.
And aside from being a thought-provoking piece on business ethics in a
particular case, it provides an engaging history of the song itself. I had
probably never read two words about the Tokens, for instance, who had a hit
with the song under the title "The Lion Sleeps Tonight" in 1961-62.
But because it's a history of the business life of the song, Malan doesn't
look at some of the issues that students of folk music might explore. The
article doesn't discuss, for example, that the sleeping lion image referred
back to a kind of messianic Zulu legend about an ancient Zulu leader who
would someday return to lead his people to freedom.
So he also doesn't mention that this was a big part of the song's appeal to
the Weavers. But he does say that that the sound of the Weavers' 1951
version "almost equaled the barbaric splendor of the Zulu original."
And I distinctly remember Pete Seeger somewhere saying that the lyrics should
be "in the village," not "in the jungle," because the mythical Zulu liberator
was supposed to unit the villages, or something to that effect. Malan gives
"in the jungle" as being the version Solomon Linda used in the original 1939
recording.
Bruce Miller
Oakland CA
_________________________________________________________________
Subject: NN: Gretchen & Trisha
Date: Sun, 2 Jul 2000 19:10:12 -0400
From: "Richard" (rweintraut@msn.com>
>Gretchen Peters wrote On a Bus to St. Cloud. She's a fine
>singer-songwriter in her own right.
I've been lucky enough to see Gretchen at a small club in Nashville.
She is a very good singer and an excellent songwriter.
I like some of Trisha's music... each album seems to hold a gem
or two.. although they're not the ones that make the radio.
Her music is sometimes a little to "pop" for me but she sure is
better than many who hit the charts.
I think sometimes we, including myself, tend to forget that these
artists even though they might love music.. get into this business
to become rich and famous... Some of them make it.. I try not
to hold it against them...
I'm not always successful... say a bad word or two about Garth Brooks
now and then. (grin)
Trout
_________________________________________________________________
Subject: NN: Western Beat
Date: Mon, 03 Jul 2000 10:09:27 -0400
From: Steve Robertson (stever@mindspring.com>
That weekly radio show/webcast mentioned here frequently- Billy Block's
Western Beat- is now a weekly TV show on CMT. The debut show was last
night, and got off to a good start with a couple of songs from Charlie
Robison. Later, Billy provided some insight into Tricia Yearwood's place
in the music spectrum. Tricia made it pretty clear she wants to be
associated with the Alt. Country/Americana category.
You can learn more about this show at the country.com website. At the
moment,it's the main article on the first page. My TV schedule says this
show will be repeated tonight (July 3) at 10 PM. Call five friends and
tell them about this show. Tell them to each call five friends. Tell all
those folks to e-mail CMT frequently and thank them profusely for
putting on some good music for a change. This is our chance to make a
statement about the popularity of real music.
Hidin' Out in the Georgia Pines,
Steve Robertson
P.S.- Current long range weather forecast for Atlanta. Friday, Saturday,
and Sunday- lows around 70, highs around 90, chance of scattered thunder
showers.
_________________________________________________________________
Subject: Re: NN: Western Beat
Date: Mon, 3 Jul 00 18:31:43 +0100
From: John Edward Graveling (kai21@dial.pipex.com>
Sounds like everything is all set for a wonderful weekend in Atlanta both
musically and weather wise.
Hope y'all enjoy the festivities.
John Graveling
_________________________________________________________________
Subject: NN: Lee Ann Womack - "I Hope You Dance"
Date: Mon, 03 Jul 2000 12:56:44 -0500
From: Ed Maier (evmaier@dhc.net>
Don't want to beat this album to death with my posting about it,
but to those of you that have it, did you notice how much Lee Ann's
voice sounds like Dolly Parton's? If not, play it again and listen
carefully. It's uncanny.
Ed
_________________________________________________________________
Subject: NN: Atlanta weekend
Date: Mon, 3 Jul 00 21:33:55 +0100
From: John Edward Graveling (kai21@dial.pipex.com>
OK folks, to get those brains in musical gear for the forthcoming
Nanci/Kate get together, I have three questions.
Somebody mentioned Billy Block's excellent Western Beat shows that go out
of the Exit/In in Nashville every Tuesday night.
So question one is: Who did Billy Block play drums for back in the 70's?
Question two: On which recent cd, it made a dent in the Americana charts,
did Billy drum on?
Question three: What is Kevin Montgomery's link to Nanci Griffith?
None of the answers are me, so think carefully music lovers, and I may
give a prize to anyone who gets all three answers correct!!!!
John Graveling
_________________________________________________________________
Subject: NN: Dale Watson
Date: Mon, 3 Jul 2000 13:34:48 -0700 (PDT)
From: wazmo@excite.com
In last Saturday's Los Angeles Times there was a good article about Dale
Watson "scraping the sugar off of country music". The article says his
father was also a country singer. Does anyone know who that father might be?
Here's a link so you can read the article yourself:
www.calendarlive.com/calendarlive/music/20000701/t000062025.html
C ya, Joel.
_________________________________________________________________
Subject: NN: Sorry!
Date: Tue, 04 Jul 2000 09:02:46 -0400
From: Tony Cox (tonycox@pacific.net.au>
Sorry everyone (and John in particular) if I come across as beligerent
in some of my communications - I'm a nice person, really!! I'm
passionate about music and in trying to make a point impactfully it
sometimes just comes out that way, and sometimes I don't realize it
until I reread it on receiving it. I think I read too many NME's in my
formative years!
Love you all, really.
Tony
_________________________________________________________________
Subject: NN: Eric Bibb Gig
Date: Tue, 27 Jun 2000 07:47:32 +0100
From: James Wilson (J.Wilson@chihe.ac.uk>
Thanks to Dave Riley for the tip-off about the Eric Bibb gig in Worthing
last Saturday. It was fantastic, and I recommend him to anyone who hasn't
seen him. For me it was the only time I've seen what I'd call proper ragtime
guitar played live and he's got a great voice to match. He was seated for
most of the gig, accompanied by a bass player (who has toured with Clapton),
and another chap who was playing mandolin, fiddle, slide and regular guitar
(not all at once). Towards the end he got up and played some real driving
blues, doing a great little dance. He had the whole place clapping in time
and yelling out for more. After the show he was talking to people and
signing albums. Yep, I bought the new one "Roadworks" recorded live
throughout this current tour, which he signed.
Can't wait to see him again.
Jim
_________________________________________________________________
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