// A concert review, and other stuff
// Enjoy...[BP]

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Subject: NN: Ohio show review
   Date: Mon, 24 Jul 2000 14:01:36 -0400
   From: "Panchyshyn,Roman" (panchysr@oclc.org>

NG and the BMO put in an appearance at the Lancaster (Ohio) Festival last
Saturday night here in Ohio. It was an outdoor show, and the weather
cooperated just fine, thank you. Nanci was part of a program that featured
the Lancaster Festival Orchestra, Jay Ungar and Molly Mason, and fireworks.
There was a Civil War theme to the show, because the festival had a Civil
War reenactment planned for Sunday, and the orchestra was following this
theme. 

First, the orchestra came on and warmed us up with rousing versions of Civil
War themes such as Battle Hymn of the Republic, When Johnny Comes Marching
Home and Dixie. Then Jay and Molly took the stage with the LFO, and played
an excellent set. Ashokan Farewell was a given, with the obvious ties to Ken
Burns' Civil War series. They played several very beautiful songs, Harvest
Home and Unbroken Thread. Unbroken Thread was a very pretty song, Molly was
accompanied by her daughter Polly on the vocals. The song is about quilting,
and how quilts are used to describe and trace family histories in the
Catskills. They also performed the Harvest Home suite with the LFO, a medley
of music from their Harvest Home CD, very nice. Needless to say, I was so
impressed that I went out and bought 2 of their CD's at the break. Very
beautiful music.
Nanci & the BMO came out next. Nanci was in fine form, dressed in a knee
length purple dress, and what surprised me most, she had short hair! I
hadn't seen her in quite a while, and I was expecting to see her with her
long dark hair, but she had it neatly cut above the shoulders. Her voice was
excellent, even though she continues to try and stretch words out like
"years" so that they sound like "yee-arrs". Personally, I don't think that's
a Texas accent, methinks she's trying to speak Irish brogue. During the band
introductions, she announced that Leanne Ethridge (spelling?) has
permanently replaced Lee Satterfield, who, Nanci said, has retired from her
musical career. Nanci was also full of jokes. She pointed out that Leanne
was married to the drummer, and that there have been several other married
members in the band over the BMO's history, which means that when they tour,
it's not uncommon to find one or the other sleeping on the couch in the
hotel lobby. Then, Nanci told us folks that Leanne and Hooker are both from
South Carolina, that's why they hang out next to each other on the same side
of the stage. And she threw in the trailer trash story as well. 
The BMO was excellent, they didn't miss a note all night, neither did Nanci
forget any lyrics. They played one long set along with the LFO, with the
encore thrown in at the end. The set list pretty much followed her earlier
shows this year, here are the songs that I can remember:
Dustbowl Prelude
Trouble in the Fields
5 & Dime
These Days
Wing & Wheel
Drops from the Faucet
Gulf Coast Highway (with JH)
It's a Hard Life
Outbound Plane
This Heart
The Buddy Holly tune (I forget the name right now)
Traveling Through This Part of You
The Hammer Song

There may have been a few more that I missed, but these are the ones that I
remember. Then, when NG finished, the symphony took over, with some Aaron
Copeland music and a great fireworks show. A fine time was had by all! Also,
there were two big screens that were projecting Nanci & the BMO on each side
of the stage, to help those folks sitting way back on the lawn. The
acoustics were excellent throughout.

One other point, in my last posting, I was not really looking to discuss the
Napster issue per se, but the concept of access vs. ownership of information
and how this is changing in the digital environment. These changes will have
an impact on how we acquire and listen to music in the future. Even now, as
one minor example, think of the impact this will have on traditional music
distributors, even someone like Bill Lavery. Who knows, in 10-15 years he
may not be selling CD's, but running a server on a distribution network that
will allow music listeners to plug in and play any music they want, wherever
and whenever they want it. Imagine, one or two hours after Nanci records a
song, you can have access to it. Or, if every show that any band plays
anywhere is digitally broadcast live. Is Richard Thompson playing somewhere
tonight? Plug him in and see what he's playing, right now! Imagine if the
Grateful Dead could have done this 20 years ago, you'd never need to leave
your living room to follow them around the country. These are real issues
that we, as music fans and even musicians, need to be aware of. 

Signing off,
Roman

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Subject: NN: Kasey Chambers
   Date: Sun, 23 Jul 2000 13:04:49 +0100
   From: "Paul" (paul@preeve.clara.co.uk>

Hi all

Just noticed in Radio Times that Kasey Chambers is featured on Bob Harris
Country this coming Thursday evening 7-8 pm BST
I suspect that you on t'other side of t'pond may be able to tune in via the
BBC Radio 2 website
Also on the radio this Friday (and Sat/Sun) are excerpts from the Cambridge
Folk Festival.

I saw Kasey Chambers at the Borderline last Tuesday - I thoroughly enjoyed
her set, and would go and see her again, but why do so many people go to
these places and insist on making themselves heard over amplified music? The
place was crammed full - which was good - but I couldnt get near the front,
and people at the bar and in the back area were almost shouting to make
themselves heard - despite having paid 6 or 7 pounds to get in!

Just ordered her CD

Paul

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Subject: NN: Kasey Chambers - some Nanci content
   Date: Mon, 24 Jul 2000 10:47:14 +0200
   From: "John Davis" (j.davis@virgin.net>

I had the good fortune to see Australia's finest a few days ago in a very
small room in a pub in Bristol (The Flyer!), thanks to a tip-off from
Nancinetter Susan Cane - thanks again, Susan. If you like Nanci, Lucinda and
the like, you will fall for her in a big way. Still only 23, Kasey has been
gigging for years with her family band, the Dead Ringers. Dad Bill and
brother Nash accompanied her over to the UK this time. The album is The
Captain and I believe it has just been released in the USA but don't have
any other details. There is not a single track which is less than superb.
What was she like live? IMHO even better than on record with a great live
voice, wonderful band and a real country feel. She paid tribute to Woody
Guthrie as someone she grew up listening to and playing before launching
into a great version of, you've guessed it, Do Re Mi. Last Nanci link is
that the family band recorded I Wish It Would Rain on their CD of covers a
few years back.
To make the evening even more memorable I was lucky enough to meet Kasey,
Bill and Nash before the gig and a nicer, more welcoming and friendier bunch
of folks you couldn't hope to meet. They also stayed around afterwards to
chat, pose for photos and sign flyers and CD sleeves, which isn't something
I have seen for a while.
I don't know of any plans to play in the States but I guess there will
probably be some sort of promotional tour to tie in with the release of the
album.

John Davis

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Subject: NN: Paul Kelly in London
   Date: Mon, 24 Jul 2000 11:01:13 +0100
   From: James Wilson (J.Wilson@ucc.ac.uk>

I think there's a few Paul Kelly fans out there.

Anyway, he's playing 2 acoustic nights in London at the "Talk of London" on
30th /31st August for anyone who wants to go. Paul, figurehead of Australian
folk music, also wrote "Cradle of Love" on the Kelly Willis album "What I
Deserve".

For me that's Paul on Wednesday, Kevin Montgomery on Friday, trip to America
on Sunday for 3 weeks, and Bob Dylan the day after I get back! Life don't
get much better.

Jim

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Subject: NN: Gretchen Peters' GRETCHEN PETERS (Grapevine, 2000, UK)
   Date: Sun, 23 Jul 2000 19:53:08 -0400
   From: "David Steere, Jr." (dsteere@dellnet.com>

There's been lots of discussion on the NANCINET about the borderlines 
amongst singer/songwriter music, alt-country, folk, and pop country. If 
anyone can cross those divides (and make them unimportant in the 
process), it's Gretchen Peters. Her new cd, GRETCHEN PETERS, is out in 
the U.K. and isn't due here until October or perhaps next year. Don't 
wait. It's available from Fish Records in the U.K.

As with her great first record, SECRET OF LIFE, several years ago, 
Gretchen is strong in her concrete storytelling skills. "I had a big 
black pontiac. She burned a little oil but she flew. We had it there in 
the back. Baby I burned for you. We were bulletproof. We were bathed in 
the neon glow, underneath the stars of love and texaco." But Gretchen's 
voice is even better than it was in her debut: jazzier, sweeter, sexier, 
more soulful. And yet she is definitely "Kim Richey-classy" in 
everything she does. The instrumental work is ideal and suited to each 
song. Particularly fine are the accordion, organ and mandolin players 
and Gretchen's work on the electric bass.

In an album full of great songs, I'd single out several. "Souvenirs" 
makes a comparison between the crass commercial objects one often finds 
on a trip in search of majesty and the little we often get out of a 
relationship. "Love and Texaco" (quoted above) is a real goose-bumper of 
a song about looking back at a lost love in one's youth with a central 
image of the big black pontiac the lovers used to share. "Lilies of the 
Field" takes country music's usual plot of the two misfits, made for 
each other, who find trouble at highway's end, and turns it on its head, 
Coen Brothers-style: "but the lilies of the field they neither reap nor 
sow. I wanna buy me a winnebago and a map of mexico. Go rollin' down the 
highway where life's secrets are revealed, dancin' in the wind like the 
lilies of the field." "Waiting for Amelia" is a beautiful paean to hope, 
personified by Amelia for whom the narrator is waiting. Gretchen is 
particularly poignant here, as she delivers the opening/closing lines: 
"True north is hard to find. These long long nights play tricks upon the 
mind." "Revival," a sweet prayer of a song, finds a bit of hope and 
salvation as someone on the bottom seeks forgiveness and has a lovely 
interpolated Salvation Army Band bit of brass. Gretchen also has finally 
recorded her lovely, "Like Water into Wine," which was so memorably sung 
by Patty Loveless on LONG STRETCH OF LONESOME. She really hits the 
listener with this ballad of lust and forgiveness.

The rest of the album is also very fine and frequently brave in its 
choice of subjects: the fascination of the culture with the sex lives of 
presidents and celebrities ("Love is a Drug"), the secret life of a 
bored housewife, turning traditional country verities upside down 
("Eddie's First Wife'), and the feline companion of a famous painter 
("Picasso and Me").

The only crime is that this record is not now available in the US.

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Subject: NN: Emmylou Harris tour of Europe and UK
   Date: Mon, 24 Jul 2000 22:01:01 +0100
   From: "Paul" (paul@preeve.clara.co.uk>

Hi all

I have just seen the tour dates below on Emmylou on Line (thanks and
acknowledgements to Joe) and hope no one minds me sharing it with fellow
netters. As far as I know, tickets for the RAH are not yet on sale

November 3, 2000 - Hamburg, Germany (Audimax)
November 4, 2000 -  Amsterdam, Holland (Paradiso)
November 6, 2000 - Frankfurt, Germany (Hugenottenhalle)
November 7, 2000 - Munchen, Germany  (Circus Krone)
November 9, 2000 - Basel, Switzerland (Messe  Basel)
November 11, 2000 - Malmo, Sweden (KB?)
November 12, 2000  - Gothenburg, Sweden (Tradgar'n)
November 14, 2000 - Stockholm,  Sweden (Cirkus)
November 15, 2000 - Oslo, Norway (Rockefeller)
November 17, 2000 - Copenhagen, Denmark (Vega)
November 18, 2000 - Esbjerg, Denmark (Multohus Tobaksfabrikken)

November 20, 2000 -  London, England (Royal Albert Hall)
November 22, 2000 - Bristol,  England (Colston Hall)
November 23, 2000 - Birmingham, England  (Symphony Hall)
November 24, 2000 - Manchester, England  (Bridgewater Hall)
November 26, 2000 - Belfast, N. Ireland   (Waterfront Hall)
November 27, 2000 - Dublin, Ireland (Olympia)

Enjoy

Paul

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Subject: NN: Classical and Folk
   Date: Tue, 25 Jul 2000 03:18:55 EDT
   From: BMiller224@aol.com

I was listening this weekend to the "Appalachian Journey" CD in which 
classical and folk/bluegrass musicians join forces to record classical (or 
"art") versions of songs from both the classical and popular music 
traditions.  And I heard Bela Bartok's 1940 "Divertimento for Strings" at a 
classical concert, which used elements of Hungarian folk songs.

This got me thinking about the connections and differences between "art" 
music and folk music.  And I started thinking about a couple of differences 
in the concert presentations.  One is that classical programs normally list 
the pieces to be performed.  And they are even advertised with the 
performance.

The printed programs also normally include not only biographical information 
about the performers and the composers.  And there's ususally an essay about 
the musical pieces themselves, describing both their history and often making 
some critical interpretations of the pieces.  There may be a lecture before 
the concert talking about the music.

Popular music concerts don't normally have things like that, and I've never 
really thought about it before.  But now I wonder why.  If a set list and 
essays about the music work for classical, why not for pop music?

As far as the published set list, I guess one obvious reason is that 
classical pieces are usually much longer than a popular song.  Bach's 
"Passion of St. John" that I also heard this weekend runs two hours in 
performance, not counting a 20 minute intermission.  Fans want to know what 
it is they're going to spend two hours hearing.  A three-minute dud of a pop 
song is not quite so frustrating as a two-hour piece you may not like.  
(Fortunately, that was not at all the case with me and the "Passion.")

But why no program notes about the music?  It would probably seem superfluous 
for an 'N Sync concert.  But for folk, country or rock songs that appeal to a 
larger audience, I would think it would make sense.  It's not unusual for the 
CD liner notes to have dtailed comments.  Nanci's "Other Voices Too" even 
marketed a book-length set of liner notes sold separately (and costing 
significantly more than the CD itself).

Now that Nanci is trying to venture into the classical field a bit, I'm 
curious about whether her recent concerts with the London Symphony Orchestra 
included any of these trappings of classical presentations.  As I recall from 
seeing Arlo Guthrie with the San Francisco Symphony last year, there was a 
program with nice biographies but no set lists or detailed discussions of the 
songs themselves.  But there was some discussion, as I recall, of how Arlo 
and the classical composer worked together to create that particular program.

Why do I wonder about things like this?  One of my cats likes to watch water 
run down a drain.  Where that water goes is the great mystery of his life.  
Maybe it's the same sort of thing.

Bruce Miller
Oakland CA

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    Subject: Re: NN: Classical and Folk
       Date: Tue, 25 Jul 2000 06:54:04 -0500
       From: Sarah Wrightson (sarahwrightson@vincebell.com>

BMiller224@aol.com wrote:

> But why no program notes about the music? 

Too many booklets all over the floor of the bar for the waitresses to
pick up at the end of the night?  Sorry, couldn't resist.  I do think it
probably does come from the fact that music of the folks, popular,
leaves room for spontaneity, the audience joining in, requests, etc.  It
was unplanned, and happened when people and instruments and joy and
sorrow all came together in the same place.  Of course it has mutated
now into rehearsals and "programs" and fewer surprises.

> Why do I wonder about things like this?  One of my cats likes to watch 
> water run down a drain.  Where that water goes is the great mystery of his 
> life. Maybe it's the same sort of thing.

Its 'cause you live in Northern California...I lived there too, and
there is room for such meanderings there (g>

Sarah

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   Subject: NN: Re: Classical and Folk
      Date: Tue, 25 Jul 2000 14:08:14 +0200
      From: "Hans Janssen" (hans.janssen@zeelandnet.nl>

> Popular music concerts don't normally have things like that, and I've 
> never really thought about it before.  But now I wonder why.  If a set 
> list and essays about the music work for classical, why not for pop music

The program of Nanci's OV2 tour in the UK and Ireland in 1998 had a detailed
program, who was playing, which song were on the setlist. The only problem
was that they did another sequence and other songs. I saw the show twice in
Barbican, the two last shows, and maybe the show was adapted to the response
of the audience.

Programs of classical concerts are indeed detailed, but the programs are
changed when a piece doesn't get the good response from audience or
sometimes the conducter and orchestra can't get the right interpretation or
the main soloist gets ill.

met vriendelijke groeten,

Hans Janssen.
http://listen.to/nanci
http://tradefolk.da.ru/

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    Subject: NN: Re: Classical and Folk
       Date: Tue, 25 Jul 2000 18:58:26 -0400
       From: "Shawn Kimbro" (kimbroj@charter.net>

Bruce Miller wonders aloud:

> Popular music concerts don't normally have things like that, and I've
> never really thought about it before.  But now I wonder why.  If a set 
> list and essays about the music work for classical, why not for pop music?

That's one of the reasons I so enjoy Nanci Griffith concerts, I love the
little stories she tells when she introduces her songs.  Even though I've
heard them all before, I still get the same kick out of hearing them.

Bruce, you and I may look at music a bit differently than most people
(although I think there is a sizable minority on this list who shares this
point of view).  When I listen to music, I listen to learn.  It's the same
reason I read or watch movies.  My favorite stories are non-fiction, or at
least historical fiction.  Same thing applies to music.  I want to know all
I can about the song, the artist's motivation, the history behind it, the
influences, whatever else is pertinant.  I'll usually read the liner notes
before I hear the songs, or at least during.  So the more information I
receive, the better I like it.  Sound familiar?

But I've come to realize that most people aren't weird like that.  ;-)  They
listen to relax, or for the asthetic enjoyment of the melody, as Tony puts
it, all they need to do is "open their heart to the music."  I love that
thought, but it just isn't me.  I don't think there's a right or wrong way,
we're just different.  So here's my vote for more liner notes, books which
accompany CDs, programs with as much information as will fit, and long, long
introductions.

Warm Regards,
-Shawn
  _________________Nanci Is My Aeroplane___________________
 |                   __        ___        Shawn Kimbro     |
 | "Those honky-tonk | \____o__/_/___| kimbroj@charter.net |
 |  bands still play \(>-----_/_/____]>  Morristown, TN    |
 |  old time songs"           `o     |  ~ MOUNTAIN SOUL ~  |
 |_____ http://www.geocities.com/trailzzone/soul.html _____|

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   Subject: Re: NN: Classical and Folk
      Date: Tue, 25 Jul 2000 23:37:14 -0400
      From: Tony Cox (tonycox@pacific.net.au>

To be a bit more serious for a moment:  the point I was making was that being
too
cerebral about music can put us in danger of destroying that which we love by
taking away the spontaneity of the experience.

Dick Gaughan, the brilliant Scottish singer, is known to overdo the
introductions
to his songs to the point of it becoming an opinionated diatribe, but on a live
recording I've got of the stunning "Now Westlin Winds" he gives the following
perfect introduction:

"This is my favourite song of all time and it was written by Scotland's
national
poet, Robert Burns, and the reason I  love this song is because it says
everything it is conceivable to say about anything and it does it in five
verses.  It's cunningly disguised as a love song".

What more could you possibly want to know to enhance your enjoyment?  You've
been
drawn in; now all you need to do is open your heart to the music.  (And it's
one
of the most powerful and beautiful songs you'll ever hear, incidentally).

Tony

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Subject: NN: "Cheap" CDs
   Date: Tue, 25 Jul 2000 22:30:20 +0100
   From: "Paul" (paul@preeve.clara.co.uk>

Hi all

In case anyone is interested, HMV on line (www.hmv.co.uk) have "wings to Fly
and a place to be" and "OVOR" on sale for 5 pounds 99p.

Normal post (UK) is 3 pounds so may be worthwhile if you can find something
else as well

Paul

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Subject: NN: John Graveling wasn't kidding
   Date: Sun, 23 Jul 2000 21:53:33 -0500
   From: Ed Maier (evmaier@dhc.net>

Just picked up a copy of Vince Bell's *Texas Plates*. Awesome.

Ed

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Subject: NN: Vince Bell (no Nanci)
   Date: Tue, 25 Jul 2000 19:35:11 -0400
   From: "Richard" (rweintraut@email.msn.com>

>Just picked up a copy of Vince Bell's *Texas Plates*. Awesome.

This is one of those dreaded "me too" post....

If you do not have "Texas Plates" you are missing one great
recording... 

It very seldom leaves my CD player.

Trout

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Subject: NN: Vince Bell and Other Voices
   Date: Tue, 25 Jul 2000 08:37:04 -0400
   From: James_Troiano@umit.maine.edu (James Troiano)

 I wish to thank Cate and John for their very informative commentaries
regarding Vince Bell's music and his book. I first discovered Vince
Bell's music listening to Nanci's covers of "The Moon, the Sun and the
Stars" as well as the magnificent "Woman of the Phoenix."  Wendy and I
had the pleasure of hearing VInce in Atlanta and meeting him in Atlanta
along with his charming wife Sarah.  They are marvlous people as was
every one I met that splendid weekend, including the delightful Cate. I
did buy Texas Plates and Vinces books, both autographed by Vince and to
be treasured by me forever. I love the album, like Nanci and Kate's
music, each listen makes me love it and understand it a little more. I
look forward to reading the "One Man's Music" which I have heard
praised by so many Nancinetters. I am still reeling from that weekend
in Atlanta when Wendy and I met some of the finest people on this
planet. 
Hope it happens again, 
Jim. 


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