// Concert reports and more!
// Enjoy!  [BP

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Subject: NN: Nanci Appearance on Austin City Limits
   Date: Mon, 15 Oct 2001 17:15:50 -0400 (EDT)
   From: bpage3@yahoo.com

Hey folks, I got the following from the Austin City Limits folks:

Bill
-----------------------------------------

Here's some big news for fans of Nanci Griffith everywhere.  
Her August 13th performance on the award-winning live music 
showcase Austin City Limits-the longest running popular music 
series on television-is set to air the weekend of November 3rd 
(viewers will need to consult their local listings for exact 
date and time).  Nanci shares the hour with singer-songwriter 
and Grammy-winner Mary Chapin Carpenter.

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Subject:  NN: Birmingham Symphony Hall
   Date:  Sat, 13 Oct 2001 12:05:49 +0100
   From:  "A.Dil" (a.dil@virgin.net>

Dear All

I enjoyed this gig, my third, probably more than the other two (Edinburgh 
Castle1993, and Warwick 2000).  I think the major factors in this were 
closeness to the stage, so I could see Nanci smiling her way through the 
whole night, just about, and a pretty full symphony hall, making for an 
appreciative if restrained atmosphere.  In fact, at one point Nanci 
whispered in the microphone in a particularly pin-dropping silence 
in-between songs: "you're sooo quiet!"

Other people have noted feeling a connection, making eye contact. Well, I 
don't know if she did, but it felt that way to me, and that's all that 
mattered really.

For a moment I had thought BMO on the tickets was BSO (Birmingham Symphony 
Orchestra), but indeed it was BMO, and Tom Russel -- and amazing guitar 
player whose name I don't recall (Hart?).

A bonus was Nanci doing the songs others have mentioned with Russel and 
guitar man, including one she wrote when 15, If I were a Child, and 
Canadian Whisky.

The set list seems the same, but I will state for the record:

Speed of Sound of Loneliness, Trouble in the Fields, Two for the Road, 
These Days in an Open Book, Clock without Hands, Shaking out the Snow, The 
Ghost Inside Me, From a Distance, Lost Him in the Sun, Hard Life, Gulf 
Coast Highway, Pearl's Eye View, Where would I Be?, Flyer, Armstrong, 
Travelling through this part of you, Wall of Death (Richard Thompson song), 
If I had a Hammer; encore What's that I Hear? (Seeger), White Freight Liner.

The faster tracks on CWH are emerging as my favourites, and the renditions 
here were certainly lively and enjoyable. Travelling through this part of 
you didn't quite recreate the studio effects (like cow bells or something), 
in fact the block-tapping of the drummer I found a bit of a distraction at 
this point. (Nit picking.)

Armstrong had the starry night light effects.

Shaking out the Snow was, for me, a better vocal than the album, but I 
still don't like the harsh voice on "like a hurricane through Florida". 
Still, I think for the first time I caught some of the magic on this song. 
Nanci put her guitar down, and had quite a broad smile on her face through 
this, shaking her hands on each "shaking out the snow" line.

>From a Distance was emotional ("I don't understand what your holy war is 
for"), with quite a few people in tears I should think.

Two for the Road came with an explanation that she had picked up the line 
about "the best light of our days" sitting at a bus stop, waiting for a 
cab, in Cambridge (England) from an elderly couple. The wife had remarked 
how it was sad that the light was fading and autumn was on its way. The 
husband said "never mind dear, we've had the best light of our days", or 
words to that effect. She said she was just stunned by this casually 
dropped, beautiful remark. And then she transferred the characters 
geographically, but that was the spark.

There was the same gag about Madonna, and the disclaimer that she liked her 
really ("I'm a big fan"). Seemed good-natured to me. I was more surprised 
at the two references to the tv show Sex in the City, (which I haven't 
seen), saying how she was two years ahead of the UK episodes but wouldn't 
tell what happened.

Was I the only one who stood and applauded at the end? I felt like I was. 
Some more stood for the rather quick exit after the encore. Seemed like a 
longish evening, and very enjoyable.

Catch the tour if you can....

Anton
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Subject:  NN: Spakin' 'bout the show
   Date:  15 Oct 2001 00:17:37 +0000
   From:  "Matt Bloomfield" (mailm@tthewb.u-net.com>

Well, not long ago I returned from seeing Nanci play at Dacorum
Pavilion http://www.dacorum.gov.uk/pavilion/ in my (and Pat
McInerny's) home town of Hemel Hempstead http://www.hemelonline.co.uk
Famous, not just for Nanci's drummer but also for the Magic Roundabout
a two-way circus we put in to confuse visitors :)  Both Nanci and Tom
Russell mentioned the infamous roundabout during their sets.

The Pavilion is a fairly non-descript building and is starting to show
its age.  Rumour has it that it will be closing unless a large cash
injection is given soon to provide much needed modernisation.
It's not a small venue by any stretch, but it was packed tonight, and
the chairs are pretty close together, an intimate venue, but not in
the usual sense.

The show started at 7:30 with Tom Russell and God, sorry, Andrew
Hardin on guitar.  As well as Angel of Lyon and a couple of songs from
Borderland (one of the best albums this year), they played three
songs with Nanci, St Olavs Gate, Canadian Whiskey and If I Were A
Child.  It was nice to hear this early Nanci song.  I'm a real fan of
the early stuff but coming fairly late to her music I only ever get
to hear the unusual stuff on boots.

The first half was short, about 40mins.  There followed a 20min
interlude, Tom and Andrew appeared next to the "boutique" (Nanci's
term) but much as the albums flew off the shelf, very few took the
opportunity to get it signed.  I got my CWH tour brochure signed,
explaining to them that I already had the albums signed at the
Borderline a couple of weeks ago :)
After being relieved of the hard-earned folding stuff, having bought
both Lee Ann Etheridge's album and James Hooker's I returned to my
seat for the second half.

Nanci looked very happy and very healthy and was dressed much the
same as previous reports.  Her scarves are, I think, her new
trademark.  The set started with one of my favourites, Speed Of The
Sound of Loneliness.  I don't keep setlists but amongst the standards
we've come to expect, TITF, LATFAD, IAH(WYG) etc. were plenty of
offerings from the new album which were well received.

Shaking Out The Snow was performed.  I'm a dissenter, I disliked (and
continue to dislike) the album version but oh! what a difference done
live.  It seems to have lost a lot of the anger but retains the
emotion of the album track.  It really is quite beautiful done live,
Nanci herself described it as "eclectic".  The audience loved it.

It was a good audience. They sang and laughed and clapped in (mostly)
the right places.  They were very patient with Nanci's intros, some of
which did go on a bit it has to be said.  However, her intro to From A
Distance was both heartfelt and quite moving, she almost looked set to
cry after singing it but the band went straight into Lost Him In The
Sun.  All three of the John Stewart songs went down well, but this is
one of my favourite tracks on the album.

In all it was an excellent show, Tom and Andrew came out for the last
few songs and also the encores.  We once again got to witness Andrew's
genius, and to be fair, Chas Williams played brilliantly on the
Townes Van Zandt song which I think was called White Freight Liner
(not one I was familiar with).

It was great to have such a receptive audience in my own home town.
Normally we're typically English and quite a subdued lot.  It was
nice to see one of my favourite performers so well received and
appreciated.

I look forward to the Albert Hall in November.

Matt
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Subject: Re: NN: Spakin' 'bout the show (Corrections and additions)
   Date: 15 Oct 2001 22:29:47 +0000
   From: "Matt Bloomfield" (mailm@tthewb.u-net.com>

Some small corrections and a couple of additions,
remind me to write reviews when I'm awake :)

Re: Nanci, Tom and Andrew:

> they played three
> songs with Nanci, St Olavs Gate, Canadian Whiskey and If I Were A
> Child.  It was nice to hear this early Nanci song.  

They did four, Nanci also sang on When Sinatra Played Juarez.

> I don't keep set lists but amongst the standards
> we've come to expect, TITF, LATFAD, IAH(WYG) etc. were plenty of
> offerings from the new album which were well received.

I don't remember Love At The Five and Dime being performed, I don't
know where I got that from, although I did play it on the way home...

Re: Lee Satterfield, someone commented that they didn't think Lee Ann
Etheridge was as good.  I thought she sang excellent harmony
throughout, as good as Lee Satterfield IMHO (I think they sound quite
alike).  I was, however, most disappointed with her album on first
listen.  She has a very nice voice, reminiscent of Kelly Willis, but I
don't rate the songs very highly.  The album's a bit bland.

There were no Madonna references :)

Matt
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Subject:  NN: RE: Magic Roundabout
   Date:  Mon, 15 Oct 2001 05:08:16 -0400
   From:  "Pollock, Stuart (S.J.)" (spolloc4@ford.com>

>Well, not long ago I returned from seeing Nanci play at Dacorum
>Pavilion http://www.dacorum.gov.uk/pavilion/ in my (and Pat
>McInerny's) home town of Hemel Hempstead http://www.hemelonline.co.uk
>Famous, not just for Nanci's drummer but also for the Magic Roundabout
>a two-way circus we put in to confuse visitors :)  Both Nanci and Tom
>Russell mentioned the infamous roundabout during their sets.

The best fun I ever had with my mother in law in the back seat 
of my car was going the "wrong way" round the magic roundabout, 
boy did she freak hehehehe.

Also looking forward to the RAH but wondering why I didn't get 
off my lazy a**e and get along to Croydon or Basingstoke.

Stuart
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Subject:  NN: Canterbury concert
   Date:  Tue, 16 Oct 2001 02:28:11 -0700 (PDT)
   From:  Martin Jack (gatesuk@yahoo.com>

All I can say really is:  wonderful! wonderful!
wonderful!  I don't really have any superlatives to
describe.  

During 'From A Distance', Nanci practically broke into
a rage over Taliban propaganda, and as others have
commented, she looked close to tears.  The sense of
camaraderie between her and the BMO was just great;
and also her and Tom Russell together looked like fun.

I can't really find many flaws with her performances
of the songs; she couldn't reach that 'like a hurricane
in Florida' on Shaking Out The Snow, and she seemed to
realise that early on.  But I really loved the
stories, and the humour was spot-on. At one point
during 'If I Had A Hammer', Nanci came in on the wrong
verse lol.  But this was Nanci on top form otherwise!!
The song list was as has been reported.  I really love
this Tom Russell song that Nanci sang on: Everything's
Going Straight To Hell Since Sinatra Played Juarez. 
Great song!!  

I stayed around for a couple of hours after the show
with some Nanci fans waiting to see if she would come
out.  Most of the BMO and Tom Russell did, Patrick
McInerney came out and spoke to use for a bit, but
Nanci didn't show which was quite disappointing.  But
overall it didn't cloud the concert.  I will take many
good memories. Please come back Nanci!!!

Martin

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Subject:  NN: Dearth of musical postings
   Date:  Sun, 14 Oct 01 15:12:32 +0100
   From:  John Edward Graveling (kai21@dial.pipex.com>

There has been a dearth of musical postings recently, which in the light 
of world events, is not entirely surprising. But have we all gone into 
our shells and stopped buying new music? There have been a number of very 
fine releases in the past few weeks which seem to have been either 
missed, or ignored. Here are a few of those which are widely deserving of 
our attention and I know at this moment musicians, musical venues and 
promoters are desperate for us to support them, as there is a dearth of 
folks going out to listen to live music. If we all retreat into our 
consumer shells then the terrorists have surely won and that simply 
cannot be allowed to happen.

Chris Knight "A Pretty Good Guy" - for anyone who likes the Steve Earle 
school of music, this is simply essential listening and a mighty fine cd 
in its' own right.

Catie Curtis "My Shirt Looks Good On You" - a big improvement on the 
over-produced "Crash Course In The Roses" and up there with 1997's "Catie 
Curtis" as a work of supreme song-craft and beautifully played 
instrumentation. It's groovy, lyrical and quite funky in it's own way.

Bruce Robison "Country Sunshine" - almost harks back to a simpler time 
with some gorgeous songs and singing. Simple, yet beautiful.

Buddy & Julie Miller - nothing particularly new, but it reaffirms the 
quality of songs and musicianship that their music embraces.

Cindy Bullens "Neverland" - after her trials and tribulations of life, 
encompassed by "Somewhere Between Heaven and Earth", this rocks, yet is 
full of great lyrical quality.

Jay Farrar "Sebastopol" - the subliminal voice of Son Volt (and Uncle 
Tupelo) returns with a somewhat uneven collection, but the best is simply 
stunning, and for me, the finest alt-country talent is back in business. 
Here in the U.K. everyone is raving about another alt-country 'legend' 
Ryan Adams, and his new cd "Gold", which is good, but in Whiskeytown he 
never produced anything that came close to Son Volt's alt-country 
masterpiece, "Trace". Funny how a media frenzy can so change people's 
perspectives on life, as well as music!!!!

Trish Murphy "Captured" - The smoky voiced Texan songstress really comes 
into her own on this 16 song selection, 6 of which have never been 
released before. Her songs and vocals are wrapped in a beautiful acoustic 
setting backed by national guitar, cello and mandolin, as well as 
acoustic guitar. If you liked "Crooked Mile" or "Rubies On The Lawn" this 
will blow your socks off!!!!!

Robert Earl Keen "Gravitational Forces" - I am a big REK fan, but this 
has taken it's time to get to me. Is it me, or is this subtly different 
from what REK has given us in the past? After repeated palying it is 
undoubtedly a fine record, but there is a lingering feeling of? I know 
not what!!!

John Hiatt "The Tiki Bar Is Open" - back in harness with The Goners 
(Sonny Landreth et al) this keeps John up there with the top echelon of 
songwriters. It simply whets the appetite for his upcoming London gig in 
a few weeks time.

Well there is plenty to be getting on with in terms of cd listening and 
buying. 

Here in the U.K. despite the Flatlanders (Joe Ely, Jimmie Dale Gilmore, 
Butch Hancock), Gillian Welch & David Rawlings, Tom Pacheco, Kinky 
Freedman/Billy Joe Shaver and Lyle Lovett cancelling their tours, there 
is still plenty of great music to get out and see. Upcoming, we have the 
continued presence of Nanci of course, as well as great new Nashville 
writers and players Jeff Finlin with Will Kimbrough (Todd Snider/Kim 
Richey/Rodney Crowell), the aforementioned John Hiatt and of course 
toward the middle of November and onward Kate Campbell. Plenty to look 
forward to, if you want!!!

John "reaffirming the positive" Graveling

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Subject:  Re: NN: Dearth of musical postings
   Date:  Sun, 14 Oct 2001 07:58:17 -0700 (PDT)
   From:  Martin Jack (gatesuk@yahoo.com>

I'd add Bob Dylan's 'Love and Theft' album to John's
mix there.  Although I've only heard snippets, I like
the blend of country and blues which is decidedly more
upbeat, in terms of rhythm, than the gospel echoes of
'Time Out of Mind'.  

btw I'm off to see Nanci in Canterbury tomorrow, since
I'm a student at the university here.  I hope to see
any Nanci Netters there, sorry if I appeared to be
flaming over certain issues.  But when it comes to my
friends, I don't like any underhandedness going on.  I
speak honestly and bluntly when I don't like
something; but its better to ruffle some feathers
straight out rather than letting the ill-will fester
off-list.  That's my five cents anyway.  I dont put
Nanci on a pedestal, as some have suggested; I just
think there are more important things to talk about
than off-the-cuff remarks about what Nanci says about
Madonna, etc.  So in that spirit....

I'm looking forward to tomorrow, and especially seeing
her do 'Shaking out the Snow' as news of her live
version excites me, lol.  

Martin
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Subject: NN: Re: Dearth of musical postings
   Date: Sun, 14 Oct 2001 17:07:21 EDT
   From: BMiller224@aol.com

John, I haven't been getting any new music because I'm afraid that 
they might contain "backward-masked" messages from terrorists.

For instance, the CIA discovered that if they played last week's 
taped message from Osama Bin Laden backwards, you could hear him 
saying, "She - looks like - Laura Palmer - doesn't she?"

And speaking of *Twin Peaks* - still the greatest TV series ever made - 
director David Lynch's new movie *Mulholland Drive* was just released 
in this area.  It has more of the *Twin Peaks* feel than any of his 
movies I've seen since, of course, *Fire Walk With Me*.

The story is a Los Angeles detective story.  It's sort of like what 
you might expect if Raymond Chandler and William Burroughs had 
collaborated on the scripts for *The Sopranos*.

Bruce Miller
Oakland CA
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Subject:  Re: NN: A Real World Out There
   Date:  Fri, 12 Oct 2001 15:06:19 EDT
   From:  Brimpls@aol.com

jerzeejeff@yahoo.com writes:

(( IMHO far too
 many Nancinetter's take themselves far too seriously,
 and engage their little typing fingers way too fast,
 responding to, and getting bent out of shape by
 unsubstantiated 2nd hand information, speculation, and
 half-truths.  Along with that there are just too many
 cry-babies obsessing over minutiae and irrelevant
 details that in the whole scheme of things just don't
 matter.   There is a real world out there and I think
 that we should focus a little more on that, rather 
 than being a bunch of Clocks without hands  just
 ticking the time away. >>
 
Hi Paul (jerzeejeff),

That was an interesting story about the Hole in the Wall.  How many decades 
ago would that have been? It's hard for me to remember a time when Nanci 
would have had a difficult time assembling an audience. Was it the '70s or 
'80s? and what town? Nashville or Austin? I think I need to relearn my Nanci 
history/chronology.

Anyway, I am glad you stopped lurking and resumed posting, but I sincerely 
don't understand the paragraph I reprinted from your post, above. Are you 
saying that we should live more in the Real World and post less often? Are 
you saying that the quality of NNet posts isn't up to some standard you have 
set for us? (in which case it feels to me like you were reading and 
critiquing the posts in your mind, not posting yourself, but judging those of 
us who do post, and that seems petty to me and does rather hurt my 
feelings)--

I tried, but I just don't understand your point.

But I did like the story, thanks--nice to "meet' you,

Sabrina in Mpls., where the fall colors have been beautiful this week, and 
that's the Real World! 
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Subject: Re: NN: Come sit next to me 
   Date: Fri, 12 Oct 2001 16:53:46 -0400
   From: "The Kimbros" (kimbroj@charter.net>

Nice to hear from you again, Paul.  I think it's great that you've pointed
out that Nanci comes from what many would consider a gritty background.
That's the way it is with folk music.  You learn your chops playing in dives
and out of the way "hole in the walls" and kick and scratch for everything
you get.  You learn to deal with hecklers and other crowdidiots by meeting
them on their own turf and returning their vocal barbs.  There's no way to
stay above it because, by nature as a folk musician, you're part of it. As
you've pointed out, there were times when I bet it seemed to Nanci that more
people hated her than loved her.  So you know, right or wrong, I kinda see
where she's coming from with comments about pop's golden girls.

Mark me down as one of those who occasionally takes himself too seriously
blah, blah, blah, but hey, I get over it! ;-) As a mailing list veteran I
know that anyone brave enough to put their thoughts out into a public forum
for a thousand people to read just might as well prepare to have someone
disagree with them.  Just like in the performance arena, some people are not
gonna like you.... some will love you, others will hate you, and some might
even write your name on virtual bathroom walls.  But, as in performing,
there just might be one person across a noisy, smoke-filled room that makes
a connection.  That's what makes it worthwhile.

Now, about that Imus idiot..... thar's the flame fodder in your message!
You can kiss my *** for bringing him up.  (big s.e. "you asked for it" grin>

-Shawn

(http://mountainsoul.cjb.net> Live Webcast, Oct 21, 3:00 PM
(http://www.wdvx.com>

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Subject:  RE: Re: NN: Come sit next to me
   Date:  Sat, 13 Oct 2001 14:35:10 -0400
   From:  kjohns2001usa@netscape.net

>Oh by the way.........  some kind soul on this list
>introduced me to the whimsical lighthearted musical
>musings of Deirdre Flint.  Whomever you are I say
>THANK YOU. Everyone needs to go to MP3.com and
>download her cheerleader song, and The BOOB FAIRY.  

I will accept your thanks, and add that the songs on the album 
are just as good as the ones previewed on the mp-3 site.  
I am wondering if I should print out the kind soul remark and put
it on my wall...I do believe that this is the first time I have 
ever been referred to as a kind soul...and I kinda like it.   ;-)
Best,
DJ
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Subject:  NN: Shaking Out The Light Beyond These Woods
   Date:  Sun, 14 Oct 2001 22:57:51 +0100
   From:  "Mike Barrett" (mikebarrettuk@hotmail.com>

I was  pleased to learn that I'm not entirely alone in my opinion on the
song, but it's okay, I'm not going to continue pouring praise on "Shaking
Out the Snow".  It's by far the best track on CWH, so there's really nothing
more to be said on the subject is there?    :)

I accept that not everyone has the same tastes, and in the past I have also
bemoaned the apparent lack of appreciation of the album "There's A Light
Beyond These Woods".  I've been listening to it again today, and I can't
understand why it is not more highly thought of - all of the tracks are
excellent, and there are some real stand outs.  "West Texas Sun" in
particular is a classic, a song that in 1980 Nanci said was the one she was
most proud of, and her version of the album's title track is for me superior
to the re-recording on LSSOM - the simpler arrangement and lack of harmony
vocals are to my mind more effective than the later, more commercial
sounding cut.

But there are certainly some under-rated gems in this collection - "John
Philip Griffith" in particular is a wonderful four minute character study
that really familiarises you with the individual concerned, a man who's "out
there in the cold, twenty years away from home", and much the same can be
said of "Michael's Song" about "the man who sings the world a smile,
without a soul to share his sorrow". Then there's "Alabama Soft Spoken
Blues", haunting and melodious - "Dallas in the rain and I was dreaming".
Lovely songs with memorable lines that stay in the memory for a long time.

The two non-Nanci songs are very good too - "Dollar Matinee" is another of
those tracks that I didn't think much of at first but the humour and the
performance really grow on you, and the fine "Montana Backroads" is a
bitter-sweet take on getting older but with a differening viewpoint to "John
Philip Griffith".

If someone produced this as a debut album today, we'd be raving about it.
As it is, it's consistently overlooked, never gets out of the bottom three
or four in album polls, and is probably regarded by many people as
"essential" only so they can complete their collection.   Part of the reason
for this may well be that the ensuing albums were so good, but judged solely
on its own considerable merits, "There's A Light Beyond These Woods"
deserves much more recognition than it seems to have received.

Or am I out of step again?  Not that it'll change my views  :)

Mike Barrett

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Subject:  Re: NN: Shaking Out The Light Beyond These Woods
   Date:  Sun, 14 Oct 2001 23:57:43 EDT
   From:  Tricia9999@aol.com

mikebarrettuk@hotmail.com writes:

> Or am I out of step again?  Not that it'll change my views  :)

Maybe, but I'll join you there.  I go back and forth between TALBTW and PIMW 
as my favs. And I wasn't even there at the start of Nanci's career.  

Tricia
and I like Shaking Out... too, although CWH hasn't overall 
grabbed me liked so many others.

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Subject:  Re: NN: Shaking Out The Light Beyond These Woods
   Date:  Sun, 14 Oct 2001 22:10:08 -0700 (PDT)
   From:  Reid Mitchell (reidmitchell@yahoo.com>

--- Mike Barrett (mikebarrettuk@hotmail.com> wrote:
> Then there's "Alabama Soft Spoken
> Blues", haunting and melodious - "

Co-written by Mary Margaret - a.k.a. Maggie - or has
my memory failed me?  

Reid Mitchell

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Subject: Re: NN: Shaking Out The Light Beyond These Woods
   Date: Mon, 15 Oct 2001 15:30:57 +0000
   From: "Mike Barrett" (mikebarrettuk@hotmail.com>

>Co-written by Mary Margaret - a.k.a. Maggie - or has
>my memory failed me?

Quite right - and the same Maggie Graham is also credited with harmony 
vocals on the album - presumably she's singing backing on this song.

Mike Barrett

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Subject:  Re: NN: Shaking Out The Light Beyond These Woods
   Date:  15 Oct 2001 22:37:54 +0000
   From:  "Matt Bloomfield" (mailm@tthewb.u-net.com>
 
*Mike Barrett* wrote:

> I was  pleased to learn that I'm not entirely alone in my opinion on the
> song, 

You mean there's two of you? :)

> I accept that not everyone has the same tastes, and in the past I have also
> bemoaned the apparent lack of appreciation of the album "There's A Light
> Beyond These Woods". 

(snip>

I have to agree with your comments.  This is one of my favorite
albums, I think if I had to pick one Nanci song to take to a desert
island it would be Alabama Soft Spoken Blues.   It eclipsed Wing and
the Wheel as my all time favorite the first time I heard it.

I love the whole album and I too am surprised at how little we hear of
it.  Perhaps because, like a lot of the early stuff, it can be
difficult to track down? 

> Or am I out of step again?  Not that it'll change my views  :)

No, you're right this time.  And you've almost redeemed yourself for
your SOTS comments :)

Matt

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Subject: Re: NN: Shaking Out The Light Beyond These Woods
   Date: Mon, 15 Oct 2001 23:04:29 +0100
   From: "Mike Barrett" (mikebarrettuk@hotmail.com> 

Matt,

Do I really have to take this abuse from someone who can't even post the
right songs from a concert yesterday?   :)

Mike

P.S. Glad you enjoyed the show, and even gladder to detect a mellowing in
your attitude to a certain song......

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Subject: Re: NN: Shaking Out The Light Beyond These Woods
   Sent: Monday, October 15, 2001 7:09 PM
   From: The Kimbros (kimbroj@charter.net>

Yes, yes, yes!  TALBTW is easily my fav, always has been. IMO, it's American
 folk music at its very best and I like every cut, especially, IRJ and ASSB
(the first two).  As an FYI, Nanci recorded this album on two tracks, no
dubs. (A mic for her guitar, and one for her vocals.) Compare that to the
40+ track recordings some artists now use, and it makes it even more of a
B.F. Deal.

Warm Regards,
-S
http://mountainsoul.cjb.net

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Subject:  Re: NN: Shaking Out The Light Beyond These Woods
   Date:  Tue, 16 Oct 2001 07:09:42 EDT
   From:  Catelaw@aol.com

mailm@tthewb.u-net.com writes:

> No, you're right this time.  And you've almost redeemed yourself for
> your SOTS comments :)
  
And Matthew, your comments on Alabama Soft Spoken Blues have ALMOST redeemed 
your inability to appreciate Nanci's heart-wrenching performance
and thematic triumph that is Shaking Out the Snow.  Tra-la-la. ;)

What a boring world it would be if we all liked the same thing.  We'd all
be standing in line, all the time for something like, hmmmm, chocolate
ice cream!

I'm with you, Mike.

Cate, in Atlanta

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Subject: NN: A bad thing (No NG) 
   Date: Tue, 16 Oct 2001 07:16:44 -0500
   From: Sarah Wrightson (sarahwrightson@vincebell.com>

I suppose I've mused before at that time 25 years ago in Texas when
Nanci et al got their start.  We miss so much that is good already, with
the lock the "biz" has on the game.  Can you imagine what we'd miss if
clubs didn't let the young Ms. Griffiths learn their craft at the joints
in Whatever-Town, USA?

Oh, I get so tired of club owners saying they are in this for the music.

Baloney.

Sarah

Pay-To-Play Comes to Austin

>Today's Austin American Statesman (Michael Corcoran's column) announced that
>Maggie Mae's on 6th street plans to "experiment with a policy that requires
>bands to put up a deposit in order to be booked".
>Club owner Bill Shea said the band's would get their deposit back if they
>drew enough people.
>The Federation of Musicians has seen this happen in California where it has
>now evolved into a situation whereby in many cities all the groups have to
>pay the clubs to play.
>As we meet tonight at Antones to celebrate the enormous economic impact
>music has on the City of Austin, let us not forget that it is the musicians
>who make this music and therefore, it is our duty, to protect their rights.
>I urge all of you to write or call Bill Shea at Maggie Mae's and let him
>know we will not tolerate this in Austin, Texas. The Telephone Number is:
>478-8541. Their Fax No. is: 472-1764.
>Also, forward this message to your e-mail list (especially other musicians)
>and encourage them to
>speak out against this.

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Subject: NN: RE: Pay-To-Play Comes to Austin
   Date: Tue, 16 Oct 2001 20:18:32 -0400
   From: "Ken Stiffler" (ksmsc@kmsx.net>

Does anyone know what sort of dollars we're talking about here? What
musician, just starting out, has even a few dollars to spare for this sort
of thing? Especially if they're touring around, getting a bit of success
under their belts and happen to hit a couple of bad turnouts in a row where
they lose their deposit?

At first glance, this sounds pretty asinine to me.

Sure, I understand the owners have to make money to stay in business. But
they aren't going to pay an unknown (to their customers) as much as a known
quantity, so they're not going to get burned as bad. And it's part of the
owner's job to know their customers and their tastes well enough so they can
book musicians that are likely to draw some business. If the owners can't
put that much effort into it, then it's just as well they go out of business
and leave room for someone down the street who does care enough to make a go
of it.

And yes, I understand that the club/bar/restaurant business is hard to
succeed in at best. But this just strikes me as biting the hand that feeds
you or maybe killing the goose that laid the golden eggs (or maybe in this
case, fools-gold eggs, but you get the idea).

My personal view is that the suggestions made in the article don't go far
enough. If the first venue to start the experiment gets a total boycott,
maybe the whole idea will fizzle out.

I'd be curious to hear more details from those in the know about how all of
this works (or doesn't work).

Ken

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Subject: NN: Re: RE: Pay-To-Play Comes to Austin
   Date: Tue, 16 Oct 2001 22:39:53 -0400
   From: "The Kimbros" (kimbroj@charter.net>

Ken --

I've seen this kind of thing before and it's not that uncommon. Usually the
deal is that the band puts up a guarantee against the door.  For example,
the owner wants to make $300.00 for the night from the cover charge.  The
band agrees to pay the difference if they don't bring in that much, and they
usually get to keep whatever they draw over it.  A lot depends on the
popularity and size of the venue and whether or not a band has a following.
I have known some acts who are willing to do this for "exposure."  Of
course, it's important to note that people have died from exposure!

All my best,
-Shawn

http://mountainsoul.cjb.net
Webcast This Sunday, 3:00 PM:  http://www.wdvx.com

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Subject: Re: NN: RE: Pay-To-Play Comes to Austin
   Date: Tue, 16 Oct 2001 22:00:58 -0500
   From: Sarah Wrightson (sarahwrightson@vincebell.com>

Ken Stiffler wrote:
> 
> I'd be curious to hear more details from those in the know about how all of
> this works (or doesn't work).

Ken, Pay to Play has exsisted in the rock 'n' roll clubs in California
for 10+ years and is now leaking out to other parts of the country.  It
varies as to how it is carried out:  the band has to purchase tickets in
advance and then sell them to friends, or commit to an amount and in one
well-documented case when they didn't have a big enough draw to cover
that amount their instruments were confiscated.

There are also a large percentage of clubs who get away with it by
saying they won't guarantee you anything, and you have to pay the sound
person and the door person (maybe $50-$100 total).

This is a far cry from the days when the club couldn't afford to
guarantee you something, but you and it (s/he) seemed to be in the same
business together...you shared the risk and the profits, believing a
good product and a good effort would win in the end.  Or they took 20%
of the door, or something along those lines.  Now it is, "What can you
do for me?"  Not, "How can we possibly make this abusrd thing work for
our customer/your listener and not be worse off afterwords and a
wonderous time be had by all?"

As I said on another list some of you are on, house concerts seems to
fill the void for many performers...but the burden is 200% on the
concert giver in that case as they rarely ask anything.

Sarah W.

-- 

http://www.vincebell.com
The new CD:  Live In Texas

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