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| FPM C10 |
quote:
Saint Sway wrote:
sounds like the same idea as the Hayseed Dixie AC/DC bluegrass album
theres a whole series as of the "Picken On:_________" bluegrass tribute albums. Pickin On The Dead. Pickin On Zeppelin. And, yes siree Bob, theres even a Pickin On The Crowes.
There are TWO "Pickin' on Phish" albums.
I'm waiting for the "Pickin' on Einsturben Neubauten" album to come out. |
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| monkey_man |
Willie Nelson
Junior Brown
that chick that sings "all my ex's live in texas" |
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| SheRat |
quote:
mac_daddy wrote:
and for the record, donna the buffalo would be much closer to newgrass than they would be to alt country...
speaking of alt country, hank3 is doing the sunset jct this year, along with i see hawks in la and dave alvin...
Yeah, well, Sway, in some other thread, about the same topic, so who knows WTF he started a new one for, was trying to argue that the Flying Burrito Brothers are outlaw country. So we know his frame of ref.
Hey! mac_daddy! We're gonna be in LA soon---you should come party!
[Edited by SheRat] |
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| Saint Sway |
if I remember correctly, your "frame of reference" was that Gram was "hippy music" and sounded like the Dead. |
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| SheRat |
quote:
Sir Stonesalot wrote:
He's a small list of some countrified stuff that I dig.
Johnny Cash
Hank & Hank III
Waylon & Willie
Robbie Fulks
Drive By Truckers
The Devil's Own
Patsy Cline
Blue Mountain & Cary Hudson
http://www.myspace.com/thedevilsown
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| SheRat |
quote:
Saint Sway wrote:
if I remember correctly, your "frame of reference" was that Gram was "hippy music" and sounded like the Dead.
You dipshit. Don't misquote people when I can go back and fucking retrieve exactly what I said.
http://www.novogate.com/board/968/224614-1.html
Besides the fact that the FBB were in fact an outgrowth of the freakin' Byrds, thus confirming my ear for that damn HIPPIE sounding jangly guitar work the Byrds freakin' invented, OUTLAW COUNTRY comes not from rock n' roll way, but from people rebelling against the NASHVILLE/Grand Ole Opry system. It started when Waylon refused to use studio musicians, who literally played by numbers, and wanted to use his own band.
But whatever, dude. Keep talking smack.
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| Saint Sway |
Gram made one album w/The Byrds: Sweetheart Of The Rodeo. It was a departure - a country rock record that should not be confused with their previous sound.
The point I was making in the previous thread was that you can hear the common thread between Waylon's music and Grams. And when I think of outlaw country, in addition to its founding fathers - Willie, Waylon and Kris Kristofferson - I also think of its offspring - from Gram to Steve Earle on onward. Musically and spiritually theres a lineage there. You can label their music with any title you want - Waylon's "Outlaw Country" and Gram's "Country Rock" or "Progressive Country" - but to me, their inspirations both came from the same country artists that came before them and their beliefs - about production and simplicity and dedication to stripped down country roots combined with their "outlaw" lifestyles help shape their sounds in similiar molds. But thats just my opinion.
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GRAM PARSONS
The doomed poster boy of country rock. He was one of the first of his generation to see no problem with loving George Jones as much as the Rolling Stones. His tenure with the Byrds resulted in one of the first country rock albums - Sweetheart Of The Rodeo. His legendary status was cemented by an early demise, leaving behind only two classic solo albums, both featuring young protegee, Emmylou Harris.
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GRAM PARSONS
Gram was well known around Los Angeles in the late 1960's, but not until he joined up with The Byrds in 1967 for their "greatest" release Sweetheart Of The Rodeo did the rest of the world take notice. Byrd headman Roger McQuinn needed a keyboard man, but he got a lot more. Soon Gram had written the majority of the new album, helping to create a new blend of Roll 'n Roll and Country Music. Some called it Progressive Country, others say it saved Country music from the grasp of Nashville (overproduction & violins). After a dispute with McQuinn about touring in South Africa (due to its segregation), this southern boy left the band before the tour. When they returned Chris Hillman (along with Chris Ethridge and Sneaky Pete Kleinlow) formed the Flying Burrito Brothers with Gram, creating a sound that changed the World. Songs written by and the style of the true legends of country music were evident in Gram's future works. Willie Nelson credits Gram with opening the ears and minds of America's youth to country music and allowing him to achieve the recognition he so well deserves.
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OUTLAW COUNTRY
Back to a Hard Country Sound
While some believed that rock & roll killed hillbilly music, others seized the moment to liven up their country sounds with inventive rhythm and harmony. Ray Price added a "shuffle" beat to his honky tonk sound, while in Bakersfield, Buck Owens fashioned a sound that borrowed from Elvis and other rockers. By the early 1960s, hard country was established as a counterpoint to the Nashville Sound.
The Era of The Outlaws
Ín the 60s, many traditional country performers met the changing times and culture head on, revolting against what they considered to be the hidebound methods of Music Row, earning the title of Outlaw.
At the center of the outlaw movement was Willie Nelson who by 1968 had grown frustrated with Nashville's resistance to his more personal music approach. He left Nashville for Austin, where he began his annual Fourth of July Picnic and Music Festival. Other singer/songwriters such as Kris Kristofferson and Waylon Jennings were similarly disenchanted and followed. They had a roots approach to the music which appealed to hardcore country fans as well as those on college campuses. The album Wanted: The Outlaws by Waylon, Willie, Jessi Colter and Tompal Glaser, released in 1976 became the first country LP in history to sell one million copies.
In the late 1960s, Gram Parsons along with The Byrds, Flying Burrito Brothers and Emmylou Harris put out songs with traditional country themes with a rock beat. |
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| glencar |
quote:
SheRat wrote:
You dipshit. Don't misquote people when I can go back and fucking retrieve exactly what I said.
http://www.novogate.com/board/968/224614-1.html
Besides the fact that the FBB were in fact an outgrowth of the freakin' Byrds, thus confirming my ear for that damn HIPPIE sounding jangly guitar work the Byrds freakin' invented, OUTLAW COUNTRY comes not from rock n' roll way, but from people rebelling against the NASHVILLE/Grand Ole Opry system. It started when Waylon refused to use studio musicians, who literally played by numbers, and wanted to use his own band.
But whatever, dude. Keep talking smack.
LOL He's a loooooooooooooooooooooooooozer. |
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| SheRat |
Your quotes only support my point. The fact of the matter is that an "outlaw" does not exist in a vaccuum--in order to be an outlaw, you have to be in opposition to something.
The term "outlaw country" applies to those tradtional country musicians who were rebelling against that specific tradition.
Therefore, even without the varying and highly subjective "flavor of music" discussion, Gram Parsons, whether he is with a second-generation Byrds band or on his own, cannot be outlaw country because Gram was never a "traditional country" musician.
One could make an argument that the Outlaw Country music ended up meeting Gram's in Bakersfield--but that doesn't mean he's outlaw country.
[Edited by SheRat] |
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| Saint Sway |
I get what your saying SheRat.
I just think the degrees of separation aren't that far off.
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| nanatod |
quote:
Saint Sway wrote:
theres a whole series as of the "Picken On:_________" bluegrass tribute albums. Pickin On The Dead. Pickin On Zeppelin. And, yes siree Bob, theres even a Pickin On The Crowes.
The Pickin' on Panic CD made me change my opinion favorably about Widespread Panic. |
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| nanatod |
quote:
Sir Stonesalot wrote:
He's a small list of some countrified stuff that I dig.
...
Robbie Fulks
...
There's more, but that's it for now....
I enjoy just about every country, alt-country, and cow punk band listed by all of the people who have posted in this thread and the others mentioned. However, I have absolutely no patience for Robbie Fulks.
As I live in Chicago, Fulks is always playing some festival or other show, usually opening for a musical act I really want to see. Once it was Guy Clark. Another time it was Ray Price. Once it was a show christening a new outdoor pavillion with a multitude of jazz, blues, country, and other acts.
Each of those times, Robbie acted "too cool for the room." In between songs, he'd attempt unfunny jokes and stage patter. He'd have a smug expression on his face. He'd pretend that his songs were as important as those of say, Johnny Cash.
Maybe he doesn't come off that way on record. I can't see myself spending (more) money that goes into his pocket. But live, Robbie Fulks irks the shit out of me. |
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| FPM C10 |
Oh, man. I'm exactly the opposite. I didn't care much about Robbie one way or the other until I saw him play in a friend's living room. I walked out a fan for life. Of course that was a bit different from seeing him play a hometown venue - he was surrounded by strangers, most of whom knew nothing about him, and maybe he thought he needed to be impressive in order to avoid an embarrassing situation. For whatever reason, he was absolutely brilliant. I haven't found any of his albums as satisfying as that performance was.
My favorite part was when he asked if there were any requests for covers and we all yelled out songs we wanted to hear and he took like two seconds to think about it and then played a medley of every song anybody had asked for.
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| Larry Dallas |
I vouch for the Yayhoos. They're a combination of the Georgia Satellites' Dan Baird, Steve Earle's guitarist Eric "Roscoe" Ambel, bassist Keith Christopher, and drummer/great songwriter Terry Anderson.
Their new cd "Put the Hammer Down" can be found at their website as well as their kick ass debut "Fear Not the Obvious." Check out their website as I think you can listen to each cd.
"Put the Hammer Down" features some great original tracks as well as a few covers. One of the great covers is "Love Train" by the OJays. Their first cd has two of the greatest rock'n'roll songs of the past five or so years in "What are We Waitng For" and "Oh, Chicago." The Stones could stand to listen to these in order to hear what they spawned. There's also a kick ass cover of ABBA's "Dancing Queen" to end the record.
Terry is a friend of a friend and he has his own band, Terry Anderson and the Olympic Ass Kickin' Team based in North Carolina. Their new cd is very good as well and Terry's a huge fan of the Faces. He also wrote the top 40 hits "Battleship Chains" for the Ga. Satellites and "I Love You Period" for Dan Baird.
If you like Stonesian rock, then you'll love both of these bands. I'll be happy to send anyone a starter kit for these bands if you're interested.
http://www.yayhoos.com/news.htm |
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| Saint Sway |
quote:
Larry Dallas wrote:
I vouch for the Yayhoos.
Their first cd has two of the greatest rock'n'roll songs of the past five or so years in "What are We Waitng For" and "Oh, Chicago." The Stones could stand to listen to these in order to hear what they spawned.
Yayhoos rawk. What a frickin fun band!
the two guitar attack is very Stonesy. Not too many bands around these days playin those dirty Keef riffs.
theres a band called The New Heathens. They recorded their album at Roscoe's studio and have a great cover of The Yayhoo's "For Cryin Out Loud" on their record. Yayhoo's Keith Christopher has even sat in with them at a bunch of gigs.
ck it out here:
www.newheathens.com |
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| SheRat |
If you like the Yayhoos and Robbie Fulks, and well, I guess anyone on the Bloodshot roster, click on the chick with the bottle and the tits I posted above and order a record offa cdbaby.
SS, 2000Man and pdog will vouch for me. It's a fucking good record.
Anyone like Scott H. Biram?
[Edited by SheRat] |
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| Saint Sway |
53 posts and somehow no mention of Lucinda Williams. Thats not right. |
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| SheRat |
quote:
Saint Sway wrote:
53 posts and somehow no mention of Lucinda Williams. Thats not right.
Almost nothing sucks about Lucinda except that I can't hardly see her live anymore without standing in a room with a bunch of assholes who would just as well be watching Dave Matthews.
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| Saint Sway |
sadly it seems like the DMB baseball cap frat crowd is stumbling their way into every bands shows these days. Its like a Lemmings to the sea of assclowns. |
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| SheRat |
quote:
Saint Sway wrote:
sadly it seems like the DMB baseball cap frat crowd is stumbling their way into every bands shows these days. Its like a Lemmings to the sea of assclowns.
Same for DBT. And also, the alt-contry shows in SF are long gone--it's now like, a bunch of frat boys thinking it's "funny" (a la DLR) to play country songs and then their fucking asstwat friends show up to serious drinking bars with children and we're all supposed to "watch it" because they spawned? Fuck you, breeders, get your kids out of the bar. Guess what? When you spawn, you don't get to go to shows anymore unless you get a sitter.
Gr. Sorry. I'ts pissing me off. Good bands are having to play with these other crapass bands and because they're dillettantes, they don't even know that good manners is to stay for at least a couple songs of the mainliner's show. T |
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| Ronnie Richards |
the greatest female country singer of all time - Emmylou Harris - surely deserves a mention.
"At the Ryman" is a particularly fine record and highly recommended to newcomers. |
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| polksalad69 |
I wouldn't call III's cuntry alt or his death/thrash cow punk but what else ya gonna call it?
I wouldn't call the Waco Brothers alt either, maybe what they've been called, insurgent cuntry. yeah, the bloodshot bands are good.
Hiram Biram's cool too. Lotsa good alt/insurgent/non-mainstream/roots americana type stuff out there. |
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| CraigP |
Johnny Cash. Even better, the Stones "country" numbers... |
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| Ten Thousand Motels |
Texas troubadours, guitar slingers and weirdos
Jordan Green
News editor
Yes Weekly
If Texas politics is a strange, inscrutable animal — who could predict the rise of George W. Bush and Lyndon Johnson, after all? — then Texas music is itself a wondrous and warped thing.
“Keep Austin weird” is the motto of the state capital, a liberal oasis in the vast sea of red that is the Lone Star State.
This patch of ground the size of France includes the delta-like eastern stretches, the central hills, the vast tornado-struck plains of the north and the sun-parched west. The state has incubated its own country, blues and folk music in what amounts to a parallel universe both ahead of and behind the rest of the United States. Throw in the French Cajun influence seeping across the Louisiana state line, and the Spanish language corridos and accordions from the southwest and you have a wild, improbable hybrid.
A handful of progenitors tower over Texas music. There’s Blind Lemon Jefferson, author of “Matchbox Blues,” who emerged from east Texas and set the stage for T-Bone Walker and Lightnin’ Hopkins in the ’20s. Around the same time Bob Wills fused hillbilly music and jazz to create something called Texas swing, plowing ground that would later be bountifully harvested by Willie Nelson, Waylon Jennings and the outlaw country movement.
By the late ’60s, a troubadour named Townes Van Zandt was writing folk songs and playing occasionally with Lightnin’. Van Zandt was the role model for a band from Lubbock called the Flatlanders that included Jimmie Dale Gilmore, Joe Ely and Butch Hancock. Van Zandt was the standard bearer for the next generation of folkies — a cohort that includes Steve Earle, Nanci Griffith and Lucinda Williams. Around the same time the now- late Van Zandt began hitting his stride, a chemically altered dude named Roky Erickson made Texas a centrifugal force in the world of psychedelic garage rock, setting the stage for the weird fun of ZZ Top, the Butthole Surfers and any number of punk bands.
One or more of these intertwining and unique musical traditions have left an indelible stamp on the handful of Texas acts that will grace the EMF Fringe Series here in Greensboro next month.
Most of them will be appearing at Triad Stage. The exception, bluesman Johnny Winter, starts the Texas music run at the Flying Anvil on July 7. Although undoubtedly influenced by Blind Lemon and his lineage, Winter got his start as a teenager sharing a stage with non-Texan BB King at the Raven Club in Beaumont. Winter’s bass player in the ’60s, Tommy Shannon, would later back the late Stevie Ray Vaughan, perhaps the most famous exponent of the Texas blues.
A week later Lee Roy Parnell will hit Triad Stage on July 14. A consummate hybridizer, Parnell managed to make country blues and soul music a seamless expression, and broke into the Nashville scene in the ’90s, but has struggled against the constraints of the Music City’s hit-making machinery in recent years. Parnell started playing the clubs in Austin in the early ’70s, tilling the same fertile soil as Ely, Vaughan and fellow country soul man Delbert McClinton. His new album, Back to the Well, features some scintillating slide guitar and a culminating track that mines the Duane Allman/T-Bone Walker vein of jazzy, effervescent blues.
The third week of July brings back-to-back performances from Alejandro Escovedo and Carrie Rodriguez.
Escovedo, who has just released his first album of new material in five years after recovering from Hepatitis C, draws equally from the Erickson and Van Zandt traditions, and is a true maverick. If he never did anything else, he has the bragging rights for opening up for the Sex Pistols during their legendary and disastrous final concert as a member of the punk band the Nuns. Since then he has also played in the trailblazing cow-punk band Rank and File, not to mention Buick MacKane and the True Believers. His new album, The Boxing Mirror, released on May 2, was produced by his hero, John Cale of the Velvet Underground. Escovedo plays July 21 at Triad Stage.
Singer and instrumentalist Carrie Rodriguez occupies the same stage the next night. A classically trained violinist from a renowned Austin music family, Rodriguez found critical acclaim after recording three records and coming out as a singer with Chip Taylor, the songwriter who penned “Angel of the Morning.” Having recorded with Patty Griffin and performed with Lyle Lovett, Rodriguez leaves little doubt that she can hold her own.
Kelly Willis, who performs at Triad Stage, ends the Texas run of the Fringe Series on July 27. Not quite a native Texan, Willis was born in Oklahoma and moved to Virginia as the child of a military family. Her band Kelly & the Fireballs started playing the clubs in the Washington, DC area in the late ’80s, but with a roots sound that drew from Patsy Cline to the Blasters, it only made sense to relocate to Austin. Nanci Griffith discovered the Fireballs playing at the Continental Club, and a recording contract with MCA soon followed, according to Willis’s publicity package.
Don’t mess with Texas, indeed.
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