Rolling country 2007 thread

yeah, I'm supposed to be writing about Mary Weiss but somehow her peeps won't send it.

still haven't found time to listen to Gretchen, or to this tribute to June Carter Cash I got, featuring the usual suspects: Costello, Paisley, Lynn, Billy Bob Thornton...

did attend to Southern Culture on the Skids' Countrypolitan Favorites. They actually kinda make me like them or at least not hate them (the band, not the mostly cool songs they choose to cover, like T. Rex' "Life's a Gas" and "Tobacco Road" and "Te Ni Nee Ni Nu," the latter which was covered far better by Alex Chilton). But it's still just kitsch and I don't see the point of their devotion. Yes, some of us live in houses and others live in trailers but we all share our martinis on Saturday night and then the most adventurous of us slip behind the barn for a snort of moonshine or crystal or Krystals (no cheese) or a girl named Krystal. Kinda tired shtick.

The Alternate Routes' Good and Reckless and True is a species of overstated country-rock; they also sound like a '90s band like the Gin Blossoms, guitar overload, a singer whose very self-involved tenor reminds me of Rufus Wainwright's (don't think they wear anything but jeans, and they're pictured on the CD cover at dusk silhouetted against the sky, but they do have a song called "California" which isn't as good as Wainwright's song of the same name). Some real nice dynamic shifts and pauses and they get off the occasional good line about how they wrote this song on the back of a coaster. Two or three really pretty, pretty, pretty, pretty good songs (as Larry David might put it), and the whole thing is a mannerism. "Are You Lonely" does effectively balance a relatively dirty-sounding verse with an intriguing chorus. Pretty good. They seem like one of those bands who, if they'd just cut loose and get looser, would be even better, and I do like the way they simulate straining at the form. And to my ears they demonstrate the influence of that Mr. The Edge-style guitar non-chordal conception on country-rock, big heroic quarter notes and a cool harmonic ambiguity I wish they'd go further with.

Oh, and I felt good the other day talking to Pam Tillis, who was nice. My first thought about her new 'un was that it was a direct lift from those Gram Parsons records. First thing she said was that she was consciously emulating the sound and feel of GP and Grievous Angel. Has anyone heard her record of all Mel Tillis-associated songs she did a few years ago? I went back and listened to some of her '90s stuff like "Cleopatra, Queen of Denial." Pretty, pretty, pretty....

the mary weiss isn't particular country, but it is particularly good. not to sound like an old man or anything, but it puts all of the current "-ettes" bands to shame. fave songs so far: "stop and think it over," "i don't care."

liking a lot: tim mcgraw single "last dollar (fly away)," which sounds particularly joe walsh-y.

The song I'm liking most on this Tim McGraw album is "Put Your Lovin' On Me." It sounds like it might be a typical "Hard Day's Night"-style song about getting' some good lovin' at the end of a hard workin' day, and it almost is. But there's something about the fact that it's about 70% sorrow and only about 30% sensuality that intrigues me. For somebody whose audience is predominantly female, McGraw is pretty good at picking these male angt songs, of which there are several more on the record.

i went to a fundraiser tonite, for a xian ranch, with a singer, who was the worst hat act i had encountered yet, no modulation, fake drums, and mushy stories about the dead. shiver.

Just picked up a rentacar for a week-long road trip down through Delaware/Maryland/Virginia and back up, and gave cursory listens on the way back from Manhattan (where Avis is) to Queens (where my apt and luggage is) to both Jack Ingram and Daniel Lee Martin, and they were both sounding better than I expected. Ingram actually has more than a little squireely Tom Petty powerpop in his sound, and the Hinder-cover cheating song is okay enough that it makes me wonder if I should go back and listen to Hinder's version, and he does this funky Eagles-I-think-riff rocker where he replaces the word "fuck" with "love" all the way through. Martin's more the rugged outdoorsman, apparently, but I really like the rocker about the girl born into a family whose business is moonshine, and the outdoorsy anthem about why tall buildings in cities are why God made rivers, and the song about it depends which way you look at it with the dark hard opening riff that reminds me that Bob Dylan's "Hurricae" was pretty dark and rocking song, and the pastoral introduction to the John Denver cover which I haven't otherwise listened to yet. First few songs on post-Rancid Poguesalikes Filthy Thieving Bastards' new CD sounded promising too. So I guess I'll take all three of those on the road with me (along with enough other CDs to fill my carrying case.) Kings Of Leon, whose new album I decided didn't sound absolutely horrible but also didn't sound very good (lotsa Counting Crows in it, some early U2, some fake reggae, not a pinch of the Southern and/or garage rock people claim -- okay maybe a speck of Strokes?) will not make the cut.

Didn't know there was a new Gretchen but thought her version of "The Midnight Oil" ruled the Mandrell comp, had Gretchen's force without her jabbing elbows. I also quite adore the Eurobosh rave happy hardcore make 'em mokum crazy neofreestyle or whatever it is remix of "Redneck Woman" which I assume is unauthorized and not on the new album or everyone would be swooning or sputtering over it already.

Only've heard the the MySpace tracks and 30-second clips of the rest of the Mary Weiss. Her voice has adult richness, but it also seems a lot more rigid than that of the wailing teen we formerly knew her as. Maybe this is a defensive reaction on my part when rehearing a former flame, to immediately think "Oh, it's not that good" - to get a jump on my own potential disappointment and therefore not really feel the disappointment. So I may take a while before reaching a balance in my appraisal, but I am disappointed. "Break It One More Time" does seem a strong song but weighed down by the singing.

Read in the NY Times that "Last Dollar (Fly Away)" was written by Big Kenny; think it would make more sense for him to have sung it. The words still throw me, maybe 'cause I want for something that evokes both "King Of The Road" and "Like A Rolling Stone" to simultaneously be footloose and care-worn, so an opportunity seems lost.

that makes sense about "last dollar." I'm sorry, but I think it's one of the worst and most annoying songs I have ever heard. I'm not a Tim McGraw fan at all, find his voice dishonest and wheedling. And of course, I'm jealous he's got Faith...
catching up after a month, it seems, of stuff designed to keep me from doing what I need to be doing, which is listening to music. I did listen to the new Wilco, which is country-rock, right? I've never been a big fan, but it works. They imitate someone imitating Dr. John on one tune, and there are plenty of cool guitar solos and Tweedy seems to have a sense of humor about his moroseness. Still find myself unmoved by Elizabeth Cook's new one; "Sometimes It Takes Balls to Be a Woman" is kinda great, the cover of "Sunday Morning" is a good idea but I mean they should've done "Lonesome Cowboy Bill" off Loaded.

The Alison Krauss alb is streamed over on the AOL Listening Party (but so's the new Timbo, so that's where my ears have been).

"What Light," the one song I've heard from the Wilco, makes me sneer at its dull thudding platitudes, and it needs something more tuneful/musical in the sound itself - I mean, it's designed so that you have no choice but to attend to the platitudes - but the singing is reasonably bearable and the playing good. (Haven't totally made up my mind about it, actually, since the platitudes touch on, like, real human issues.)

(Timbo just quoted Kurtis Blow's "The Breaks.")

thanks for the tip on Krauss. as for Wilco, seems like Tweedy has developed some sense of humor about his sad-sack-ass life. his voice is full of self-pity, but someone knows how to construct music that's interesting. I swear, Sky Blue has moments where they sound like the Move, those big lumbering riffs and ridiculous drum fills, just like Bev Bevan on Shazam!. but a lot of the songs start off as strummy folk shit, and I thought, oh, god, this is awful, but then it turns into something else, they even do some twin-guitar moves. so I dunno, he took all his money and bought every Wishbone Ash record and sat around smoking better pot than we can get here these days.

and since I'm here, I thought I'd mention that the Mary Weiss record is a dog, retro, and the songs and the singing just lie there inert. terrible production values. she looks good, though, I mean she's nearly 60 and she don't look a day over 42, and she sounds exactly like Joey Ramone in drag.

I don't mind the retro on the Weiss (interesting that she'd try to girl groupify a Yardbirds song), but I think you're right, unfortunately. There's some good songwriting, but her singing brings everything down. (Never was a Reigning Sound fan, either.) Maybe if she'd worked hard and resurrected her chops, or used Auto-Tune, this could have worked, 'cause the character of her voice is OK. And she used to sing in tune.

Btw, some very good singers from the original era had trouble staying in tune - Ronnie never had perfect pitch, and Shirley of the Shirelles could go way off - without this hurting their effectiveness. I wonder why it's sometimes a problem and other times not. Hard rock singers can often be good out of tune, but that doesn't explain how the sweet Shirelles managed it.

Wrote this on the teenpop thread (in response to Greg's being puzzled by one of my American Idol posts):

"I Who Have Nothing" is nice - not close to being up there with Carrie covering Tiffany and sounding totally Carrie in doing so; but it was a good version of the song

Greg, I meant that Jordin's "I Who Have Nothing" was a good performance of a good song but not nearly the great American Idol moment that (at least on retrospective evidence from YouTube) Carrie Underwood's cover of Tiffany's "Could've Been" was. Carrie really nailed and wailed the song and made it warm and mature without losing its spark and sounded herself even while venturing off her usual country terrain. I've now listened to a whole hunk of Carrie's idol performances, and "Could've Been" and "Sin Wagon" are my two favorites; I like "Alone" too, which you linked above; she did a reasonable job on "Independence Day" but didn't deliver either the terror or self-righteousness; hard to run up against Martina McBride at her absolute best.

(Also, her song choice wasn't so docile. "Sin Wagon" was one that the Dixies hadn't dared release as a single; and I don't think that in early '05 it was clear that singing the Dixies wouldn't have potentially alienated people in Carrie's future fan base. I wonder if this was on her mind at all, and what the fact that she likes songs like "Sin Wagon" and "Independence Day" says about her, whether there's any kind of statement there. She sang "Goodbye Earl" on pre-Idol demos.)

Oh, I'm wrong, the Dixies' "Sin Wagon" was a single, but it flopped, stalled at 52 on the country charts, I'd guess because of radio station squeamishness.

http://community.livejournal.com/poptimists/342793.html

about the new brad paisley

I joined in on the Paisley discussion over at Poptimists. I speculated that the song's genesis was Paisley listening to one of those bittersweet recalling-my-first-love teen idylls - "Strawberry Wine" and such, meadows and lakes etc. - and Brad rubbing his chin and musing, "What about insects?" I managed to bring in both Taylor Swift (backroads being the setting for sex, implication being that, 'cause she and her lover are teens, motels and homes aren't available) and meth labs (mom-and-pop operations get busted, leaving the field clear for outside interests - vicious big-time operators - to take over; this in regard to the urban-rural divide and the decline of the countryside).

my favorite thing on the new McGraw is probably "Kristofferson," about finding a note from a departed lover and then sitting down and writing it into a song, though it's hard to ignore the irony of it being Tim singing it when he's actually only written like, what, one of his own songs ever? "I'm Workin'" is also great, another topnotch Lori McKenna-penned cut, mostly I just how it avoids an obvious narrative approach and instead feels more stream-of-consciousness in describing the thoughts of a night-shift cop (though I guess it could be a paramedic or something too). I like the funkiness of "Between the River and Me," and "Whiskey and You" is pretty good too even if it's basically the same song as DBT's "Women Without Whiskey" though not quite as stellar.

Guys, sorry I haven't posted in so long. Haven't had much time, energy or attention span to spare, re anything country. But this microview of Elana James' s/t solo debut is up now. As Hot Club's E.Fremerman, she could be great, on this or that track, but the albums and live tapes I have are almost random virtuosity, on her part, and she's almost the whole story with H.C. After the Dylan stint, she's really learned how to sequence, and write: http://www.villagevoice.com/music/0714,various,76272,22.html

This is probably the only place I can mention that Loudon Wainwright III's Strange Weirdos, the soundtrack to upcoming movie Knocked Up, produced by Joe Henry, is really cute and cutting in that LW3 way. Great guest guitar by Richard Thompson.

Also, Edd on Stax50 and Eccentric Soul: http://www.villagevoice.com/music/0713,hurt,76168,22.html

Great to hear about new Loudie, esp. w) R.Thompson again. I'm writing about Andrew Bird now, and he makes me think of Loudon and Rufus, though not so excessive as latter. Any thoughts on A. Bird, anyone? don

Finally, one for those who do like or would like to like or like to like to like Keith Urban (more or at all):
http://www.paperthinwalls.com/singlefile/item?id=653

Don asked me about Bird before. Never heard the guy. So Mark Nevers produced his record, Don? Bird's playing here April 18 with Cortney Tidwell.
Cursory listen to the new Johnny Bush tells me it's something I'm gonna enjoy down the road. He's playing in N-ville May 26 with some of Ray Price's old Cherokee Cowboys, and 6 of the CCs are doing a panel discussion at Country Music Hall of Fame on Saturday, rare video and audio footage, that sort of thing. Not really enjoying much at this moment, since I chipped a tooth last night and I'm set for a visit to the dentist, not feeling too, er, chipper.

Chipped a tooth during that all-night writing session, or was that the night before? Hope you're feeling better. As well as the Wainwrights, Bird is like early 70s Cale,re lyrics that can seem too knotty, but a great way with a melody and arrangements, often enough, even some pop smarts. Lots of music on his site, esp. live sets linked from archives.org, which I've really got to check for other artists. His site:
http://www,andrewbird.net

dang, sorry! a comma instead of a dot, should be http://www.andrewbird.net

My and other people's reviews of Wilco's "What Light" are up at the Jukebox.

Me and Martin talkin' (along w/ Josh and Blood and Jonathan) about Miranda Lambert's "Famous In A Small Town" over in Jukebox.

Okay, back from the road (spent nights in Annapolis MD, Baltimore MD, Shepherdsville WV [Bavarian Inn on the Maryland border overlooking the Potomac!], Harrisonburg VA, Smithfield VA, Chincoteague VA -- more on some of those eventually); here's some real quick shorthand re: country-related stuff and other stuff discussed here listened to on the road, with more on these and more to come later too I'm sure):

Mary Weiss - decided I like the whole album and love none of it, though I do like some of it more than other of it. Most of the criticisms Edd and Frank have stated ring more or less true. Clearly her voice is not what it once was, though it's still....something. Also, she's no longer part of a group, which is probably an issue. And too much of the material tends more toward cabaret torch than girl group, I'd say. And yeah, Reigning Sound were never great to begin with. Though they're not bad.

Martina McBride- I give up on the new one. I called this "interesting" up thread; actually I said even more than that if you want to go back and check. Interesting to think about, I guess I meant. But after I wrote that, no other thoughts came to mind, and no other songs kicked in. Three or four songs are not bad, I guess. The single, "Anyway," is dull. Won't put the album in the sell pile, in case subsequent singles change my mind, but I am not counting it. Until it happens, album is in limbo.

Miranda Lambert -- Favorite song now on new album, which I still love, is "Dry Town," I think. "Guilty in Here" has an outside shot though. Maybe not as rocking nonstop as I thought at first. But close enough. I get Frank's concern about her taking one aspect of her debut and putting conceivably too much emphasis on it. But it was a great aspect! And the new rockers wail all over the new ballads.

Gretchen Wilson - As do hers. I like the new album. Real good rockers and fairly dull ballads, just like on her probably overrated debut and her probably underrated followup album. In 20 years, all three will seem more or less equal, I'm betting.

Neil Sedaka -- New best of drifts into showtune schlock for a couple songs in the middle, otherwise I still love most of it. Laleana said that all her life she'd assumed that a woman was singing "Laughter in the Rain" -- maybe Carole King, who it really sounds like. (Also, who had the hit with "The Immigrant"? It seems quite timely!)

Filthy Thieving Bastards -- "Phony Drunken Poet" is a pretty great opener, but nothing seems to match it after that. Their ominviorousness rhythmwise (blues, funk, swing) is sort of impressive though.

Richard Thompson -- New album has too suprisingly great songs about the war ("Dad's Gonna Kill Me," "Guns Are the Tongues", the latter of which may or may not be about a 19-year-old Iraqi soldider to match the former's possibly 19=year-old U.S. one), plus a surprisingly great song about temptation ("Needle and Thread") and a surprisingly great dear John letter sea shantey about a couple who cheat on each other ("Johnny's Far Away"). Maybe I'd be less surprised if I didn't stop paying attention to the guy two decades ago, though. Am not surprised that there's also lotsa great guitar.

Daniel Lee Martin - Yeah, an outdoorsman, and kinda rugged, but also a sensitive Tim McGraw type. First riff on album is taken from "Freeze Frame" by J Geils. And he covers "Keep Your Hands To Yourself" by Georgia Satellites, as of other country acts before. What is it a country hit when it came out? I know it was a rock hit, but did it cross over?

Jimmie Lee - Okay, I overstated his case a little upthread. But it's still a really fun EP, I swear.

Pete Berwick -- Lacks a voice for slow songs. But his fast ones rock right through their platitudes. Best one is "Ain't No Train Outta Nashville."

Fountains of Wayne -- Never paid attention to them before. Liked them more than I'd have guessed. "I-95" is a pretty great song to drive on I-95 too. If the rest of the new album was as good as that one or "Michael And Heather At the Baggage Claim" or "Seatback And Tray Tables," I probably wouldn't mind that its powerpop lacks the energy of, say, the new Clorox Girls album. I wish they fleshed the sound out more, 10cc or Steely Dan style, like they do in "Strapped For Cash." Still, it's been a long time since I heard a Weezer or Nada Surf album this good. And for all I know, this could be their worst.

Jack Ingram - The adjective I called him before I left was "squirrely," when I compared him to Tom Petty I mean. He's just as often a Sean Mullins type soft rock sap, it turns out, but "Easy as 1, 2, 3" is very 1979 post-pub-rock new wave, and I love "Great Divide" and still love "Love You," and it's not hard to tell why people find "Lips Of An Angel" irresistible, though Ingram sings it lighter and way better than the Hinder dude, who I heard on the radio a couple times and still don't like much. (People at work seem to think Hinder are sleaze-metal throwbacks; is that because of their image or something? They just sound like more cheerless late grungers to me. On the other hand, I actually liked a Nickelback song I heard on the radio! It was called "Animals," I think, and reminded me of one of Stone Temple Pilots faster, catchier hits.)

The new Tim McGraw single about flying -- Still don't have a concrete opinion about this, or about his new album, which I've yet to hear though I hope to, but the one time the song came on the radio I thought whoever mentioned Joe Walshness in relation to it upthread had made a very good point. Which is to say, at least so far, I'd lean toward approval.

(Too sleepy to proofread everything I just typed, which was hardly "quick" I guess. Or "shorthand" either. Feel free to proofread yourself, however.)

Damn, spelled my wife's name wrong! (And wrote "too" when I meant "two," among other gaffes.)

Both Lalena and I liked both of these, though:

Gabe Lopez -- Whole album is bilingual, though the first half leans toward English and second half leans toward Spanish. Both ways, the most blatant tejano/country crossover attempt I've hard in years; if Nashville wants to reach a Hispanic audience, he could very well be the guy, though his sound does tend a bit too much toward '80s countrypolitan, I guess. Two CD covers: One for country record stores and one for Mexican American ones, I guess. I prefer his Spanish singing, since the consonant sounds seem fancier. His post 9-11 song "Evil Wind" is pretty awful in any language, but otherwise, his big idea is on the right track:

http://cdbaby.com/cd/gabelopezmusic

Edible Red -- More new wave than country, I guess, but maybe more country than metal or teen-pop, and at least as country as Holly Beth Vincent I suppose. Either way, new album is solid. (I think I'd heard earlier demos, which didn't impress me as much; I wrote Voice choices about them, maybe, but kinda forgot them afterwards.) "2012" is seemingly an early '80s Rush tribute; that one and "At Hello" and "Better Days" might be my favorites. "Hey Ya" is an Outkast cover, and I'd never have recognized it as a cover of anything if not for the CD booklet:

http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=22167093

first half leans toward English and second half leans toward Spanish

Oh yeah, I didn't explain this -- First and second halves have the same songs! Just sung in different tongues. So the album's sort of a double EP, maybe.

Possibly semi-country oriented thrift store and junk barn purchases in Maryland and Virginia this week (entire list is on recent purchases thread):

Long John Baldry* - It Ain't Easy LP $0.50
Lindsey Buckingham - Law and Order LP $0.50
Jessi Colter - I'm Jessi Colter LP $1.00
Dave Dudley - Keep On Truckin' LP $0.50
Joe Hinton - Duke/Peacock Remembers LP $0.50
Horslips - The Man Who Built America LP $0.50
Horslips - Short Stories Tall Tales LP $0.50
Joy of Cooking - Castles LP $0.50
Lighthouse - One Fine Morning LP $0.50
Hilly Michaels* - Calling All Girls LP $1.00
John Miles* - Stranger in the City LP $1.00
Point Blank - Airplay LP $0.50
Joe Stampley - Red Wine and Blue Memories LP $0.50
B.W. Stevenson - My Maria LP $0.50
John Stewart - Bombs Away Dream Babies LP $0.50
BJ Thomas - Raindrops Keep Fallin On My Head LP $0.50
ZZ Top - Tres Hombres** LP $0.50
(Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP $0.50 (M'Press Records/Onyx Communications, 1986 -- never heard of this before!)

* - I know very little about these artists, but was curious

** - used to own these before; for some reason I stopped doing so somewhere along the line, but now I do again

heard the best of from billie jo spears, and i have no idea who she is,but from the 60s, i would guess,. her blanket on the ground is sexier, racier, and more honest then the ticks song, 35 years later,and mr walker its all over is a nice slab of femminist fuck you.

anyone know abuother

Nope, but she had a track (maybe the blanket one!) on an $2.00 LP comp called Country Crossovers that I was too cheap to buy in Smithfield. Maybe I should have. (Also, what "ticks song"?? I wouldn't expect ticks to be sexy, just kinda itchy.)

as of other country acts before. What is it a country hit when it came out?

as HAVE other country acts before. WAS it a country...

brad paisleys new super creepy lets fuck in the woods tune.

Know nothing about Joe Hinton either (though the Rolling Stone record guide says his biggest hit was a cover of a country song, and compares him to Bobby Bland and Junior Parker, from which I conclude I was right to list him on this thread.)

Joy of Cooking cost $1, actually. Haven't checked to see if it's one of the albums that Xgau loved.

Donnas-like Nashville (and therefore eligible for this thread) myspace band whose demo EP has four okay songs on it that I wish were less generic:

http://www.myspace.com/atomicblonde

Filthy Thieving Bastards...ominviorousness rhythmwise (blues, funk, swing)

Also probably some polka rhythms of either the Slavic or Mexican variety or both; cf: Th' Legendary Shack Shakers (who are probably the better of the two bands) at least as much as Pogues.

I have plenty of thoughts, some of them possibly even coherent, about the spread of meth-lab-type culture out past the cornfields where the woods get heavy (or at least out past Sellersville in Bucks County and into Montgomery County, PA) which Frank alluded to in his Paisley ticks song comments, but I'll have to save them for when I have a couple free hours to formulate them; i.e., probably not in the next couple years. (On a related note, was reading Robert Lang's and Jennifer LeFurgy's Boomburbs: The Rise of American Accidental Cities a few weeks back, 'til I kinda got distracted.)

Xgau on Joy of Cooking (LP I bought gets an A-):

http://robertchristgau.com/get_artist.php?name=joy+of+cooking

AMERICA's Accidental Cities, actually

Actually, the Richard Thompson album is at least as omnivorous rhythmically (and melodically) as the Flithy Thieving Bastards one, if not more so -- everything from reggae to chamber classical to funk to blues to minor-key droning (almost goth metal really) to, in the song I thought might be about a young Iraqi soldier, a sort of middle eastern lilt to both the tune and RT's vibrato. And it never really seems like he's making eclecticism the main point; it's all in the context of his overall Brit-folk thing. (There are a few other performances, besides the ones I mentioned, that I like a lot on the album. Though there are also at least a couple songs where the performances seem so half-hearted that the attempts at cleverness come off annoying.)

Ingram... does this funky Eagles-I-think-riff rocker where he replaces the word "fuck" with "love" all the way through.

Actually, the riff isn't from the Eagles -- it's from Steve Miller ("Jet Airliner," I think.) Which is even better, Eagles riffs in Nashville country being probably somewhat old-hat by this point.

The maybe-middle-eastern-soldier one (where, no matter what nationality the soldier is, he is lured into battle to avenge the deaths of the brother and father of a a woman he's sleeping with; also, he is called "Little Joe"* because his head scrapes the ceiling, I think Richard explains it) also seems to include lyric puns on Suuni (as in "soon he") and maybe Shiite, though those might be my imagination.

*- or John or something

(Most annoying track, probably: "Mr. Stupid.")

And in "Bad Monkey," one of two songs on the album to discuss great apes, Richard says he's not going to go on the rollercoaster with you. The song is quite lively and boppy, a real bounce in its sound, but it makes me miss another amusemement park song by him from a quarter century (!!) ago, when he wanted us to take our chances on the Wall of Death.

One time thru the Tim McGraw record and I think it might be my 2nd-favorite big-label record of the year behind Macy Gray's Big. I know Edd is smarter and more knowledgeable than I am in just about every way but I disagree about McGraw's voice, I think at this point he might be the best male country singer and one of the best singers in the U.S. At least to my poor withered ears.

Yeah, Tim's easily one of the great singers of our time. (Though I've still yet to hear his new one.)

Also interesting on the Ingram CD: "Ava Adele," a spare lullaby, and the brassy closer "All I Can Do."

Some of the better tracks on that Todd Snider collection of demos etc (on Oh Boy) are written with and/or for Ingram, and somebody blindfold-tested me on some of Jack's own tracks, which I liked, past my initial dim view of him hitching a ride with the Robison brothers on a live album, and with Coe and other vintage bad boys, on a live CMT thang I prob dicussed on a prev Rolling Thread. Yeah, speaking of xgau ratings, he's always been pretty dependable on Thompson, too. I wanna get some of the live albums from his site, where he does "Genie In A Bottle" and "Oops, I Did It Again," which sounded just perfect for his faux-orientale lilt, when he did them live on the radio. Prob shouldn't call his voice that, more that he said he wanted to extend the UK folk tradion in its natural flow, so why not include Middle Eastern, since the Celts are thought to have come from there. And of course the French connection (he could also do Scandinavian, and every other group that's overrun England!) Really liked Jo-El Sonnier's hit version of "Tear-Stained Letter," and Del McCoury Band's h.v. of "1951 Vincent Black Lightning," or whatever year it was, and appropriate even if you don't like bluegrass. (I could do without Del's voice; my own bluegrass problem is usually with the male vocals). Appropriate cos it's one of the best motorcycle songs ever, incl. comin' round the mountain. Xgau's also good on Joy Of Cooking, all of who's albums are worth check ing out (they also did a good semi-reunion album, unlikely enough, as The Joy, mainly with Toni & Terry or Terri, who also billed themselves under own first names when recording with Nashville cats, to mixed results. Toni tried to go more mainstream country-pop with Good For You Too, but haven't heard that, and Terri or Terry Garthwaite did more folk-rock-reggae-blues-wah-wah stuff, not so typical in late 70s as now, esp. for designated folkies, although Joy were known for their congas etc as well as songs that might harsh your early 70s mellow, like about having babies in trailer parks; they seemed to represent their earlier lives in blue collar Bay Area as much as Berkeley feminists in ponchos etc)(good new Color Guard, xhux, but not country so I better mention elsewhere)

("all of whom's albums"? Nah, "and all of their albums")And not that "Berkeley feminists in trailer parks" are nec. "just", point is that they rep. that with the bluecollar,not so common then, if it ever has been, musically, in convincing juncture)(if anything, the more collegiate lyrics were less convincing, rhetorical, so they were prob right to try Nashville and elsewhere, beyond the safe West Coast/p.c. collegetown clubs).

"not that Berkeley feminists in ponchos" is what I meant to say that
I did not mean to low-rate, jeez. Also I prob misspelled the town's name, but back to homework (reviewing Eccentric Soul: Twinight's Lunar Rotation for PaperThinWalls)

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Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul 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(Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds 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Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP (Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP [i](Various) - Hey Love: The Classic Sounds of Sexy Soul triple-LP $0.50 (M'Press Records/Onyx Communications, 1986 -- never heard of this before!)[/i].50 (M'Press Records/Onyx Communications, 1986 -- never heard of this before!).50 (M'Press Records/Onyx Communications, 1986 -- never heard of this before!).50 (M'Press Records/Onyx Communications, 1986 -- never heard of this before!).50 (M'Press Records/Onyx Communications, 1986 -- never heard of this before!).50 (M'Press Records/Onyx Communications, 1986 -- never heard of this before!).50 (M'Press Records/Onyx Communications, 1986 -- never heard of this before!).50 (M'Press Records/Onyx Communications, 1986 -- never heard of this before!).50 (M'Press Records/Onyx Communications, 1986 -- never heard of this before!).50 (M'Press Records/Onyx Communications, 1986 -- never heard of this before!).50 (M'Press Records/Onyx Communications, 1986 -- never heard of this before!).50 (M'Press Records/Onyx Communications, 1986 -- never heard of this before!).50 (M'Press Records/Onyx Communications, 1986 -- never heard of this before!).50 (M'Press Records/Onyx Communications, 1986 -- never heard of this before!).50 (M'Press Records/Onyx Communications, 1986 -- never heard of this 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this cannot be. it was the black 'freedom rock' for chrissakes!
http://www.youtube.com/watch?v=HKu78xJ6g1k

i have both volumes btw(time life still sold it on cd up until a few years ago at least), simply indispensable.

wow wtf. er, i think i've made my point.

Okay y'all but I have just heard Los Tigres del Norte's new record called Detalles y Emociones and it's even better than I thought it would be. Great excellent protest song "El Muro," about the proposed wall between U.S. & Mexico, written by Cristina Rubalcaba, has a bunch of fire to it -- literally, they threaten to burn it down! Also, a great chanted chorus of "Bush, Bush, don't push!", lyrics in Arabic and French and German as well as Spanish and English, and explicit parallels to Palestine, Berlin, and North/South Korea!