HDTenEightyP/NetNews huggingface dataset:
From: paul@moore.com (Paul Maclauchlan)
Subject: Re: Stan Rogers: name those tunes?
Organization: Moore Corporation Limited, Toronto ON, Canada
X-Newsreader: Tin 1.1 PL4
Date: Tue, 18 Aug 92 14:26:51 GMT

aeksir@owlnet.rice.edu (Amy Elizabeth Ksir) writes:
: Can someone post or send me the list of songs on the two Stan Rogers
: albums, "From Fresh Water" and "Turnaround"?

From the archives:
cs.uwp.edu  (131.210.1.4)  /pub/music/discog/rogers

By Doug Henkle  henkle@vaxa.cis.uwosh.edu           (last updated 01-20-92)

Stan Rogers
===========================================================================
b. 11-29-49
d.  6-02-83 (Air Canada flight 797, Cincinnati, OH airport)
---------------------------------------------------------------------------

#02)  1978    Turnaround (LP: 5FCM-001)
---
#02.  ?     :    Dark Eyes Molly                                  #05 p. 36
#02.  ?     :    Oh No, Not I                                     #05 p. 38
#02.  ?     :    Second Effort                                    #05 p. 40
#02.  ?     :    Bluenose                                         #05 p. 43
#02.  ?     :    The Jeannie C.                                   #05 p. 46
#02.  ?     :    So Blue                                          #05 p. 48
#02.  ?     :    The Front Runner                                 #05 p. 51
#02.  ?     :    Song of the Candle                               #05 p. 54
#02.  ?     :    Try Like the Devil                               #05 p. 58
#02.  ?     :    Turnaround                                       #05 p. 60

#07)  1984    from fresh water [CD: FCM-007-D]                          (A)
---
#07.   1   5:00  White Squall
#07.   2   3:59  The Nancy
#07.   3   3:31  Man with Blue Dolphin
#07.   4   3:25  Tiny Fish for Japan
#07.   5   5:24  Lock-Keeper
#07.   6   3:09  Half of a Heart
#07.   7   3:44  MacDonnell on the Heights
#07.   8   3:34  Flying
#07.   9   5:05  The Last Watch
#07.  10   4:34  The House of Orange

: I know "the Jeanie C."
: and "Lockkeeper" from the video, which is excellent, in case you're a
: Stan Rogers fan and haven't seen it.  Thanks!

I second your opinion of the video!

-- 
.../Paul Maclauchlan
Moore Corporation Limited, Toronto, Ontario (416) 364-2600
paul@moore.com   -or-  {...!uunet.ca,...!telly}!moore!paul
"For tomorrow may rain so I'll follow the sun."/JL&PMcC'64
Newsgroups: rec.music.folk
From: evanh@sco.COM (Evan Hunt)
Subject: Re: Vancouver Folk Festival
Organization: The Santa Cruz Operation, Inc.
Date: Tue, 11 Aug 1992 01:47:24 GMT


In article <1992Jul28.162705.7033@pony.Ingres.COM> jonb@ingres.com writes:
>that can only be described as regrettable, such as the time when Robin
>Williamson was booed into silence by a contingent of women who didn't
>approve of his song "First Girl I Loved".  


Forgive me for asking for a rehash, but I came into this conversation late
and can't help but wonder why Robin Williamson was treated this way. What did
they find offensive about the song?
-- 
"I had generously shown on the stage my interior life as a raging beast, but
 my exterior life as a mediocre human being and dilettante of of normal int-
 elligence remained unchronicled...I *knew* that beneath my work's primeval,
 hysterical facade there was a calm little writer in an armchair just waiting
 to burst forth." -- Wally Shawn, on the writing of "My Dinner With Andre'"
Newsgroups: rec.music.folk
From: tim@vestek.com (Tim McGinnis)
Subject: gorka..temporary road
Organization: Vestek Systems
Date: Wed, 12 Aug 92 18:24:54 GMT




has anyone found/seen/bought Temporary Road (release date aug. 11) yet? 
i was looking last night, but the slugs (at my local tower) were still
unpacking the new arrivals. 


any news/reviews appreciated,

tim


Newsgroups: rec.music.folk
From: cmg996@cck.coventry.ac.uk (Martin-Martin Nike)
Subject: Re: Cropredy
Organization: abUSENET, Coventry University, Coventry, UK
Date: Tue, 18 Aug 1992 15:29:46 GMT


>Saturday night, but this time they did an extra set for the Friday, with
>a rather larger amount of work from the solo albums. Chris Leslie of
>Whippersnapper substituted for Ric Sanders, who put in some appearances
>playing tambourine and (one-handed) piano. Leslie was a good choice: in
>my opinion he's a far better fiddler than Sanders, whose style I
>increasingly find unimaginative. There were two guests for the evening:
>Julianne Regan, and then near the end Robert Plant. Apparently, he's
>often at Cropredy, but usually won't come up on stage. His voice is as
>sensual and electrifying as ever, and he has tremendous presence. You
>could almost hear the crowd swoon as he came on.

Well, I agree with you about the Wright Brothers, they were quite boring.
But I find the new fiddle player quite boring and pretty dull. I much
prefer Ric Sanders.

I also disagree with you about Robert Plant. His voice was
bloody awful. The first song, an accoustic one, was so bad that
the two people who I went with went back to the car! I stayed, and
totally enjoyed the rest of his set, but his voice is shot on 
drugs, booze and anything else that he's taken. 

Juliane Regan was brilliant, absolutely brilliant.

>Swarbrick, and on into the four hour Fairport set. It was roughly
>chronological, with the line-up changing as they brought on their
>guests: Jerry Donahue, Swarb, Richard Thompson, Vicki Clayton, and many
>more. There was a lot of good stuff in this, such as Swarb and Thompson
>together, but somehow the set was a disappointment. In past Cropredys,
>I've found the Saturday night to be just wonderful - by the end there's
>that intense and elusive feeling of the crowd being a single entity.
>This year, it didn't quite seem to work, and I'm not sure why. The
>chronological ordering meant that they couldn't warm the crowd up and
>then floor them with one of the big set pieces as they usually do.
>Somehow the whole thing just didn't cohere.

I thought the whole thing DID cohere. It was excellent to see
them try to re-create the old line-ups. Most of the people in
the crowd around me were commenting on how wonderful it was
all the way through the set.

>So I came away from Cropredy this year with a bit of a feeling of "So
>what?" It was good, but it didn't leave me feeling "wow"ed and changed
>into a different person, as last year's Cropredy did. Of course it was
>right to celebrate 25 years of the band, but I'm not sure this was the
>way to do it.

I came away thinking "If I don't go to another concert again I don't
care".
It was amazing.

-- 
/\/\artin-/\/\artin Nike, Coventry (ARMPIT) University, England.
JANET:cmg996@uk.ac.coventry	               
INET:cmg996%coventry.ac.uk@nsfnet-relay.ac.uk
"Just like margarine our name is spreading.." - Fairport Convention
Newsgroups: rec.music.folk
From: dgolber@aero.org (Dave Golber)
Subject: Re: An Apology - was Re: Copy whose right?
Organization: The Aerospace Corporation
Date: Wed, 19 Aug 1992 22:46:09 GMT

>  Freedom to live free also means the
>freedom to stand up and die, if necessary, for what is right.
>This is what folk music is about.  Real life, not middle America
>social climbing.  Folk music is a universal binding force that is bigger
>and stronger than any individual that is in it, and none are more
>insignificant than I.  It transcends any laws that any lawyer tries
>to make governing it, because it ultimately belongs to all people of
>the earth.  And that is why I love it, although I am only a ordinary
>working stiff.
>

Gee whiz.  This is so noble that I have to recall:

The folk (well, really ethnic) music and dance group I used to 
play with:  The announcer used to explain that "real" folk
music (read "ethnic" ??) was about birth, death and crops.
The tamburitza orchestra then came out and sang about 
fast horses, booze and women.

With all due respect ... but a little :-)

Dave Golber

Xref: sparky rec.music.folk:5613 soc.culture.celtic:5475
From: ian@ossian.turing.ac.uk (Ian Watson)
Newsgroups: rec.music.folk,soc.culture.celtic
Subject: Re: The essential Irish/Scots tunes?
Date: 14 Aug 92 16:37:41 GMT
Organization: The Turing Institute, Glasgow, Scotland.

In article <25307@dog.ee.lbl.gov>, mike@fionn.lbl.gov (Michael Helm) writes:
|> Jack Campin writes:
|> 
|> >I'd add The Trumpeter of Fyvie as an essential Scottish song, and Johnny I
|> >Hardly Knew You as an essential Irish one.  If you weren't singing it during
|> >the Iraq massacre, learn it for the next one.
|> 
|> "Johnny" should certainly be in the canon; don't think it's been mentioned
|> yet but everybody does it.  Incidentally about the Gulf War, Martin
|> Carthy (& Dave Swarbrick) do a terrific anti-war song based on a 
|> poem sombody wrote about this war.  I've never heard it before, it's
|> not on their record, but those who heard them on their tour last fall
|> may have heard it.  The poem was done by some pub-fixture poet in
|> England, acc to Carthy's introductory rambling before launching into
|> the piece; I'm sorry I didn't write it down & it meant nothing to me
|> until after I heard the song.   I'm fishing for more info, does this
|> sound familiar to anyone?

A wild guess might suggest Leon Rosselson:  he writes anti war songs and Martin Carthy has done some his songs I think.  I suppose he could be described as a "pub-fixture poet" 
--------------------------------------------------------------------------
Ian Watson            
ian@uk.ac.turing       
-------------------------------------------------------------------------- 
Xref: sparky rec.music.folk:5570 soc.culture.celtic:5452
From: rm4@st-andrews.ac.uk (Rosa Michaelson)
Newsgroups: rec.music.folk,soc.culture.celtic
Subject: Re: The essential Irish/Scots tunes?
Date: 13 Aug 92 10:41:37 GMT
Organization: near St. Andrews University

Re: Do Bagpipers play hornpipes fast and smooth and reels dotted and slower -
in my experience many bagpipers do this. Yes - other people(ie scottish fiddlers
and irish concertina players) think it crazy too. However if you've ever 
tried playing fiddle with a piper(wether highland bagpipes or a small scottish
piper - I mean a piper of the small scottish pipes!!) you would find that the
first statement above is the actual facts. Perhaps American pipers are not
so topsy-turvey. Though I have found NO academic work on the subject it is my
theory that the technological requirements of the instrument determine the
easiest interpretation of a tune, not the dance steps. In fact it is often
remarked that for a dance 'any old tune will do', and I have played jigs,
reels and hornpipes for the same dance in experiment and the dancers did
not notice. I could make this experiment even more tortuous by changing the
dotted nature of the clusters of notes - or by turning a jig into a reel.(see
my earlier comment on de Dannen and Hey jude). And note that as said earlier
in Newcastle a RANT is the reel version of a hornpipe and in Scotland a 
schottishe can be played as a strathspey or a hornpipe(where hornpipe means
a dotted couplet style - not an Irish set dance tune!). A good reference for
this is Honeyman's Hornpipe tutor which shows the scottish, newcastle and sand
dance versions of the same tune, published at the turn of the century.
Newsgroups: rec.music.folk
Subject: Re: Steeleye video
From: canders@isr.harvard.edu (Carl E. Anderson)
Date: Fri, 14 Aug 92 19:32:06 GMT
Organization: Harvard University, Cambridge, MA

In article <LqcDPB4w164w@sys6626.bison.mb.ca> kevin@sys6626.bison.mb.ca (Kevin Scott) writes:
>Just got the Steeleye Span video put out by Shanachie.
> 
>This is my favorite band in the world; I love everything they've ever 
>done, and could probably name every track off every release in 
>chronoligical order from start to finish...
>
>...so why on earth do I find this video so dull? Lethargic performance, 
>lethargic audience, lethargic atmosphere. Yucko.

	The atmosphere is poor anmd the audience blows whale wads.  (I have
never seen such a lame audience in my life!)  But I thought the performance
was great myself, and I'm not the world's most rabid Steeleye fan.

Cheers,
Carl

---------------------------------------------------------------------------
Carl Edlund Anderson	            	"Hefi ek ok aldri sva reitt vapn
canders@isr.harvard.edu			at manni at eigi hafi vidh kommit."
OR
anderso2@husc.harvard.edu			- Skarphedhinn Njalsson 
---------------------------------------------------------------------------
From: geb@dsl.pitt.edu (gordon e. banks)
Newsgroups: rec.music.folk
Subject: Re: Seeking a good banjo book
Date: 17 Aug 92 15:55:11 GMT
Distribution: na
Organization: Decision Systems Laboratory, Univ. of Pittsburgh, PA.

In article <1992Aug14.172516.42359@kuhub.cc.ukans.edu> miner@kuhub.cc.ukans.edu writes:
>
>That's an understatement, man.  If you try to play clawhammer
>style (or any downpicking style) on a banjo that's been set 
>up for three-finger bluegrass style, it can sound BAD!  For 
>one thing (and PLEASE do this) you need to take the resonator
>off and stuff a piece of cloth in between the rod(s) and the 
>head (that's like the drumhead membrane that the bridge rests
>on).  Then you can put the resonator back on if you want to.

Don Stover made his Gibson sound pretty reasonable on some
clawhammer numbers he did at Augusta, but in general, I'd
agree.  However, most cheap banjos are Korean resonator
types, so as a practical matter, people are probably
going to keep learning on that type of banjo.


>After you go thru an instruction book or take some lessons,
>let me suggest the BEST book I know
>for a beginner in the old-time styles, a book hardly anyone 
>pays any attention to:
>
>	Tim Jumper
>	The Banjo Player's Songbook
>	Oak Pubications, 1984
>
Out of print, although they are supposed to be bringing it
back real soon now.  Jumper's Banjo instruction book is
better initially though, since the songbook really doesn't
go into the mechanics of banjo playing.



-- 
----------------------------------------------------------------------------
Gordon Banks  N3JXP      | "Skepticism is the chastity of the intellect, and
geb@cadre.dsl.pitt.edu   |  it is shameful to surrender it too soon." 
----------------------------------------------------------------------------
From: shelley@b30!b11.ingr.com (Shelley Read Heard)
Subject: Rise Up Singing( was Re: Lakes of Pontchartrain lyrics/music?)
Reply-To: shelley@heard.b30.ingr.com
Organization: Intergraph Corporation
Date: Wed, 12 Aug 1992 22:52:44 GMT

I often ask for lyrics and music of folk songs on this newsgroup and I would 
like to thank those that have helped me ove the years.  THANKS!

Today I bought "Rise Up Singing" (A Sing Out! publication) for around $15.
It contains 1200 Songs with chords and sources.  Some old, some recent, and
most are very popular.  Almost every song that I've queried this news group
for is in this book.  Lot's of the songs recently asked for (e.g. Lakes of
Ponchetrain) are in this book, too.  I highly recommend it to anyone who
needs lyrics/music/sources to popular folk songs.

BTW, Joni Mitchell's "Urge for Going" was in there - as sung by Tom Rush 
("traitor cold" and all!).  I only wish I'd bought the book 3 years ago (when 
it was published).

Cheers,  Shelley
-- 
   ~ ~    Shelley R. Heard (shelley@heard.b30.ingr.com)
 ( o o )  Intergraph Corporation, Huntsville, AL
  ( ^ )   Disclaimer:  This is NOT my master's voice!
  / U \   Whoof!
Newsgroups: rec.music.folk
From: wcsanil@superior.carleton.ca (Anil Prasad)
Subject: JOHN GORKA album details
Organization: Carleton University, Ottawa, Canada
Date: Thu, 13 Aug 1992 04:51:03 GMT

John Gorka - Temporary Road
High Street Records, 1992

Tracks:
Looking Forward
Baby Blues
The Gypsy Life
Vinnie Charles Is Free
Gravy Land
Temporary Road
All That Hammering
I Don't Feel Like A Train
When She Kisses Me
Grand Larceny
If I Could FOrget To Breathe
Can You Understand My Joy?
Brown Shirts

Producers:
Dawn Atkinson and Steven Miller

Musicians: 
Gorka - vocals, guitar
Nanci Griffith, Cliff Eberhardt, Lucy Kaplansky, Lee Satterfield, Dawn
Atkinson, Denise Mininfield, Jennifer Newell, Carlene Moore, Tom
Corwin - background vocals
Darol Anger - Baritone Violin
Mike Marshall - mandolin, guitar
William Gallison - harmomnica
John Leventhal - Electric Guitar
Roy Rogers (!!!) - slide guitar, national steel
Sean Hopper - synth, organ
Richard Tee (!!!) - Organ
Steve Gaboury - synth
Michael Manring - fretless bass
Todd Phillips - acoustic bass
Rich Girard - bass
Denny Fongheiser - drums

Quite a lineup of musicians. The album is a bit of a departure from
Gorka's folkier roots and into a more, I hate to use the word, but
"pop" mode. It's still a *GREAT* album, so don't let that deter you.
He almost does a pseudo-blues on it too! (with Roy Rogers, he better!)

If you like his last record, this will certainly impress you.

Anil Prasad
wcsanil@ccs.carleton.ca

Newsgroups: rec.music.folk
From: greg@netcom.com (Greg Bullough)
Subject: Re: Button accordion info req
Date: Thu, 20 Aug 92 02:30:36 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 

In article <RSHOLMES.92Aug19120322@rodan.syr.EDU> rsholmes@rodan.syr.EDU (Rich Holmes) writes:
>
>By the way, I just got a Lark In the Morning catalog and I notice the
>price on new 2-row Hohner melodeons has gone up from something like
>$585 last year to $735 this year! Outrageous! But the good news is,
>Castagnaris are up only about 10% or so. The Studio, which I bought
>for about $550 three years ago, is still under $1000... :-o

You're seeing the result of Germany's economic state. Beware also, of
the "Hohner International" instruments. Hohner bought out an East
German company that made knock offs of their instruments (and/or
imported same from China). They, as far as I'm concerned, are just
not up to snuff. So if you see a new Corona or Pokerwork for 'way
lower than you'd expect, it probably is one of those models.
 
The Button Box has very fair prices, and good used instruments. They
don't charge based on what they're worth; they seem to charge based
on what they paid for them! Look them up in Concertina and Squeezebox,
or in directory assistance for Amherst, Ma. 
 
Also, a friend of mine up in Berkeley trades and repairs various
free reed goodies. He's a good source of reasonably-priced boxes
of varying ages and pedigree. They may not look as pretty, but some
of the oldere instruments have vastly superior reeds than present
ones. Anyone who is looking for a free-reed instrument can e-mail
me and I'll put you in touch with him.
 
All these folks do this as a real labor of love. 
 
By the way, I play a Castagnari "Tommy," in D/G. It's a phenomenal
little box (about 25% smaller than a Pokerwork, with one more set
of reeds). I really don't think a beginner can get the good out
of one of these $1600+ machines, though. The reeds are SO fast
that you get NO room for error or hesitation. And, particularly
on the Tommy, the buttons are right on top of each other. Great
for small hands, but also no room for error. The beginners I've
heard play these things sound much more rough than they do on
a Hohner (which isn't a bad instrument at all).

I also have a D/G pokerwork, modified so the buttons don't fall
so far, an A/D Corso (3 reeds, big box), a B/C Double-Ray, and
a couple of those awful East German boxes, which I loan to
beginners. I'm still trying to figure out what to do with
the D/D# Paolo Soprani 4-reed red box which I ill-advisedly
acquired. And I'm still puzzling why the only G/C instrument
I own is a Bastari Anglo concertina. But the concertinas are
another story...
 
Greg
From: kassover@rumsey.crd.ge.com (David Kassover)
Newsgroups: rec.music.folk
Subject: Re: "Fingerstyle" Guitarists
Date: 19 Aug 92 00:59:54 GMT
Organization: NOT!

In article <16or1fINNnbc@agate.berkeley.edu> spp@zabriskie.berkeley.edu (Steve Pope) writes:
>Okay, a few people share my natural distaste for the
>term "fingerstyle" guitarist, but it seems most on r.m.f
>don't seem to get it.  So, I will try to explain.
>
>o Firstly, "fingerstyle" isn't a word.
>
>o Whether one plays guitar with one's fingers, a flatpick, fingerpicks,
>  or just a brush strum is a matter of *technique*, not *style*.
>  One can play many styles of music without a pick.  There is
>  no such thing as "fingerstyle".  Wes Montgomery played with
>  only his thumb.  Does that make him "thumbstyle" ??
>
>o "Fingerpicking" is more descriptive.  This means, you
>  are using your thumb and at least a couple other fingers; and
>  you are not using a flatpick.  A fingerpicking guitarist may or
>  may not use fingerpicks.   "Fingerpicking" has been common
>  terminology for at least 20 year that I know of.  It means exactly
>  what it says: you are picking the strings with your fingers.
>  
>o Can anybody point to a well-recognized guitarist who describes
>  themselves as "fingerstyle"?  I didn't think so.
>
>o Something about the word "fingerstyle" conjures up images of
>  new-age, windham-hill, yuppie music.  Get me outta here...

I have here before me an album entitled Finger-Style Guitar
Solos, Rounder Records 3021.  The featured artist is Guy Van
Duser.

A brief scan of the back cover and liner notes turns up names
like Eric Schoenberg and Chet Atkins.

Maybe these aren't well known.  Or maybe you're just put off by
people who play songs with names like Chattanooga Choo Choo,
Sweet Georgia Brown, or Stars and Stripes Forever.

Or Caravan, which Atkins recorded with the help of an electronic echo
chamber.  Van Duser doesn't need it.


-- 
David Kassover             "Proper technique helps protect you against
uupsi!khazad!kassover	          sharp weapons and dull judges."
kassover@aule-tek.com                   F. Collins
kassover@ra.crd.ge.com
From: greg@netcom.com (Greg Bullough)
Newsgroups: rec.music.folk
Subject: Re: John Michael Talbot ...
Date: 14 Aug 92 01:57:22 GMT
Distribution: rec.music.folk
Organization: Netcom - Online Communication Services  (408 241-9760 guest)

In article <1992Aug13.155555.23530@news2.cis.umn.edu> wagner@unity.cs.umn.edu (Paul Wagner) writes:
>
>I'd heard of John playing a religious show in a small town in southern
>Wisconsin in about 1980, but the religious angle kept me from attending
>(you could start hearing it creeping in in their later albums).  Not sure
>what he or any of the rest of them are up to now.  Anyone know more?

John Michael Talbot is a Franciscan brother, and has been for probably
a dozen-odd years. He is known as one of the best performers and composers
of Catholic liturgical music. He seems to tour most of the time, and the
proceeds go to charity. His emergence into liturgical music raised the
bar on the quality and creativity of such music, which the St. Louis
Jesuits had already elevated to a high standard. Some of his compositions
are, frankly, stunning. He did a set of songs that was something like a
folk version of Handel's Messiah. Many of the songs are truly breathtaking.
His "Mass" is a masterpiece; it is at once beautiful and singable and
playable by amateurs.
 
Whether or not you're into the "religious angle" he's worth listening
to and learning from. 
 
Greg
Newsgroups: rec.music.folk
From: gerry@macadam.mpce.mq.edu.au (Gerry Myerson)
Subject: Re: No Moggy's Lands & legal stuff
Organization: ceNTRe for Number Theory Research
Date: Tue, 18 Aug 92 01:50:35 GMT

There hasn't been much discussion of the other Bogle parody that was posted 
here a while back, "And the Band Played 'And the Band Played Waltzing 
Matilda.'" Unless, of course, I've missed/forgotten a few posts. Some 
friends of mine are pretty sure it's the work of Tony Miles, of Queensland. 
I do not know its copyright status. 

Gerry Myerson
Newsgroups: rec.music.folk,soc.culture.celtic