HDTenEightyP/NetNews huggingface dataset:
From: filfeit@rael.Tymnet.COM (Fil Feit)
Newsgroups: rec.music.folk
Subject: Re: What ever became of Uncle Bonsai?
Date: 5 Oct 92 12:45:49 GMT
Reply-To: filfeit@rael.Tymnet.COM
Organization: Sun Microsystems

In article 17695@henson.cc.wwu.edu, lopresti@henson.cc.wwu.edu (lopresti robert) writes:
[...]
>
>And somewhere in there is a whole bunch of stuff (an album?) about a
>guy named Doug.  I have only heard "Doug Engaged" which is hilarious.
>
>Rob
>lopresti@Henson.cc.wwu.edu
>
So there is _more_ doug!  I heard them mention five doug songs once,
the last one being "Doug at the Gates of Hell", but the only song I
ever heard them do was "Doug at his Mom's".  Very funny.

Also enjoyed a number called "Womb for Rent" about surrogate mothers,
but I've never found an album/cd/tape of their stuff.

--f2

-----------------
  "Morning again,
   Somebody else's day"
Xref: sparky rec.music.folk:6668 rec.music.makers:9920
From: martin@lyra.cis.umassd.edu (Gary Martin)
Newsgroups: rec.music.folk,rec.music.makers
Subject: Re: CD vs tape
Date: 29 Sep 92 22:00:15 GMT
Article-I.D.: lyra.MARTIN.92Sep29170015
Organization: University of Massachusetts Dartmouth

In article <92273.132742LRL@psuvm.psu.edu> Linda Littleton <LRL@psuvm.psu.edu> writes:

   The folk & Renaissance group I play with is starting on our second
   recording and trying to decide if we should make a tape or CD (or
   possibly both, though I think the cost would be prohibitive).  I'd
   like to get some feedback.

   We are an all instrumental group that plays traditional Celtic and
   American music.  Among the four of us, we play violin, recorders,
   guitar, hammered dulcimer, bass viol, and a few other instruments.

   Some things I'm wondering:

   1. Do you think most people who would buy this sort of music would
      have a CD player?

Yes, most would, but the minority who don't may be significant, at
least in combination with those who would answer yes to question 3.
For this reason, I don't think I've ever seen a recording released
in CD format exclusively.  About 2 years ago, at a Passim gig, Kim
Wallach asked the audience if they owned CD players.  Nearly every
hand went up.

   2. For people who prefer CDs: if you liked a group that only had
      tapes for sale, would you not buy their music because they
      didn't have a CD?

I would, and do so regularly (maybe 25-30 times per year).  I don't
know what others do.

   3. Do people with CD players sometimes prefer to buy tapes because
      they're cheaper?

Sometimes, but usually for specific reasons.  If the playing time is
particularly short, the cassette will feel like a better deal.  If
it's something I'm not so sure I'll like, it's easier to spend $10
than $15.  If it's material where fidelity isn't going to be noticed
so much, like on spoken word recordings.  I've done this a few times,
but it's quite infrequent.

One solution to your dilemma that I've heard is to release it first
on cassette (because you can order them in smaller production runs,
so it takes less seed money), and then on CD, when the profits from
cassette sales make that possible.  Of course it's a little unfair
to the people who buy the cassette who would have bought the CD if
it had been available.  If you can afford it, maybe it would be
better to issue the CD first, figuring that fewer people would
want to trade down.



--
Gary A. Martin, Assistant Professor of Mathematics, UMass Dartmouth
Martin@cis.umassd.edu
Newsgroups: rec.music.folk,rec.music.makers
From: dooley@helios.physics.utoronto.ca (Kevin Dooley)
Subject: Re: CD vs tape
Organization: University of Toronto Physics/Astronomy/CITA
Date: Wed, 30 Sep 1992 15:39:31 GMT

In article <1992Sep30.135042.12960@porthos.cc.bellcore.com> whs70@dancer.uucp (22501-sohl) writes:
>
>My current buying habit is to avoid tape if there is a CD available.
>Yes, I would and have bought tapes recently when that was the ONLY medium
>available for a group that I particularly liked, but that is clearly
>the exception.  For more and more people I suspect that the CD is
>the preferred medium.

I also have pretty much migrated to CD.  The trouble with cassettes is that
they tend to wear out and I have been burned several times by poorly dubbed
tapes which appear to change speed periodically.  I know that for an 
independant band putting out a CD is an expensive proposition, but it is
really worth it, in my opinion.  

A previous poster mentioned that they often have to be sold at less than
cost to record shops and as a result it will be cheaper to buy it in the
shop than off the stage at a concert.  I have never noticed this to be true.
Usually, in my experience, the price is the same.  Of course, this is in
Toronto where the independant music scene is well-oiled machine and bands
like the Barenaked Ladies can have an indy cassette go gold.  There are 
several large record shops where one can buy just about any indy tape or
CD available in Canada.

My wife and I have lately adopted a "let's support local independant music"
strategy and so we've bought a lot of really excellent CD's and tapes.  We
do prefer CD's though, despite the extra expense and the grad student income.  
In fact, about the only time we'll buy a tape is if we know nothing about 
the band, but have heard something positive.

As for vinyl, well, we don't buy that at all anymore because our turntable 
is dying a slow lingering death and we can't seem to get parts anymore!

Kevin
From: dnd@ee.man.ac.uk (Darryl Davis (RA))
Newsgroups: rec.music.folk
Subject: Re: The Incredible String Band _all
Date: 30 Sep 92 16:14:01 GMT
Reply-To: dnd@spec0.ee.man.ac.uk (Darryl Davis (RA))
Organization: Dept Electrical and Electronic Eng, Manchester University, UK

In article <pdlemass.717668020@unix2.tcd.ie> pdlemass@unix2.tcd.ie (Something original) writes:
>I have become a big fan of The I.S.B. but would like to know more about
>them than is revealed on the c.d. sleeve.
in order we have:
1.incredible string band (elektra 1966)
2. the 5000 spirits or the layers of the onion (elektra 1967)
3. the hangman's beautiful daughter (elektra 1968)
4. Wee tam and the big huge (elektra 1968) (Available seperately)
5. changing horses (elektra 1969)
6. i looked up (elektra 1970)
7. U (elektra 1970)
8. be glad the song has no ending (island 1970)
9. liquid acrobat as regards the air (island 1971)
10. earthspan (island 1972)
11. no ruinous fued (island 1973)
12. smiling men with bad reputations (island 1971) - mike heron
13. myrrh (island/help 1972) - robin williamson
14. relics of the incredible string band (elektra 1970)

now, that is complete up til the 1973, but there is more ( i lost track)

dr doom the optimist

--
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
   Dr. Darryl Davis                	>
   Multi-Media Laboratory		>
   Department of Electrical Engineering >   E-mail    	: dnd@spec0.man.ac.uk
   The University of Manchester     	>             
   Brunswick St                      	>   Phone     	: (+44)-61-275-4561
   Manchester M13 9PL               	>   FAX 	: (+44)-61-275-4512
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Newsgroups: rec.music.folk
From: dahe@cl.cam.ac.uk (David Elworthy)
Subject: Re: The Incredible String Band
Reply-To: dahe@cl.cam.ac.uk (David Elworthy)
Organization: U of Cambridge, England
Date: Thu, 1 Oct 1992 11:11:43 GMT

In article <1992Sep30.153243.28972@mel.dit.csiro.au>,
sfy@koel.mel.dit.CSIRO.AU (Shane Youl) writes:
|> dahe@cl.cam.ac.uk (David Elworthy) writes:
|> 
|> >In article <1992Sep29.142405.4981@mel.dit.csiro.au>,
|> >sfy@koel.mel.dit.CSIRO.AU (Shane Youl) writes:
|> >|> dahe@cl.cam.ac.uk (David Elworthy) writes:
|> >|> 
|> >|> >In article <pdlemass.717668020@unix2.tcd.ie>, pdlemass@unix2.tcd.ie
|> >|> >(Something original) writes:
|> 
|> >[...lots of stuff about the Incredible String Band...]
|> 
|> >On the subject of singles, Record Collector lists:
|> >Painting Box/No Sleep Blues (68)
|> > (Two lovely songs, from 5000 Spirits)
|> 
|> Indeed. Any idea how high it got in the charts?

According to Record Collector, it failed to chart at all, as did all
their singles.

|> 
|> William Williams writes:
|> >But why do you say "consider what else was around in 1967"?  That was
|> >one of the greatest years ever for music!
|> 
|> It's exactly because 1967 was such a golden year for music, that this 
|> album is amazing. To me, it still holds up pretty well with songs like
|> Painting Box, No Sleep Blues, First Girl I Loved, The Hedgehog's Song,
|> My Name Is Death... It's a very good album.
|> 

I agree! Incidentally, I yesterday went to a Robin Williamson gig in
Cambridge at which he played two ISB songs (as well as some solo stuff,
some Merry Band songs and lots of stories). One was a short version of
Maya, amongst my all-time favourites, and the other was October Song
from the first album. It's the first song he wrote, and beautiful. This
was the second gig he's done in Cambridge this year: after the first
one, he got in touch with the organiser and said he'd enjoyed himself so
much that he would like to do another. There is some possibility that
tapes of the gigs may be released as a fund-raiser for the community
radio station. I'll post the info if this happens.

-- david elworthy
From: tombrady@vtcc1.cc.vt.edu (Tom Brady)
Newsgroups: rec.music.folk
Subject: Re: Dougie Maclean
Date: 5 Oct 92 01:36:00 GMT
Organization: Virginia Tech, Blacksburg, Virginia
News-Software: VAX/VMS VNEWS 1.41

In article <1992Oct2.052643.26791@netcom.com>, eamon@netcom.com (Charles E Taggart) writes...
>In article <s0319198.4.0@let.rug.nl> s0319198@let.rug.nl (E.B. Meijerink) writes:
>>When living in Scotland I copied two Dougie Maclean-albums, but I forgot to 
>>write down the titles of the songs. The two albums are titled: 'Parcel of 
>>Rogues' and ''Real Estate'. Has anybody got the titles of the songs on 
>>these albums for me? 
I'm not sure what the connection is with Dougie MacLean might be
(none that I know of), but for a couple of years ('90-91), there
was a Scottish band called 'Parcel of Rogues' - they put out one
album on Topic/Green Linnet called "Parcel of Rogues". While I
don't have the tape nearby, I can recall that the songs included
John Prine's "Sam Stone", "Parcel of Rogues", "Fathers & Sons",
and an instrumetal tribute to Stephane Grappelli. The singing
left much to be desired, but most of the instrumental work was
pretty good. Funny thing, that, since their fiddler, a disgustingly
young lad by the name of John McCusker is now playing fiddle with 
Battlefield Band. (John also shows up on 'Fiddlers Five')
-Tom Brady
  VPI&SU  somewhere in the Appalachians...
From: nelson@desktop.nsc.com (Taed Nelson)
Newsgroups: rec.music.folk
Subject: Mary-Chapin Carpenter Interview
Date: 28 Sep 92 15:06:52 GMT
Organization: Applications Technology, National Semiconductor (Santa Clara, CA)

The 27 September 1992 issue of _West_ (something like _Parade_ in the Sunday
  paper) had an MCC interview.  It was a full page, so I'm not going to type
  it all in -- just the interesting parts.  Most of the interview was innane.

------------------------------------------------------------------------------

Q: How would you describe your music?
A: I'm an acoustic guitarist fronting a rock 'n' roll band.

Q: Do you feel strange being categorized by some people as a country singer?
A: I feel strange being categorized.  I think most artists do. ... So I try to
  be precise with people, with reporters, and say, "You really need to have a
  very broad overview of country music, because the stereotypes don't really
  hold water anymore."  The stereotypes _exist_, but if they were the _rules_,
  someone like myself wouldn't get air play on country radio. ... I've
  actually always just considered myself a singer/songwriter.

Q: You hold a degree in American civilization from Brown University.  What
  books did you read that really spoke to you?
A: ... One book I particularly love is _One Writer's Beginning_ by Eudora
  Welty.  I've read that book many times.  It teaches life's lessons.  It
  inspired a song of mine, "Hally Came to Jackson"...  That's pretty unusual
  for me -- that's the first and only time a line in a book has sprung
  something like that for me. ...

Q: What music did you listen to when you were younger?
A: My sisters and I all loved the Beatles. ... Woody Guthrie ... Motown ...
  Randy Newman and Bruce Cockburn, The Band, The Rolling Stones, The B-52s,
  Emmylou Harris. ...
Newsgroups: rec.music.folk
From: thughes@lonestar.utsa.edu (Toby . Hughes)
Subject: Re: Who sang "The Night They Drove Old Dixie Down" (is that the name?)
Organization: University of Texas at San Antonio
Date: Sun, 27 Sep 1992 05:36:29 GMT

In article <1a34stINN76r@usenet.INS.CWRU.Edu> bx916@cleveland.Freenet.Edu (Ross W. Starkey) writes:
>
>
>I'd love to get this song.
>
>The lyrics include the lines:   The night they drove old Dixie down,
>				and all the bells were playing,
>				the night they drove old Dixie down,
>				and all the people were singing
>
>
>The song's fairly famous, I remember hearing it on the radio.  What is the
>correct title?  Who originally wrote it?  What is the name of the female
>performer who popularized it?

Joan Baez.  Maybe you've heard of her?

TH
Newsgroups: rec.music.folk
From: migod@turing.toronto.edu (Mike Godfrey)
Subject: Re: Ian Matthews - career summary
Organization: CSRI, University of Toronto
Date: 6 Oct 92 21:03:46 GMT

In article <9706@emory.mathcs.emory.edu> colm@mathcs.emory.edu (Colm Mulcahy) writes:
>>On 10-05-92 85P8379 wrote:
>>
>>P/Question:  Who is/was Ian Mathews ?  I have a feeling he used
>>P/to be in awell-known band in the 70's, but not sure which one.
>
>not quite, Ian MacDonald (as was his name, changed mid 1968 to avoid
>confusion with the  guy in Traffic) joined FC circa Sep/Oct 1967, a few
>months after they debuted, and certainly after they did those summer

As I know Colm knows, it was the original King Crimson, rather than 
Traffic, that the other IM belonged to.  At least, I can't recalll IM
being in Traffic ...

(The Crimson IM was a McDonald rather than a MacDonald, but I suppose
that's confusing enough.)

-- 
Mike Godfrey	          "I will not expose the ignorance of the faculty.
Dept of Comp Sci, UofT     I will not expose the ignorance of the faculty."
migod@turing.toronto.edu			   	-- The Simpsons
From: krj@netsun.cl.msu.edu (Ken Josenhans)
Newsgroups: rec.music.folk
Subject: New British Isles/Celtic Folk/Folk-Rock CDs
Date: 1 Oct 92 04:08:03 GMT
Organization: Michigan State University

A few folks mentioned the new June Tabor album -- ANGEL TIGER (Cooking
Vinyl COOKCD 049) -- which was advertised in the the September issue
of the UK magazine FOLK ROOTS.  There were quite a few other new 
releases of interest mentioned in that issue; now that September is over
I suppose I should get around to keying them in...
I'd be interested in reviews of any of these items, and I don't have 
information about US availability in most cases.

Martin Carthy & Dave Swarbrick, SKIN & BONE  (Special Delivery SPD CD 1046).
     A studio album.

THE TRANSPORTS  (Topic TSCD 459).  Peter Bellamy's ballad opera reissued.
     Singers include Carthy, Nic Jones, June Tabor, Dave Swarbrick.

John Kirkpatrick, PLAIN CAPERS  (Topic TSCD 458).  Morris dance tunes 
     reissued from the 1970's.

Rory McLeod, TRAVELLING HOME (Cooking Vinyl COOK CD048).

The Barely Works, GLOW  (Cooking Vinyl COOK CD050).

VOICES  (Fellside FECD87).  A collection of unaccompanied singing, most
     specially recorded.  Carthy, Tabor, Kirkpatrick, Maddy Prior, 
     The Watersons, Peter Bellamy, others.

The Albion Band, RISE UP LIKE THE SUN  (EMI).  CD reissue with four
     bonus tracks, one written by Richard Thompson.

Aly Bain, LONELY BIRD  (Whirlie Records).  With Danny Thompson on bass.

        and, last but not least interesting:

Steeleye Span, TONIGHT'S THE NIGHT, LIVE  (Shanachie 79080).  
     This new live recording is now out in the States, I found it at Tower
     tonight.

------------

Tower Pulse has also mentioned a few items of interest.

In September, the magazine listed the Australian CD issue of COMMONERS CROWN
by Steeleye Span as a New Release.  This may mean it'll be easier to 
find in the US.  Apparently the key is to ask Tower to special-order
it from their Australian distributor.

In October, the magazine has a short squib on the elusive (East) German
folk-rock band JAMS.  I don't know anyone who has collected their first
album on the Wundertute label, BASTARD; now there is a second album
on the same label, titled BASTARDMUSIK.  If you have any leads on
tracking down these albums, please send me mail...
-- 
--Ken Josenhans
    Internet: 13020KRJ@msu.edu      Bitnet: 13020KRJ@msu
From: rm4@st-andrews.ac.uk (Rosa Michaelson)
Newsgroups: rec.music.folk
Subject: Re: Fiddle Tunings pre and post 18th century (was Penny Whistles)
Date: 1 Oct 92 11:39:32 GMT
Organization: not St. Andrews University

I think Jack's theory is not quite correct. A look at the fiddle tune books
of the early fiddlers in Scotland shows a range of keys - these were hand
written music books which dancing masters and other less high falutin
fiddlers used as aide memoirs. In fact there was a high level of musical 
literacy in Scotland from all classes of life in the late 17th century
onwards. The newer keys that are more in evidence in the Gow/Marshall
era (surely stikcle was a german import and later..) are those tricky
flat keys - F/B etc and the mutiple sharps (>3) keys -ugh!

However there will also have been some VERY STRANGE tunings - with
bottom strings as drones tuned up or down a note or two. The earlier
form of 'fiddle' in scotland was more akin to the Finnish lyre - the
possibly flat arched, flat bodied instrument that I personally
think was used more like a vina as a rhythm/drone accompniament to
some singing or harping. So to assume that this or that key was more
or less easy or natural is difficult without the actual details of
tuning which we have NO primal and hardly any secondary sources for...
Some have it that this type of change in tuning followed scandinavian
styles - see the hardanger fiddle. Others that the musicians liked the
sympathetic ringing noises. It is very likely that the GDAE of western
classical form followed the violin and its transmission across europe
via france to scotland. Remember that scotland was fairly isolated from
change and still has remnants of early european song/myth..(see Le Roy
Ladure's papers on fairy tales and change) And so there were many differing
styles of playing/tuning/instrument coexisting in Scotland. And a good
musiican would probably know how and when to use these differing
effects. Scotland seems to have had a very uniform culture across class
for some time - so that most knew the 'folk' dances and songs and many
also liked the 'new wave' classically influenced stuff.

An excellent source for how to play and tune a fiddle for this effect
is given in the best american fiddle book ever - Marion Theade's book
for Oak. I have a tape of her playing tunes she collected in America
in both retuned and 'normal' tuning. Her book gives both ways
of playing the tune and the retuning often makes a lot of sense!
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.music.folk
Subject: Re: Folk Music from Malta
Date: 29 Sep 92 14:23:50 GMT
Reply-To: jack@dcs.glasgow.ac.uk (Jack Campin)
Organization: COMANDOS Project, Glesga Yoonie

md4y+@andrew.cmu.edu (Mark Joseph Delano) wrote:
> Is anyone aware of any folk music native to Malta, or that is done in
> Malta.  My sister's going there, and I'd like to know about any or all
> sources of such.

I have once seen a Maltese folk band in action (in Edinburgh, at the
Commonwealth Pool, of all places).  I don't retain a very clear impression
of the sound (vaguely like Catalan music?) but one of their instrumental
techniques was visually... unusual...

They used a friction drum: a cylindrical drum about the size of a catering
pack of instant coffee, with a two-foot stick fixed in the centre of the
upper skin.  This was played, as usual, by rubbing a piece of leather up
and down it to produce a porcine oink at each stroke.  What made their
method different was that the drum was held at the same place you'd wear a
sporran, with the stick pointing forwards and upwards at 45 degrees...

-- 
--  Jack Campin    room G092, Computing Science Department, Glasgow University,
17 Lilybank Gardens, Glasgow G12 8RZ, Scotland   TEL: 041 339 8855 x6854 (work)
INTERNET: jack@dcs.glasgow.ac.uk or via nsfnet-relay.ac.uk    FAX: 041 330 4913
BANG!net: via mcsun and uknet     BITNET: via UKACRL    UUCP: jack@glasgow.uucp
Newsgroups: rec.music.folk,rec.music.afro-latin,rec.music.bluenote,rec.music.country.western,rec.music.makers,rec.music.misc,alt.rock-n-roll,alt.rock-n-roll.hard
From: dalton@epoch.Geop.UBC.CA (David Dalton)
Subject: UBC Grad Centre JAM NIGHT
Organization: Dept. of Geophysics & Astronomy, UBC, Vancouver, Canada
Distribution: bc
Date: Wed, 30 Sep 1992 07:10:39 GMT

(I have set distribution to bc, not ubc, 
since I want this to reach Greater Vancouver)

There will be an Open Stage/Jam night this Friday, Oct.~2, from 
6:30--11:30 p.m. (possibly later) in Koerner's Pub (Garden Room) 
downstairs in the UBC Graduate Student Centre (Thea Koerner House), 
located at 6371 Crescent Road, at the corner of West Mall and NW 
Marine, across from the Museum of Anthropology.

The night will start out mellow and get progressively raunchier.
I will try to schedule folk, any country, and other solo acts from
6:30--8:30, a jazz session from 8:30--9:30, a blues and rock session
from 9:30--11:00 and a loud band (Heatmeiser) from 11:00 on.
So far Colleen Eccleston (a well-known folk artist) and Heatmeiser
have booked spots; I have yet to start phoning my other regulars.

These jam nights will continue the first Friday of every month.
For more info, E-mail me <dalton@geop.ubc.ca> or phone me at 
733-1303 (822-8954 the night of the jam).

MUSICIANS: We have formed an AMS club, the Jazz, Folk and Blues
Club (some rock and fusion welcome as well) for musicians and
listeners.  This is mainly for UBC students but there are a
limited number (30% ?) of memberships available to faculty, staff
and people in the community.  The advantages for musicians will
be a network for jamming and forming groups and availability
of practice space in the SUB and possibly the grad centre.
The advantages for listeners will be reduced admission to club events.
There will be a table at the AMS Clubs Days, if anyone is interested,
or Email Chris Roehrig <croehrig@cs.ubc.ca> for details.  For the 
next while, beginning on Oct. 6, we will be having meetings/informal
jams on Tuesday nights from 7:00--11:00 p.m. in the Fireside Lounge, 
upstairs in the UBC grad centre.   This night may eventually splinter 
into different nights for the different genres.

David <Dalton@Geop.UBC.Ca>  UBC Geophysics Ph.D. student, GSS Programs
From: aa595@cleveland.Freenet.Edu (Dan Duvall)
Newsgroups: rec.music.folk
Subject: lyrics to RAGLAN ROAD needed
Date: 3 Oct 1992 14:35:39 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: slc5.ins.cwru.edu


If you could e-mail me the lyrics to "Raglan Road," I'd be eternally
grateful-- thanks-- thanks a lot.

-- 
aa595@cleveland.freenet.edu  ///  WANTED:  Tull tickets for
:::::::Dan Doooovall:::::::  ///          Chicago (10/10/92)
Newsgroups: rec.music.folk