HDTenEightyP/NetNews huggingface dataset:
From: greg@netcom.com (Greg Bullough)
Subject: How Can He Keep From Singing (was: An Apology ...)
Date: Thu, 20 Aug 92 02:04:17 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 

In article <1992Aug19.144559.15620@hemlock.cray.com> robd@cherry09 (Robert Derrick) writes:
>
>rob derrick -                 How Can I Keep From Singing

Eat peanut butter on saltines. That'll quiet you right down!
 
Funny thing; at the Mystic Seaport Sea Music Festival, which is 
one of the great all-time singing bashes, the folks who do the 
food occasionally put out a snack  which includes peanut butter
and crackers. Being hungry but wise, the chanteymen make sure 
that they apply the antidote... ...copious ale, after indulging.

Which of course requires a delicate balance so that one doesn't 
replace one cause of slurring with another.
 
Greg
 
PS - the kitchen staff there are amazing, in fact. They manage
     to produce meals that are eight times more healthful and
     just as tasty as the local eateries, in vast quantity, 
     for almost no money, using a kitchen about half the size 
     of most home kitchens. With very little fuss. And there
     always seems to be a bite to eat.
Newsgroups: rec.music.folk
From: bh419@cleveland.Freenet.Edu (Ted B Samsel)
Subject: Toronto/early October
Organization: Case Western Reserve University, Cleveland, Ohio, (USA)
Date: Fri, 14 Aug 92 13:04:05 GMT


Since I'll be in Toronto in early October can anyone recommend
any music stores (with accordion type stuff) and clubs/events?
Regards
-- 
Ted....
From: edwardd@yang.earlham.edu
Newsgroups: rec.music.folk
Subject: Button accordion info req
Date: 18 Aug 92 16:41:14 GMT
Organization: Earlham College, Richmond, Indiana


I think the bug has bit me good.  I have just consumed by recent issue of
Concertina and Sqeezebox magazine and have decided to look for a button
accordion to learn. I play English concetina and know nothing about
accordions. I want to play Irish music, particularly for contra dances.
I really want an affordable learners instrument in a useful key.

What should I look for?  I'm used to being able to play in any key on
my concertian. Will I be able to do that on an accordion? I've never
played piano so a big accordion with a piano keyboard seems daunting.
I'll be learing on my own, so what instruction books/tapes should I get?

Also, I go to auctions and sales a lot and see old german button accordions
often.  They have almost always baked in an attic for decades.  How can
I tell what instrument might be worth restoring?


Thanks in advance,

-----------------------------------------------------------------------------
Ed Delaney                                   | Internet: 
Associate Director, Administrative Computing |   edwardd@yang.earlham.edu
Box E-14                                     | Phone:
Earlham College                              |   317-983-1284
Richmond, IN 47374                           | Yang is a Vax(VMS) if you care
-----------------------------------------------------------------------------
       Never give a sword to a man who can't dance - anonymous Celt
-----------------------------------------------------------------------------
Newsgroups: rec.music.folk
From: wrp@pslsrv1.gvl.unisys.com (Bill Pringle)
Subject: Re: Lucinda Williams -- Passionate Kisses
Organization: Paramax Systems, Ivyland, PA
Date: Mon, 17 Aug 1992 03:49:51 GMT

In article <1992Aug16.211546.8394@berlioz.nsc.com> nelson@desktop.nsc.com (Taed Nelson) writes:
>Basically, "Passionate Kisses" was my favorite song on the new Mary-Chapin
>  Carpenter album, so I went out to buy a Lucinda Williams album on that
>  alone.  The only one the store had was the EP entitled, of all things,
>  _Passionate Kisses_.
>
 [ stuff deleted ]
>
>So, should I try some other L.W. album, or is that one song unlike the
>  majority of her work?
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
It's a shame you didn't get the album (self titled), which would have
given you a better flavor for her work.  She has several good songs
on her album, but it sounds like you don't care for that style.
Her earlier songs on Folkways/Smithsonian are different than the album.
Much simpler songs.  She described it as naive, reflecting back on them.
============================================================================
Bill Pringle                      Software Tools
Paramax Corporation               Voice: (215)443-7500 X4023
Internet: wrp@ivy.unisys.com      UUCP: ...!uunet!mimsy!widener!gvls1!wrp%ivy
Organisation: European Space Operation Centre (E.S.O.C)
Date: Friday, 21 Aug 1992 15:52:34 CET
From: <LKILLICK@ESOC.BITNET>
Newsgroups: rec.music.folk
Subject: Re: Button accordion info req
 <RSHOLMES.92Aug19120322@rodan.syr.EDU> <a_#nnma.greg@netcom.com>

In recent articles both Rich Holmes and Greg Bullough commented on the prices
of Hohner Instruments.

I did post a warning earlier this year that Hohner had raised all its prices
at the factory in Germany by 10% or more; at that time the US retail prices
seemed to be even lower, and I guess they're just catching up now.

The price rise isn't really due to any situation here in Germany (in fact
many retail prices are steady (in the West) due to tax rises!); rather the
problems still seem to be pretty squarely with Hohner themselves. There was
deal with a Chinese producer, although this fell through after one year
there are quite a few instruments out in the shops and still in the Hohner
storeroom. These aren't bad for the price (currently in Germany retail DM 600
for a Chinese Erica in a case, compared with DM 850 for a German Erica in a
cardboard box). A second deal was made with a Czeckoslovakian (don't bother
to tell me if I spellt that wrong!) company to make a range of Student piano
accordeons, which looked good on paper, and the Czecks were also hoping to
sell melodeons through Hohner too; but that fell through because I think
Hohner confused Yugoslavia and Czeck... (both long names with strange letters)
and took fright.  Finally, Hohner haven't bought any East German companies
(yet?), but were planning possible production of some Accordeons there.

So, to date, melodeon production is all in Trossingen, but I warn you there's
not much of it going on at the moment (last month the factory's stock of
Ericas was in the low 10s!).

By the way, watch out for the East Germans - they are bringing a new range
of 2-row melodeons onto the market soon (next month?) wood-finished casings
with Italien reed work, I saw the prototypes at the Frankfurt Music Messe
last Spring, and hope to go a couple before the end of the year, retail
price here expected to be DM 1400 to DM 1600. For that price you can also
get a nice 2-row instrument from Baffetti 19 or 21 keys, red or black
celluloid or varnished wood finish, with the same reeds as Castagnari use
in the Tommy (for example).

Well that's enough ramblings about melodeon models, production and prices;
anybody wanting more details should contact me directly!
From: bloom@buast7.bu.edu (Steve Bloom)
Newsgroups: rec.music.folk
Subject: comments on Newport
Date: 15 Aug 92 21:34:00 GMT
Organization: Astronomy Department, Boston University, Boston, MA, USA
Originator: bloom@buast7.bu.edu


I was there last Saturday on a picture perfect, not TOO hot (but
a bit to sunny for 6 hrs. of comfort) day.

Mostly, I agree with the previous posters. That is, I thought that
the performers were good, but that they were somewhat lacking
in energy. The Band seemed to be an exception to this, but
they diidn't really seem to click with the audience. I personally
am a great fan of the Band, so I felt this was a shame. I wasn't
sure whether this was because they didn't play folk music, or whether
people just didn't like them. The only odd thing is that Garth Hudson
seemed to be completely out of it (not really playing any of the keybd.
parts..)..does anyone know if there's anything wrong with him?

Anyhow, I was also impressed with Shawn Colvin, who seemed very nervous,
but played both old and new material with emotion.
From: martin@lyra.cis.umassd.edu (Gary Martin)
Newsgroups: rec.music.folk
Subject: Night Rider's Lament
Date: 14 Aug 92 15:55:53 GMT
Distribution: usa
Organization: University of Massachusetts Dartmouth

When responding to a query about the author of Night Rider's Lament a
few weeks ago, I incorrectly guessed that it might be Bill Staines.
I think the reason might be that I have a recording of it by Anson
Olds (with the October Mountain Band), who learned yodeling from
Staines.  BTW, people who are disappointed that Staines no longer
yodels (too hard on the voice) should check out Olds.

--
Gary A. Martin, Assistant Professor of Mathematics, UMass Dartmouth
Martin@cis.umassd.edu
From: benwood@milton.u.washington.edu (Ben Henwood)
Newsgroups: rec.music.folk
Subject: Re: Fingerstyle Acoustic Guitarist discographies
Date: 13 Aug 92 18:37:49 GMT
Organization: University of Washington

marchany@vtserf.cc.vt.edu (Randy Marchany) writes:

>Well, I'm embarassed to admit I forgot to mention a good friend of mine
>who was one of the Rev. Davis' students. His name is Rick Ruskin and
>he's done a number of recording under the old Tacoma label. He then 
>played in a variety of bands ranging from Jackie Deshannon to Olivia
>Newton-John's band in the 70's and after that put out some really nice
>records/tapes/CD's, one of which I was privileged to be on, on the Lion
>Dog label out of Seattle, WA.

>	-Randy Marchany

His latest release is called "Turn the Page."  It has three guitar
solo tracks and is all instrumental.  I like it a lot; it's on CD and tape
only.  I think he's really great in concert, and I enjoyed taking lessons
from him up until about a year ago when my kids became a bigger part of
my life.

Rick's version of the Beatles "Here, There, and Everywhere" appeared as 
TAB in Acoustic Guitar about a year ago.

Ben Henwood

Applied Physics Lab/UW
Seattle, WA

benwood@u.washington.edu




Ben Henwood

Applied Physics Lab/UW
Seattle, WA

benwood@u.washington.edu




.
Xref: sparky rec.music.folk:5719 soc.culture.celtic:5522
From: jj@alice.att.com (jj@alice.att.com)
Newsgroups: rec.music.folk,soc.culture.celtic
Subject: Re: The essential Celtic recordings?
Date: 19 Aug 92 18:22:48 GMT
Reply-To: jj@alice.UUCP (jj@alice.att.com)
Organization: NJ State Home for Bewildered Terminals

In article <1992Aug19.120912.14740@monu6.cc.monash.edu.au> mongoose@yoyo.cc.monash.edu.au (Conrad Leviston) writes:
>
>	Other than Clannad, The Cheiftans etc., I would highly recommend
>Allen Stivell. He is a Breton artist who mixes traditional and modern
>instruments. Well worth a listen, even if he does sing in French (horrid
>language that).

And, in a different vein, are the Corries, Silly Wizard, Boiled in Lead,
and the Scot Celts.

We're not all Irish, you know, just part Irish. :-)
-- 
 Bush    *Copyright alice!jj 1992, all rights reserved, except transmission
   vs       *by USENET and like facilities granted.      Said permission is
 Clinton  --    *granted only for complete copies that include this notice.
 Just Say !NO!       *Use on pay-for-read services specifically disallowed.
Newsgroups: rec.music.folk
From: wrp@pslsrv1.gvl.unisys.com (Bill Pringle)
Subject: Re: review: Richard Shindell ``Sparrows Point"
Organization: Paramax Systems, Ivyland, PA
Date: Mon, 17 Aug 1992 03:42:37 GMT

In article <1992Aug14.201051.7365@Princeton.EDU> pjr@splash.Princeton.EDU (Peter Rayner) writes:
>This is a record I haven't heard discussed on this group so I thought
>a brief review might be in order.  
>
>To my knowledge Shindell first turned up on one of Shanachie's
>compilations of new singer/song-writers and it was Gene Shay playing a
>couple of his tracks from this on WHYY which first alerted me.  "Are
>you happy now" which opens "Sparrows Point" was also on that
>compilation I believe.  When I first heard it I couldn't decide
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
I uploaded a discography of Richard Shindell to the music ftp archives.
He appears on some Fast Folk CDs.
============================================================================
Bill Pringle                      Software Tools
Paramax Corporation               Voice: (215)443-7500 X4023
Internet: wrp@ivy.unisys.com      UUCP: ...!uunet!mimsy!widener!gvls1!wrp%ivy
Newsgroups: rec.music.folk
From: ajw@cbnews.cb.att.com (andrew.j.whitman)
Subject: Re: Nick Drake revisited
Organization: AT&T
Date: Mon, 17 Aug 1992 14:47:11 GMT

In article <1992Aug14.192957.2043@Princeton.EDU> pjr@splash.Princeton.EDU (Peter Rayner) writes:
>This is only really a continuation of a thread for those with a
>prodigious memory or an automatic archive.    A few weeks ago I picked
>up "five leaves left" at my pusher (sorry used record store).  This
>note is just to tell those who might have been avoiding this record for
>its much-touted morbidity that I at least didn't find it nearly as
>despairing as I was told.   It's much closer to my couple of John
>Martin or Dave Evans records than to Leonard Cohen.
> The musicianship and arrangements are also
>pretty damned good to this ear.  I've rarely heard massed strings used
>this thoughtfully away from symphonies.  In short I'll recommend it
>(as has almost everyone else to be fair).  It's not exactly dance music
>but it shouldn't turn a bad day at the office into a suicide attempt.
>If you want one of those ... wait for my next posting.

I agree with your assessment of "Five Leaves Left."  Drake *is* a
fairly depressive sort, but not so much on that album.  "Bryter
Layter," his second album, has some similar Robert Kelly string 
arrangements, and contains songs that are just as good if not better
than the ones on "Five Leaves Left."  Since you enjoy the first album 
you'd probably enjoy that one too.

However, "Pink Moon," the third album, is quite different, and may
just turn a bad day at the office into a suicide attempt.  Avoid it
if you're an unstable sort.  Otherwise, buy it for the superb songs
and unremitting melancholy and despair.  

And since you've triggered some old memories, let me ask if anyone
remembers the Irish duo Tir na nOg, who turned out three superb
folk albums in the early seventies - "Tir na nOg," "A Tear and a
Smile," and "Strong in the Sun."  The connection with Nick Drake?
Well, if Nick Drake sang harmonies with himself, this is what he
might sound like - beautiful melodies, lush string arrangements,
melancholy lyrics.  They also toured with Drake for a while, covered
a couple of his songs, and dedicated their last (?) album, "Strong
in the Sun," to him.  Highly recommended, long out of print, and
probably impossible to find.  But if you run across them in the
used stores, grab up whatever you can find.

>Peter Rayner Program in Oceanic           | "All right, I retract, the 
>and Atmospheric Sciences Princeton        | Honourable Member does *not* have
>University                                | the brains of a monkey." F.Daly

Andy Whitman
AT&T Bell Laboratories, Columbus, Ohio
att!cblpn!ajw  or
ajw@cblpn.att.com
Newsgroups: rec.music.folk
From: bermes@cbnewsc.cb.att.com (Terry Bermes)
Subject: jigs,reels,hornpipes...(definitions)
Organization: AT&T Looney Bin
Date: Tue, 18 Aug 1992 21:19:04 GMT


Greetings,
	Is there someone out there who can provide a "layman" with 
definitions of the various types of "songs"?  I pretty much know a reel 
or a jig or a hornpipe or whatever when I hear one but lack the musical
vocabulary to describe the tunes.

Thanks,

Terry
Xref: sparky rec.music.folk:5773 soc.culture.celtic:5563
From: khan@mrcnext.cso.uiuc.edu (Scott Coleman)
Newsgroups: rec.music.folk,soc.culture.celtic
Subject: Re: The essential Celtic recordings?
Date: 22 Aug 92 03:17:13 GMT
Organization: University of Illinois at Urbana

How come nobody has mentioned the Clancy Brothers?

--
Scott Coleman                                                    tmkk@uiuc.edu

Free Advice: It is inadvisable to read Bush's lips at an official banquet.
From: kevin@sys6626.bison.mb.ca (Kevin Scott)
Newsgroups: rec.music.folk
Subject: Re: Nick Drake revisited
Date: Sat, 15 Aug 92 13:17:28 CST
Organization: system 6626 BBS, Winnipeg MB

pjr@splash.Princeton.EDU (Peter Rayner) writes:

> This is only really a continuation of a thread for those with a
> prodigious memory or an automatic archive.    A few weeks ago I picked
> up "five leaves left" at my pusher (sorry used record store).  This
> note is just to tell those who might have been avoiding this record for
> its much-touted morbidity that I at least didn't find it nearly as
> despairing as I was told.   It's much closer to my couple of John
> Martin or Dave Evans records than to Leonard Cohen.
>  The musicianship and arrangements are also
> pretty damned good to this ear.  I've rarely heard massed strings used
> this thoughtfully away from symphonies.  In short I'll recommend it
> (as has almost everyone else to be fair).  It's not exactly dance music
> but it shouldn't turn a bad day at the office into a suicide attempt.
> If you want one of those ... wait for my next posting.
> -- 
> Peter Rayner Program in Oceanic           | "All right, I retract, the 
> and Atmospheric Sciences Princeton        | Honourable Member does *not* have
> University                                | the brains of a monkey." F.Daly

 
Drake is always remembered as a very depressed person, and people always 
seem to get the impression that this is reflected in his music. His music 
is far from depressing. It is completely introspective, to be sure, but 
it's not nearly as depressing as, say, Bruce Cockburn.
 
KS

;--- (Kevin Scott) a user of sys6626, running waffle 1.64
;E-mail: kevin@sys6626.bison.mb.ca
;system 6626: 63 point west drive, winnipeg manitoba canada R3T 5G8
From: lopresti@henson.cc.wwu.edu (lopresti robert)
Newsgroups: rec.music.folk
Subject: Paxton: if you love that politician...
Date: 21 Aug 92 19:05:53 GMT
Organization: Western Washington University


"If you love that politician (pull the chain)" is on one
of Paxton's best albums, ONE MILLION LAWYERS AND OTHER DISASTERS.  It
was on Flying FIsh and I would hope it's still in print.

Rob
From: jonb@Ingres.COM (Jon Berger)
Newsgroups: rec.music.folk
Subject: Re: An Apology - was Re: Copy whose right?
Date: 19 Aug 92 22:19:07 GMT
Reply-To: jonb@ingres.com
Organization: Ingres, an ASK Company

In article <1992Aug19.144559.15620@hemlock.cray.com>, robd@cherry09 (Robert Derrick) writes:
>I find that I must publicly apologize...

...and then does so.

Thanks, Rob.  Graciously written and gladly accepted; a polite response
to a letter which, let me be the first to admit, was anything but.

I think that my strong feelings about copyrights stem from the fact that
my father made a large part of his living as a composer of choral music.
Choral composers are more vulnerable to copyright infringers than most
other types of composer, because publishers of choral music assign
prices to the sheet music based on the expectation that a choir will
need to purchase something like half as many copies of a piece as there
are people in the choir -- lots, in other words, so the price of an
individual copy is relatively low.  If a choir director decides to just
buy a single copy and Xerox it, the composer makes, basically, nothing.
Luckily, most choirs are associated with churches, so the rate of honesty
is higher than what you might find in the general population, but you'd
be surprised at some of the things that go on even so.

--------------------------------------------------------------------------
   -__ __ /_   Jon Berger              "If you push something hard enough,
  //_// //_/   jonb@ingres.com          it will fall over."
_/ ---------                              - Fudd's First Law of Opposition
From: whheydt@pbhya.PacBell.COM (Wilson Heydt)
Newsgroups: rec.music.folk
Subject: Re: An Apology - was Re: Copy whose right?
Date: 20 Aug 92 16:10:58 GMT
Reply-To: whheydt@PacBell.COM (Wilson Heydt)
Organization: Pacific * Bell, San Ramon, CA

In article <1992Aug19.221907.10432@pony.Ingres.COM> jonb@ingres.com writes:
>If a choir director decides to just
>buy a single copy and Xerox it, the composer makes, basically, nothing.
>Luckily, most choirs are associated with churches, so the rate of honesty
>is higher than what you might find in the general population, but you'd
>be surprised at some of the things that go on even so.

Entirely too many church folk seem to have the attitude that, since
they are relatively 'poor', they have special priveleges--like 'free'
access to things that cost money for other people.  (This is spite of
the many tax advantages that a church has.)

Similar copyright issues appear to be common around colleges and
universities--especially public institutions (there are some really
strange laws on this).

	--Hal
-- 
Hal Heydt                    |    "Boycott Time-Warner"
Analyst, Pacific*Bell        |         --J. Danforth Quayle
510-823-5447                 |    "... kill all the lawyers."
whheydt@pbhya.PacBell.COM    |         --William Shakespeare
Newsgroups: rec.music.folk
From: robd@cherry09.cray.com (Robert Derrick)
Subject: Re: Lakes of Pontchartrain lyrics/music?
X-Newsreader: Tin 1.1 PL4
Date: 12 Aug 92 10:00:28 CDT

(Patrick Denker) writes:
>I am looking for the lyrics (and, if possible, the music) for a
>song called "The Lakes of Pontchartrain."  It is the story of an Irish
>immigrant's experience upon arriving in America.  This excellent song
>appeared on the British TV special "Bringing It All Back Home"  ---
>a special on Irish music that aired last summer.  It is sometimes known
>as "Welcome, Kind Stranger."  Thanks in advance,
>Scott
>denker@acpub.duke.edu

Here you go, and for all the others.  This version is from the singing
of Harvey Reid:


          The Lakes of Pontchartrain
                by Harvey Reid
                    from Of Wind and Water
    (traditional)
    
    
    Twas on one bright morning I bid New Orleans adieu
    And I took the Road to Jackson town, my fortunes to renew.
    I cursed all foreign money, no credit could I gain.
    Which filled my heart with longing for the lakes of Pontchartrain.
    
    I climbed on board of a railroad car all in the morning sun
    And I rode the rods till evening and I lay me down again.
    All strangers were no friends to me til the dark road towards me came.
    And I fell in love with a Creole girl, by the lakes of Pontchartrain.
    
    And I said "Me pretty Creole girl, my money here's no good
    If it weren't for the alligators, I'd sleep out in the wood."
    "Your welcome here kind stranger, our house is very plain.
    But we never turn a stanger out, on the lakes of Pontchartrain."
    
    And she took me to her mammy's house, she treated me quite well.
    The hair upon her shoulders in jet black ringlets fell.
    To try to paint her beauty there, I'm sure would be in vain,
    So handsome was my Creole girl, on the lakes of Pontchartrain.
    
    And I asked her would she marry me, she said "That never could be."
    For she had got a lover, and he was far at sea.
    She said that she would wait for him, and true she would remain,
    Till he returned to his Creole girl, on the lakes of Pontchartrain.
    
    So fair thee well my Creole girl, I'll never see you no more.
    I'll never forget your kindness in the cottage by the shore,
    And at each social gathering, a foamy glass I'll drain.
    And I'll drink a health to my Creole girl on the lakes of Pontchartrain.
Newsgroups: rec.music.folk
From: dhw@plex-1.ann-arbor.mi.us (David West)
Subject: Re: Name that tune: Larson/Dalgleish
Organization: Plex-1, Michigan's Public Access Usenet Gateway  (Ann Arbor).
Date: Fri, 14 Aug 1992 01:56:36 GMT

In article <Bsvyov.2o4@rice.edu> aeksir@owlnet.rice.edu (Amy Elizabeth Ksir) writes:
>is a fiddle tune in a minor key (b minor, maybe?) that starts out in 6/8
>and switches into 7/8 in the middle (pretty cool!).  

Probably Thunderhead.  Unless they've used that trick _again_.

-David
Newsgroups: rec.music.folk,soc.culture.celtic