HDTenEightyP/NetNews huggingface dataset:
From: lyndap@Novell.COM (Lynda Peterson)
Newsgroups: rec.music.country.western
Subject: Re: CMA comments
Date: 5 Oct 92 16:31:24 GMT
Organization: Novell, Inc.

In article <1992Oct2.164346.22845@edsr.eds.com> hkelly@edsr.eds.com (Kelly  
Shuldberg) writes:
> >>Contrary to other messages flying around I thought the CMA awards
> >>show was good in comparison to other awards shows. I thought Vince
> >>Gill was entertaining and even though Reba does nothing for me 
> >>musically she was also entertaining.
> 
> I tend to agree.  Given all the bashing the show has taken in this  
group, I
> was beginning to wonder about my sense of taste, but then I realized  
that
> what I liked about the show is not what everyone else seems to be
> complainging about.  I was impressed withthe fact that the show  
consisted
> mainly of live performances, the actual award presentations were kept to  
a
> minimum, and the acceptance speeches were short.  I was also impressed
> that, given the many different performers, there wasn't a single "house
> band."  The setup and musicians changed every time a new performer sang
> (I'd like to know how they did that as quickly as they did with only one
> central stage, and still managed to maintain good sound).  I didn't like
> every song that was performed (if I ever hear BRC again I'm going to  
slit
> my wrists!), but I did like the way the performances were organized and
> executed.  
> 
> And Reba?  She has a beautiful, clear, strong voice, but she seems  
unable
> to control that little four-note warble that permeates every song she
> sings, regardless of tempo, mood, or anything else.  I find it annoying,
> sort of like when you listen to Bob Wills recordings, and there are  
these
> great musicians throwing out hot licks, and then ol' Bob just has to  
howl
> right in the middle of it all.  "Shut up, Bob!  Let these guys play!"   
If
> Reba could alter her style, just a little, I'd like her a lot more.
> 
Agreement with you on both counts, the entertainment and Reba's warble  
which can drive you mad or please you depending on how much she does it.

lyndap
From: thughes@lonestar.utsa.edu (Toby . Hughes)
Newsgroups: rec.music.country.western
Subject: Re: 1992 CMA Awards Results
Date: 1 Oct 92 16:27:43 GMT
Organization: University of Texas at San Antonio


Am I the only one who noticed that all the winners were the young studs and
studettes of the 'new age.'  Garth was the oldest winner there, and even he's
been around less than ten years.  Does this reflect the current membership of
the CMA?  Passing of the torch to a new generation?  Voting for current fads?
Or has Hollywood truly taken over the business?

TH
Newsgroups: rec.music.country.western
From: templon@paramount.nikhefk.nikhef.nl (Jeffrey Templon)
Subject: Re: No Show Jones Saves the Show
Organization: NIKHEFK
Date: Fri, 2 Oct 1992 12:25:08 GMT

warnock@Hypatia.gsfc.nasa.gov (Archie Warnock) writes:

>And poor Lyle Lovett, who presented the award for single of the year
>for ABH...  When he announced the result, he looked like he'd eaten a
>slug or something.  Talk about going from the sublime to the ridiculous
>- one of country music's best songwriters giving an award to one of
>country music's worst songs.

Boy, I wish I could've seen this.  He had a similar look (like
"Who wrote this??") when I saw him at the Ann Arbor Folk Festival
last year.  They got EVERYBODY out (Livingston Taylor, Four
Bitchin Babes, Robert Earl Keen Jr., etc. etc.) to sing
along with "From A Distance".  Robert Earl and Lyle were
standing together, Robert singing and Lyle sometimes singing
and sometimes looking around like "These people are actually
INTO this??"

Priceless moments.

					JT
Newsgroups: rec.music.country.western
From: rodean@fc.hp.com (Bruce Rodean)
Subject: Re: Pop/Country/Rock/Whatever
Date: Sat, 3 Oct 1992 16:49:02 GMT
Distribution: na
Organization: Hewlett-Packard Co., Fort Collins, CO
X-Newsreader: TIN [version 1.1.4 PL6]

Rich Slywczak (slywczak@ame.gsfc.nasa.gov) wrote:
> In article <BvJ0x5.D0u@news.cso.uiuc.edu>, ellis@alexia.lis.uiuc.edu (June Ellis) writes:
> |> In <1ai1r4INN28c@darkstar.UCSC.EDU> indigo@ucscb.UCSC.EDU (Adam Schneider) 
> |> writes:
> |> 
> << stuff deleted >>
> |> 
> |> Which is precisely the point.  For some of us long-time country fans, there is 
> |> a sound that defines country, and it is usually the sound that people who 
> << stuff deleted >>
> |> loyalest country fans out here like country BECAUSE of the steel and fiddle and
> |> twang.
> |> 
> |> All IMHO, of course.
> |> 
> |> June
> |> 
> 
> 
> I agree completely with June.  When you try to compare Country Music and rock,
> it is like comparing apples and oranges.  You really have to look at the roots
> of Country Music and see where it developed from and it's tradition.  Rock music
> is just music; it has no real basis (except to make money).  Now, I know that
> Country Music performers make tons of money, but I also believe that the type
> of music someone like Alan Jackson, Ricky Scaggs, or George Strait is just as
> important as the money (which is semi-traditional to traditional country).  And
> Alison Krauss turned down a major record deal to record for Rounder Records, so
> she could record the type of music she believes (i.e. bluegrass/traditional country).

Oh come on now, that's an awfully big paint brush you're using there,
isn't it?  I like just about all types of music (opera and rap are the
two big exceptions).  I admit that I'm more a crossover fan like the
original poster.  The twangy nasal my-woman-done-me-wrong stuff just
doesn't cut it in my book.  And not everyone in rock is a Michael
Jackson, U2, or New Kids on the Block.  I'd say the biggest counter to
your argument is The Grateful Dead.  While they may have large incomes,
they are very in touch with their audience and fans.  So let's just like
what we like without putting down everything else.

--
Bruce Rodean                          Hewlett-Packard Company
rodean@fc.hp.com
From: jrv@gradient.cis.upenn.edu (JR VanMechelen)
Newsgroups: rec.music.country.western
Subject: Re: Bottom Ten C/W Songs
Date: 28 Sep 92 17:10:55 GMT
Organization: University of Pennsylvania

In article <1992Sep28.150910.5562@sol.ctr.columbia.edu> shenkin@avogadro.barnard.columbia.edu (Peter S. Shenkin) writes:
>In article <1992Sep26.173243.10989@ringer.cs.utsa.edu> thughes@lonestar.utsa.edu (Toby . Hughes) writes:

[etc.]

>The problem with all these is, if a song is so bad it's good, does
>it lift it above the bottom 10, or more firmly establish it there?
>"Yvonne of the bayou," however, goes beyond being so bad it's good;
>that song is so bad it's bad!
>

Howdy,

In this vein is a CD collection called ``Hillbilly Music ... Thank
God!'', volume 1.  This recent collection was produced for reissue by
Marshall Crenshaw, and he has quite a bunch.  In his liner notes, he
says all the songs are marked by humor or great guitar work or both.
On the intentional humor end of things, there's ``Hog-Tied Over You,''
which, depending on your mood and how sober you are, is either cute or
sickeningly sweet.  On the unintentional humor side, there's The
Louvin Brothers, ``The Great Atomic Power'' and Buck Owens and Rose
Maddox, ``Mental Cruelty.''  There are some fairly straight songs,
including ``Merle's Boogie Woogie,'' Merle Travis burning out another
set of guitar strings, and Gene O'Quin, ``It's No Use Talkin' Baby
(I'm Through).''

It's very hard to tell whether the collection is serious or a spoof,
and I guess that's part of why I like it so much.  An excellent, witty
collection!

So long,
JR
Newsgroups: rec.music.country.western
From: morgan@nd.edu (Lori J. Morgan)
Subject: Michael W. Smith
Organization: University of Notre Dame, Dept. of Human Resources
Date: Mon, 5 Oct 1992 12:17:42 GMT

Michael W. Smith is a "Christian" Artist.

He is very well known in the christian music circuit.  He and Amy Grant are 
pretty comparable.  He is an extremely talented young man and I feel he was 
absolutely terrific with Steve Wariner on the awards show!
Newsgroups: rec.music.country.western
From: mdl@phelixsalt (Michael Lynch)
Subject: Re: Pop/Country/Rock/Whatever
Reply-To: mdl@phelixsalt (Michael Lynch)
Organization: Bellcore
Distribution: na
Date: Mon, 5 Oct 92 12:00:45 GMT

In article <BvJ0x5.D0u@news.cso.uiuc.edu>, ellis@alexia.lis.uiuc.edu (June Ellis) writes:
|> In <1ai1r4INN28c@darkstar.UCSC.EDU> indigo@ucscb.UCSC.EDU (Adam Schneider) 
|> writes:
|> 
|> >Personally, I wouldn't go near country music if not for the likes of Wynonna 
|> Judd and Garth Brooks, and most "traditional" country makes my skin crawl.
|> 
|> Which is precisely the point.  For some of us long-time country fans, there is 
|> a sound that defines country, and it is usually the sound that people who 
|> "hate country music" hate.  It is the sound that makes "Someday" definitely
|> country and "Shameless" definitely not.  For us, the mid- to late-80s were 
|> wonderful with the rise of the traditionalists like Strait, Skaggs, Travis, 
|> Yoakam and Shelton.  At last there was country-sounding country on the radio 
|> and in the record stores.  Now to see it becoming diluted again is a sad thing,
|> particularly since it seems that it is being done so for the almighty dollar. 
|> When the record labels periodically seek to "expand country's horizons by 
|> appealing to a broader audience", we hard-core fans know what's in store. So 
|> we buy up what good country we can find and live off our oldies collections 
|> until the latest pop-flavored fad passes and the labels again realize that the
|> loyalest country fans out here like country BECAUSE of the steel and fiddle and
|> twang.
|> 
|> All IMHO, of course.
|> 
|> June
|> 


Well said.  I've always been a country music fan (western music, too, and 
there IS a difference), and my wife has always hated it.  We've been
married long enough (26 years) to know very well what the other likes and
dislikes, so when I want country music I use the headset or wait until she's
not home and crank up the ole dBs to the wall-cracking level.  Lately,
however, my wife has been showing some interest in some of the "new"
country.  It's generally stuff that I don't care for, or just don't really
notice.  Sort of country pablum.  Crossover music.  I see this new interest
on the part of someone who has never liked country music as sort of a
(non-scientific) indicator of what's happening to the industry.  Country
music has a character -- somewhat salty at times, sometimes humorous, usually
pulling an emotional string or two -- but always distinct.  That's what made
it a genre.  I see that character being diluted, becoming less and less
distinct.

I expect that character to return, as it always has.  I just hope it doesn't
take too long.

Mike Lynch
mdl@oscar.bellcore.com
From: ellis@alexia.lis.uiuc.edu (June Ellis)
Newsgroups: rec.music.country.western
Subject: Re: 1992 CMA Awards Results
Date: 5 Oct 92 21:25:59 GMT
Article-I.D.: news.Bvo3JD.7uK
Organization: University of Illinois at Urbana

In <BvnLvx.ErC@Novell.COM> lyndap@Novell.COM (Lynda Peterson) writes:


>The country music scene and awards shows have always had a high turn over.  
>Rock_Pop music does, too. Many artist in pop are only aroung a couple of  
>years and then the next year, you can't remember their names or songs.  


I disagree that country has a historically high turn-over rate.  Actually most
top country performers have relative longevity compared to their pop or rock 
counterparts.   For example, Tanya Tucker and Dolly Parton are still charting 
and earning nominations after twenty years, and George Strait and Reba after 
ten.  And look at Jones, who has been around forever and is still charting and
selling records.

It used to be that artists developed slowly, had a fairly long run once they 
made it, and a graceful decline.  And that made for stability and a slow turn 
over rate.   In the past five years or so all that has seemed to change, since
Randy Travis proved you could debut a platinum album.   Now it seems that these
new performers get one shot and its either gold album or out the door.  And 
that does make for a high turnover and one-hit wonders.   But, historically it 
hasn't been like that.

June
From: bh419@cleveland.Freenet.Edu (Ted B Samsel)
Newsgroups: rec.music.country.western
Subject: Re: Garth Brooks - Night Rider's Lament
Date: 1 Oct 1992 10:22:12 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: hela.ins.cwru.edu


h. kelly shuldberg (says)
Legend has it that some
cowboys would sing as they kept their night shift because it seemed to calm
the herd. 

Take a look at J. Frank Dobie's THE LONGHORNS... you'll find
out about this and more...also a great bibliography of primary
source material.....
  Check out the Lomaxes too for REAL COWBOY songs...

"Little joe the wrangler will wrangle never more,
His days with the remuda they are done,
T'was a year ago last April,
He joined the outfit here,
A little texas stray and all alone."
-- 
Ted....
Newsgroups: rec.music.country.western
From: lmc@cs.cornell.edu (Linda Marie Competillo)
Subject: Re: No Show Jones Saves the Show
Organization: Cornell Univ. CS Dept, Ithaca NY 14853
Date: Thu, 1 Oct 1992 15:07:42 GMT

In article <bm=p3fk@lynx.unm.edu> gworrell@carina.unm.edu (Gayla M. Worrell) writes:
>In article <1992Oct1.124413.2721@nsisrv.gsfc.nasa.gov> slywczak@ame.gsfc.nasa.gov (Rich Slywczak) writes:
>>"No Show" Jones added some class to what was the *worst* awards show in 
>>Nashville's "we can attract more people to country music, if we make it 
>>sound like pop" history.  Here are my varied comments:
>>
>>1)  Someone should teach BRC that you have to put the left foot in front of 
>>    right foot and then the right foot in from the the left to walk
>And what's with this fist thing?  I had no idea that he was such a odd man.  I
>felt, there for a minute, that I was watching a stoned, militant, hillbilly
>try to breakdance! Yikes!

*I couldn't agree more and couldn't have put it better, either! You have a 
true gift for descriptive adjectives, Gayla!
 

>Additional comments:
>
>-Mary Chapin-Carpenter.  YES!!!

*HAve to disagree here - REba should've won it hands-down!

>-What's wrong with Garth?  I don't think I've ever seen him quite so, so....
>so, what?  I'm don't even know how to describe his behavior.  He just seemed
>a little off.

*I think he really is going to end up retiring or at least taking a long
vacation. I think it's a combination of sincere realization of the importance
of family and what he stands to miss out on if he's not around and just plain
disgust with what he's seen on the "inside" of the industry.

>-Could someone please explain to me why ABH won anything at all?

*I wish I could! THe only real possibility is that they were all on drugs when
they voted? Or they were paid off? Or their lives were threatened?

>-Horizon - Suzy Boggus - YES!!!!  She was soooo cute when she "forgot to 
>remember" who she was supposed to thank.

*Yes, she was cute, but she sure can't sing. Sorry, just MHO, but I was
truly shocked that Trisha didn't get that one and equally as shocked that
Suzy did! 

>I'm not sure if this was the worst CMA awards show I've seen, but it ranks rightup there.   

*YOU BETCHA!!!

>				Gayla
>

*Linda
-- 
Linda Competillo
lmc@cs.cornell.edu
Newsgroups: rec.music.country.western
From: shenkin@avogadro.barnard.columbia.edu (Peter S. Shenkin)
Subject: Re: Top 100 Country Songs of All Time
Organization: Dept. of Chem, Barnard College, Columbia U, New York
Date: Mon, 28 Sep 1992 15:13:48 GMT
X-Posted-From: avogadro.barnard.columbia.edu
NNTP-Posting-Host: sol.ctr.columbia.edu

In article <1992Sep25.150306.28775@walter.cray.com> jeb@cray.com (John Bergquist) writes:

>> 76. "There's a Star-Spangled Banner Waving Somewhere", Elton Britt (???,
>>       another one I've never heard. From 1942.)
>It's on The Smithsonian Collection of Classic Country Music.

This one could go on Toby's list of the "Bottom 10" as well, but it's
definitely in the class of "so bad it's good," rather than "so bad it's
bad."

There's also a WWII vintage song that I've never heard, called "I'd rather
die for my country than live with my wife."  

About 3 years ago Doug Tuchman put on a "Hillbilly Festival" at Floyd
Bennett Field in Queens.  Some guy got up and sang this, except for the
line that says how we'll crush the "axis," this guy substituted "commies...."

Times change I guess.  (Or do they?)

	-P.
-- 
************************f*u*cn*rd*ths*u*cn*gt*a*gd*jb*************************
Peter S. Shenkin, Department of Chemistry, Columbia Univ.,  New York, NY 10027
(212)854-8402    shenkin@avogadro.barnard.columbia.edu   shenkin@cunixf.BITNET
*********************** UNIX:  the wave of the present ***********************
Newsgroups: rec.music.country.western
From: kjc7435@ultb.isc.rit.edu (K.J. Cater)
Subject: Re: Mark Chestnutt
Originator: kjc7435@ultb
Organization: Rochester Institute of Technology
Date: Sat, 26 Sep 1992 20:58:52 GMT

You bet I am!!  Just got his album a few weeks ago and am already
memorizing the "Bubba Shot the Jukebox" lyrics.....

K. Cater.

p.s. anyone know if he's been to/toured in Rochester NY yet??
send e-mail to: "kjc7435@ritvax.isc.rit.edu".
From: hkelly@edsr.eds.com (Kelly Shuldberg)
Newsgroups: rec.music.country.western
Subject: Ian Tyson question
Date: 6 Oct 92 19:32:38 GMT
Organization: EDS Research

I recently purchased Ian Tyson's latest CD, called "And Stood There
Amazed."  I had to listen to it a few times before I really liked it, but
now that I'm more familiar with the tunes, I think it's pretty good,
although a couple of the songs are a kind of Ian-Tyson-meets-Ziggy-Marley
combination of C&W instruments and reggae beat.  One of these songs is
called Jaquima to Freno (BTW, Ian's Spanish is about what you'd expect for
someone who lives 1000 miles north of the Mexican border).  This song is
about an old, black Jamaican vaquero.  A couple of the lines go...

He been to the ocean, he been to the sea.
Great big tapaderas hangin' both side of an old vasilia tree.

The word "tapadera" in Spanish means "lid," like a covering for a box.
What I'm wondering is what it means in terms of Cowboyography.  Any cowboys
(or cowgirls) out there have any idea?

h. kelly shuldberg
hkelly@edsr.eds.com
Albuquerque, NM
Newsgroups: rec.music.country.western
From: shenkin@avogadro.barnard.columbia.edu (Peter S. Shenkin)
Subject: Re: Pop/Country/Rock/Whatever
Organization: Dept. of Chem, Barnard College, Columbia U, New York
Date: Tue, 6 Oct 1992 20:07:39 GMT
X-Posted-From: avogadro.barnard.columbia.edu
NNTP-Posting-Host: sol.ctr.columbia.edu

In article <1992Oct6.184334.7689@reed.edu> turner@reed.edu (hallucinations ) writes:
>In article <1992Oct6.135152.10600@samba.oit.unc.edu> dil.admin@mhs.unc.edu (Dave Laudicina) writes:
>>Now how can you not consider people like Alan Jackson, Clint Black,
>>Randy Travis, Emmy Lou Harris country. They are new but they sing
>
>Huh!!?!  Since when is Emmy Lou new?  She's been around FOREVER and a day!
>This isn't at all a flame, this is just complete utter shock!  I'll grant
>the others are new, but not her.  And her old stuff is great.  (Old being
>early 70s.)

I guess your perspective on this depends quite a bit on how old you are.
Emmy Lou is certainly "new" in my book.  

But this judgement is not solely based on my age;  I think I consider her 
"new" at least in part because because so many of her hits are remakes of 
earlier country recordings.

This isn't a flame either -- I love Emmy Lou dearly.

	-P.
-- 
************************f*u*cn*rd*ths*u*cn*gt*a*gd*jb*************************
Peter S. Shenkin, Department of Chemistry, Columbia Univ.,  New York, NY 10027
(212)854-8402    shenkin@avogadro.barnard.columbia.edu   shenkin@cunixf.BITNET
*********************** UNIX:  the wave of the present ***********************
From: hkelly@edsr.eds.com (Kelly Shuldberg)
Newsgroups: rec.music.country.western
Subject: Re: CMA comments
Date: 2 Oct 92 16:43:46 GMT
Organization: EDS Research

>>Contrary to other messages flying around I thought the CMA awards
>>show was good in comparison to other awards shows. I thought Vince
>>Gill was entertaining and even though Reba does nothing for me 
>>musically she was also entertaining.

I tend to agree.  Given all the bashing the show has taken in this group, I
was beginning to wonder about my sense of taste, but then I realized that
what I liked about the show is not what everyone else seems to be
complainging about.  I was impressed withthe fact that the show consisted
mainly of live performances, the actual award presentations were kept to a
minimum, and the acceptance speeches were short.  I was also impressed
that, given the many different performers, there wasn't a single "house
band."  The setup and musicians changed every time a new performer sang
(I'd like to know how they did that as quickly as they did with only one
central stage, and still managed to maintain good sound).  I didn't like
every song that was performed (if I ever hear BRC again I'm going to slit
my wrists!), but I did like the way the performances were organized and
executed.  

And Reba?  She has a beautiful, clear, strong voice, but she seems unable
to control that little four-note warble that permeates every song she
sings, regardless of tempo, mood, or anything else.  I find it annoying,
sort of like when you listen to Bob Wills recordings, and there are these
great musicians throwing out hot licks, and then ol' Bob just has to howl
right in the middle of it all.  "Shut up, Bob!  Let these guys play!"  If
Reba could alter her style, just a little, I'd like her a lot more.

h. kelly shuldberg
hkelly@edsr.eds.com
Albuquerque, NM
From: bu525@cleveland.Freenet.Edu (Paul Schmidt)
Newsgroups: rec.music.country.western
Subject: Boot Scoot Boogie
Date: 29 Sep 1992 23:23:35 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: hela.ins.cwru.edu


Can anyone tell me the name of the Brooks and Dunn album which
contains the original mix... not the remix.

thanx
-- 
-----------------------------------------------------------------
| Paul Schmidt (CFN Id: bu525) | "If we weren't all crazy, we   |
| rock@tso.uc.edu (main addr)  | would go insane." - J. Buffett |
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Newsgroups: rec.music.country.western