HDTenEightyP/NetNews huggingface dataset:
From: dml@philabs.philips.com (Damian M. Lyons)
Subject: Re: The essential Celtic recordings?
Organization: Autonomous Systems, Philips Labs, Briarcliff Manor, NY
Date: Fri, 21 Aug 1992 17:14:47 GMT

In article <1992Aug20.130229.8668@emr1.emr.ca> jgairns@emr1.emr.ca (Jamie Gairns) writes:
>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).
>>

Has anyone added Pierre BenSusan? Excellent sounding guitar work,
mixture of celtic pieces and celtic influenced pieces. I especially
like the Pres de Paris album. Solilai is good also, but less
traditional. 

How about the group Pentangle or am I dating myself?

BenSusan was the model for the cover of R. McAvoy's `Damiano' trilogy,
you can probably guess why I know this,

Damian.


-- 
_________________________________________________________________
         Damian M. Lyons | x6444 | dml@philabs.philips.com       
_________________________________________________________________
From: rm4@st-andrews.ac.uk (Rosa Michaelson)
Newsgroups: rec.music.folk
Subject: Re: Fingerstyle Guitarists? (was: Fingerstyle Acoustic Guitarist discographies)
Date: 13 Aug 92 10:45:25 GMT
Organization: Not St. Andrews University

I'm not sure if anyone's mentioned Dick Gaughin. I know he frequently
does use a plectrum, and thumb picka s well but I have heard hime finger
pick. What about Davey Graham?
Newsgroups: rec.music.folk
From: sullivana@gtephx.UUCP (Anne Sullivan)
Subject: Re: is it a record?
Summary: Dial phone
Organization: AG Communication Systems, Phoenix, Arizona
Date: Sat, 15 Aug 1992 00:50:54 GMT

In article <1992Aug7.182944.6944@pony.Ingres.COM>, jonb@Ingres.COM (Jon Berger) writes:
>
> This is similar to another conundrum posed by advancing technology: what
> do you call the action that you take when you initiate a phone call?
> "Dial" seems horribly inappropriate to a push-button phone.
> 
"Dial", used for the action to initiate a phone call, is one of those
words that is still used even though the exact action it applies
to has changed.  I ran into another word like this lately, but I
can't think of it now.  No one seems to even consider changing the 
word "Dial" to something else.   


Anne Sullivan  @ AG Communication Systems, Phoenix AZ  
(A joint venture of GTE and AT&T)
UUCP: ...!{ncar!noao!enuucp | uunet!samsung!romed!enuucp | att}!gtephx!sullivana   
Internet: gtephx!sullivana@enuucp.eas.asu.edu
From: dahe@cl.cam.ac.uk (David Elworthy)
Newsgroups: rec.music.folk
Subject: Re: Fairport Convention - Ric Sanders injured
Date: 12 Aug 92 11:16:14 GMT
Reply-To: dahe@cl.cam.ac.uk (David Elworthy)
Organization: U of Cambridge Computer Lab, UK

In article <5971.9208120958@thor.cf.ac.uk>, scogpw@thor.cf.ac.uk (Gordon
Walker) writes:
|> As the subject says, Ric Sanders has apparently injured his arm or
|> something and can't play at the 25th anniversary festival - talk about
|> bad luck and bad timing! Chris Leslie of Whippersnapper is standing in 
|> - and I presume Swarb will join  in on a few as well! Although I'm a
|> Chris Leslie fan, and it should prove interesting seeing him with
|> Fairport, its certainly a bit a downer not having poor old Ric playing.
|> Mind you, if the weather doesn't improve here, Ric might be better
|> off........
|> 
|> gordon

Saturday's Grauniad said that he fell through a plate glass window and
severed his wrist. Let's hope Swarb will play some, though I gather that
he doesn't like playing heavily amplified music, because his hearing is
so poor these days.

-- david elworthy
From: mpb@terminator.cc.umich.edu (MIke Brown)
Newsgroups: rec.music.folk
Subject: Re: Button accordion info req
Date: 19 Aug 1992 17:00:50 GMT
Organization: nasa-jsc

I also got the button accordion bug about a year or so ago.
I think there is a sound and style that goes along with the button
accordion that you just don't get with the piano (that is until
I heard Phil Cunningham!).  If you want to play in every key,
typical irish accordions come with 2 rows, C and C# or D and D#,
or some variant that makes playing all of the notes possible.  Other
accordions available include 1 thru 5 rows, each row being a different
key, with 1,2, and 3 row being the most common.  The keys of this
type will probably be C, C/G, E/A/D, G/D, etc.  

If you're buying used, check out the bellows, valves, and the reeds.
As for books, etc.  . . . I've had a hard time finding useful information
and an even worse time trying to find a teacher.  

I own a Hohner Corona II, EAD.  This seems to be a good key to
play Los Lobos or Jimmy Buffett, and some zydeco.
Newsgroups: rec.music.folk
From: roan@convex.com (Russell Roan)
Subject: Lucinda Williams
Date: Fri, 21 Aug 1992 20:51:53 GMT
Distribution: na
Organization: Engineering, CONVEX Computer Corp., Richardson, Tx., USA
X-Disclaimer: This message was written by a user at CONVEX Computer
              Corp. The opinions expressed are those of the user and
              not necessarily those of CONVEX.


	There was a great interview with Lucinda Williams this morning
(8/21/92) on Morning Edition (National Public Radio).  Evidently
she will be releasing an album ( _Sweet Old World_) next week.  This will 
be her first since 1988's _Lucinda Williams_.

	Smithsonian/Folkways also has released ( within the 
past year or so ) two of her earlier recordings (_Ramblin'_ (1978)
and _Happy Woman Blues_ (1980) ).

	The excerpts that were featured in the NPR story
sounded really good.  I'm a huge Lucinda fan, so I thought I'd 
pass this info along to the net.

				-Russ
-- 
Russell Roan
roan@convex.com
Vox: 214-497-4841
"Those who are about to flame salute you."
From: cmg996@cck.coventry.ac.uk (Martin-Martin Nike)
Newsgroups: rec.music.folk
Subject: Re: Fairport Convention - Ric Sanders injured
Date: 14 Aug 92 12:56:44 GMT
Organization: abUSENET, Coventry University, Coventry, UK

>As the subject says, Ric Sanders has apparently injured his arm or
>something and can't play at the 25th anniversary festival - talk about
>bad luck and bad timing! Chris Leslie of Whippersnapper is standing in 
>- and I presume Swarb will join  in on a few as well! Although I'm a
>Chris Leslie fan, and it should prove interesting seeing him with
>Fairport, its certainly a bit a downer not having poor old Ric playing.
>Mind you, if the weather doesn't improve here, Ric might be better
>off........

I saw Fairport on a pre-cropredy raid gig last week in a small
theatre in Lancashire. Ric wasn't there, but the new guy was
brilliant. He sang also, better than the rest of them!

Weather is OK today!!!

All those sun dances I did last night paid off!


-- 
/\/\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: james@wrs.com (James Moore)
Subject: Re: jigs,reels,hornpipes...(definitions)
Reply-To: james@wrs.com
Organization: Wind River Systems
Date: Thu, 20 Aug 1992 16:33:01 GMT

schmid@aix.rpi.edu (David Anthony Schmidt) writes:
>A reel is almost always written in "cut time", ie 2/2, which is really 
>the same as 4/4 as far as I can tell...it is played at about 88 beats per min
>though this varies.

The speed of the tune depends on the context you play it in.  Playing
for dancers usually means that you play _much_ faster than 88 bpm.
Dancers always complain that pipers never play fast enough.

From Duckworth, "A Creative Approach to Music Fundamentals:"

    The meter signature, or time signature, is made up of two numbers,
    one above the other, that appear at the beginning of a piece of
    music.  The meter signature has two functions:  The top number
    indicates the meter of the piece; the bottom number identifies the
    note value that represents the pulse.  For example, in the meter
    signature 3/4:

	3 indicates triple meter - that is, three pulses, or beats, per measure
	4 identifies the quarter note as the pulse beat.

(I quoted the whole thing simply because I almost always ignore the
thing in the first place, and I couldn't remember exactly what it
meant.  All those years playing in the school orchestra, you'd think
I'd remember something, but no...)

I don't know what the difference between 2/4 and cut time is - I
always assumed they were the same thing.

>What I object to in the previous post is making the distinctin based on point-
>ing, since there are pointed and nonpointed variants of both reels and horn-
>pipes.

I think the difficulty people are having here is that Irish 
and Scottish hornpipes are not quite the same thing.  Irish versions
tend to be more cut, and the Scottish versions played more round.
I have to disagree with Dave and say that the general distinction of
reel=round and hornpipe=cut is a good way to think of it, for both
Irish and Scottish tunes.

(My experience has been split pretty evenly between the two
traditions.  I played highland pipes for about seven years, and just
recently took up playing Irish fiddle.  I've probably listened to more
Irish music than Scottish though.)

Oh, one last thing - I doubt that much of this applies to the kind of
music you'll hear for Scottish country dancing.  My experience has
been that pipe music and country dance music have the same words for
some really different kinds of music.  Strathspeys, for example, don't
sound anything alike.  Country dancers have a sort of slow, lilting
tune, while pipers play fast, agressive, and very sharply cut tunes.
I don't know how far this sort of thing extends into other kinds of
tunes.

-- 
James Moore                            /|\                        james@wrs.com
Wind River Systems                     \|/                  Alameda, California
	 "Half of what he said meant something else, and the other half
			  didn't mean anything at all"
From: cimo@cs.montana.edu (Bob Cimikowski)
Newsgroups: rec.music.folk
Subject: Lakes of Pontchartrain
Date: 12 Aug 92 20:38:53 GMT
Organization: CS


Now that we have the lyrics down for the "Lakes of Pontchartrain" song, how
about an analysis of the guitar accompaniment.  The only version I have
heard (and therefore my favorite!) is the one by Paul Brady on the cassette
"Welcome Here Kind Stranger."  He uses an open tuning and plays a rather
simple accompaniment.  It's the tuning that has me baffled though.  I've tried
open D but am not convinced that this is the one he uses on the recording.
Has anyone figured this out yet?
From: bermes@cbnewsc.cb.att.com (Terry Bermes)
Newsgroups: rec.music.folk
Subject: Re: DeDannan recommendations
Date: 18 Aug 92 17:52:47 GMT
Organization: AT&T Looney Bin

From article <l8gh8lINNh92@jethro.Corp.Sun.COM>, by jac@nextdoor.Corp.Sun.COM (Jim Christianson):
> 
> 
> Can someone recommend a good DeDannan CD, one available in the 
> U.S.?  I saw them last week in San Francisco, and they were 
> terrific.  Also, their female vocalist is excellent.  Can you 
> tell me her name?



	Eleanor Shanley is her name and she sings on DeDannan's
"Jacket of Batteries" which is a fine, fine album.  DeDannan has
had quite an impressive lineup of singers over the years: Dolores
Keane, Maura O'Connell, Mary Black and Eleanor Shanley.

	Album recommendations:
		"The Star-Spangled Molly" - this album features
		the singing of Maura O'Connell.

		"DeDannan" - their first album featuring the singing
		of Dolores Keane.

		"The Mist Covered Mountain" - No woman singers but
		some serious playing.  The band really cooks on 
		this one.

		"A Jacket of Batteries" - this is the album that
		Eleanor Shanley sings on.  Buy this.

	Other DeDannan albums that I know of:
		"Ballroom" - Dolores Keane sings on this one.

		"Song for Ireland" - This one features Mary Black.

		"Can't remember the name of this one" - This album
		features the vocals of Johnny Moynihan.

	Hope this helps.  Maybe someone else will have more to say
about the albums.

terry
Newsgroups: rec.music.folk,soc.culture.celtic
From: bermes@cbnewsc.cb.att.com (Terry Bermes)
Subject: Re: The essential Celtic recordings?
Organization: AT&T Looney Bin
Date: Sat, 22 Aug 1992 04:56:01 GMT

From article <tmcfarla.714387598@sfu.ca>, by tmcfarla@fraser.sfu.ca (Tara McFarlane):
> 
> ok, i'm not an expert on celtic music, so i was wondering why no one has        mentioned the pogues. i think 'rum, sodomy and the lash' is wonderful album
> regardless of the genre. i find i don't like later pogues albums because they
> don't sound as traditional (to my inexperienced ears), but perhaps to someone
> with a greater exposure to celtic music the pogues just don't sound traditional/celtic enough for their liking period.


	While I love the "more pure" celtic music, the Pogues is one of
my favorite bands with "RuM Sodomy and the Lash" being my favorite
Pogues album.  Shane McGowan sure knew how to write some great songs.

terry
From: ian@ossian.turing.ac.uk (Ian Watson)
Newsgroups: rec.music.folk
Subject: Re: DeDannan recommendations
Date: 19 Aug 92 14:25:10 GMT
Organization: The Turing Institute, Glasgow, Scotland.

In article <l8gh8lINNh92@jethro.Corp.Sun.COM>, jac@nextdoor.Corp.Sun.COM (Jim Christianson) writes:
|> 
|> 
|> Can someone recommend a good DeDannan CD, one available in the 
|> U.S.?  I saw them last week in San Francisco, and they were 
|> terrific.  Also, their female vocalist is excellent.  Can you 
|> tell me her name?
|> 
Her name is Eleanor Shanley and I would agree that she is indeed excellent.  Holds her own well against illustrious predecessors like Mary Black and Dolores Keane, in my opinion.

There are several very good De Dannan recordings. I think they are on Shannachie.
Here are three which I think are particularly good.

Selected Reels etc,    around 1977
Ballroom,	       around 1987
Jacket of Batteries,   around 1989

There is another released around 1984 which is very good but its name I cannot remember.  It has a picture of rural scene on the front, and features Martin O'Connor playing some fine accordion.  Mary Black is the vocalist.
----------
Ian Watson	
Tel +44 41 552 6400
Fax +44 41 552 2985
email ian@uk.ac.turing
--------
Newsgroups: rec.music.folk
From: Kanef@Charon.ARC.NASA.gov (Bob Kanefsky)
Subject: Re: Vega and Lavin: ever seen them together?
Organization: None
Date: Wed, 19 Aug 1992 07:26:11 GMT

P.S.

And she serves you small blue oranges
that come all the way from Vega.
Newsgroups: rec.music.folk
Subject: Re: INFO REQUEST: New fairport boxed set
From: canders@isr.harvard.edu (Carl E. Anderson)
Date: Tue, 18 Aug 92 16:17:19 GMT
Organization: Harvard University, Cambridge, MA

In article <1992Aug17.235121.9932@mel.dit.csiro.au> sfy@koel.mel.dit.CSIRO.AU (Shane Youl) writes:
>wcsanil@superior.carleton.ca (Anil Prasad) writes:
>>If anyone out there has purchased the new "Fairport Convention
>>25th Anniverary Pack" that Island records just released in the UK,
>>can you please post a review?
>
>I have the following information from John Lattanzio, who is in the UK
>at the moment, and was at Cropredy.
>"There is a new release for the 25th...it's a (cardboard) box
>containing4 previously un-released FC CDs...
>        Rosie
>        Nine
>        Babbacombe Lee
>        Rising for the Moon
>The cardboard box is a very weak box...not like a boxed set. It's just
>a (nice) green cardboard box which the 4 cds sit in...they just stack
>on each other, and fit in this box (like a cardboard wrapper, nothing
>like a usual boxed set). The wrapper does say "FC 25th Anniversary
>Release"...... Colm says they made 2000 or 2500 of these only, and they
>do not plan on making any more....so I nearly bought it for you, but it
>was #32....so I didn't. I figure they will continue making the
>individual CDs even if the (unimpressive) cardboard wrapper (with 25
>writen all over it...) is not continued....."

	Right!  Who is making this and how do I get it :)  Maybe Dirty
Linen will pick them up.  I can live without the box, but I do want the
music!  Especially Babbacombe Lee, which I don't have on LP ...

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

Xref: sparky rec.music.folk:5768 rec.travel:12159
From: laz@research.att.com (Mike Laznovsky)
Newsgroups: rec.music.folk,rec.travel
Subject: European Folk Scene?
Date: 21 Aug 92 21:41:18 GMT
Organization: AT&T Bell Laboratories

An up-and-coming folk-musician friend and I are going on a tour
of Europe in October, and she'd like the chance to play in clubs or
whatever while over there.  Anybody out there know of places we can
contact in the following cities that may have open-mikes (or the
equivalent?), or publications that list such things?  How can I find
out about European festivals, etc.?  Tips about places to go, even if
she can't play there, are welcome.

We'll be in:
	Amsterdam
	Hamburg
	Frankfurt
	Berlin
	Prague
	Vienna
	Innsbruck
	Munich
	Zurich & Basel

Thanks a 10^6!  (much more than a million...)

--
Mike Laznovsky        ::  AT&T Bell Labs
laz@allegra.att.com   ::  Murray Hill NJ 07974 USA
Newsgroups: rec.music.folk
From: aeksir@owlnet.rice.edu (Amy Elizabeth Ksir)
Subject: Name that tune: Larson/Dalgleish
Organization: Rice University
Date: Wed, 12 Aug 1992 19:41:19 GMT

I have a tape of Grey Larson and Malcolm Dalglish (sp?) that I really like
but I don't know what the name of the album is or any of the songs. My
favorite song on it is the first one, which starts as a quiet, rhythmic
dulcimer solo and builds and adds the fiddle later on.  My next favorite
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!).  If only there were
lyrics to quote... Anyone who can help me out on this small amount of 
information would be much appreciated. Thanks!

		Amy (aeksir@owlnet.rice.edu)

Newsgroups: rec.music.folk
From: martin@lyra.cis.umassd.edu (Gary Martin)
Subject: Re: Ann Mortifee again (was: Re: Annie Haslam, Loreena McKennit)
Organization: University of Massachusetts Dartmouth
	<MARTIN.92Aug11073245@lyra.cis.umassd.edu> <14013@auspex-gw.auspex.com>
Date: Thu, 13 Aug 1992 04:05:32 GMT

In article <14013@auspex-gw.auspex.com> johnf@Auspex.COM (John Fereira) writes:

   In article <MARTIN.92Aug11073245@lyra.cis.umassd.edu> martin@lyra.cis.umassd.edu (Gary Martin) writes:
   >In article <13975@auspex-gw.auspex.com> johnf@Auspex.COM (John Fereira) writes:
   |   
   |   Last Friday I went into Tower
   |   records and went through my list.  There were 18 things on my list and I
   |   was only able to find two of them.
   |
   |What items did they _not_ have?  Maybe people out there can help you
   |find them.

   I asked.  Then again, this is the same store that has Loreena Mckennitt
   in the "Ireland" international section.

Oops!  I meant that maybe people _here_ can help you, not people at Tower.
Sorry.

   As far as folk goes they didn't have:

   Steeleye Span: Parcel of Rogues
   Pentangle: Basket of Light
   Connie Caldor:  anything 
These are available from Andy's Front Hall, PO Box 307, Voorheesville, NY
12186  (Info: 518-765-4193  Orders: 800-759-1775  Fax: 518-765-4193
BTW, look for Connie Kaldor in the 'K' bin, not the 'C' bin.  (I always
get that wrong, too.  Then there was the Boston radio announcer who
pronounced her name Carnie Kaldaw :-( )

   Frances Black and Kieran Goss
   The Black Family (althougth they've had a card for it for months)
These I don't know about, but lots of people in this group do.

   Connie Dover:
Somebody is available for $16 postpaid from Taylor Park Music, PO Box 12381,
N. Kansas City, MO  64116-0381

   Judy Mayhan
Never heard of her.

   In other genre's I was looking for:

   Jerry Goodman: On the Future of Aviation (former violinist for Mahavishnu
                  Orch)
   Zazen:  with Joaquin Lievano and Andy West
   Dead Can Dance: Anything but "Aion" and "Passage in Time" (already have 
                   them)
   Enigma: (heard a bunch of good stuff about them)
   Peter Seiler: Open Borders (newage/electronic)
   Gowen:  with Tony Levin, Jerry Marotta 
   Jean Michael Jarre: anything
Sorry, don't know where to get this stuff.

   |Anyway, ordering directly from the musician or
   |a folk specialist mail-order house would probably remedy much of your
   |frustration. 

   Got a name?

Andy's Front Hall is very good (address above).  Alcazar, PO Box 429,
Waterbury, VT 05676 (800-541-9904) has a big catalog, but I don't have much 
experience with them.  Other folks here have other favorites, too.


--
Gary A. Martin, Assistant Professor of Mathematics, UMass Dartmouth
Martin@cis.umassd.edu
Newsgroups: rec.music.folk
From: jonb@Ingres.COM (Jon Berger)
Subject: Re: jigs,reels,hornpipes...(definitions)
Reply-To: jonb@ingres.com
Organization: Ingres, an ASK Company
Date: 21 Aug 92 15:55:41 GMT

In article <BtBwzn.vn@newcastle.ac.uk>, Lindsay.Marshall@newcastle.ac.uk (Lindsay F. Marshall) writes:
>Just to confuse the issue even more with regard to Hornpipes, there
>are in fact several different styles which sound distinctly different...

To make it even more confusing -- not that it needs my help -- in Morris
dancing the word "jig" means both a dance or tune in 6/8 rhythm, and a
dance done by a solo dancer, regardless of its rhythm.  So you can have
a jig-time jig or a reel-time jig.  Irish dancers who take up Morris
generally just shake their heads in despair at this point.

This discussion has made me realize that I've been playing hornpipes for
many years without actually knowing the official definition.  I always
thought that the distinguishing characteristic was the thump-thump-thump
at the end of the phrase; that is, most hornpipes consist primarily of
eighth notes (or, dotted-eighth/sixteenth pairs, I suppose, if you want
to get technical), but the end of each part is usually three quarter
notes, which correlate pretty closely with the steps of the dance.
There are probably exceptions, but most of the tunes I can think of that
are generally recognized as hornpipes have this feature.

Actually, the word "hornpipe", in its origins, is neither the name of
a dance nor the name of a kind of tune; it's the name of an instrument.
They're primarily a hollowed-out cow's horn with an uncapped double reed,
like on a shaum, stuck in the pointy end.  They sound dreadful, or at
least the ones I've heard played sure did; of course, they may have been
made from inferior cows or something.  Does anybody know how the word
came to be applied in its modern usage?  It's hard to imagine a hornpipe
tune, as we know them today, being played on one of these vile squeakers.
On the other hand, hornpipes are associated with sailors, and I can easily
see where the instrument, being cheap, lightweight, and waterproof, could
have been popular with the seagoing crowd, but I'm just guessing here.

--------------------------------------------------------------------------
   -__ __ /_   Jon Berger              "If you push something hard enough,
  //_// //_/   jonb@ingres.com          it will fall over."
_/ ---------                              - Fudd's First Law of Opposition
Xref: sparky rec.music.folk:5685 soc.culture.celtic:5507