From: owner-shindell-list-digest@smoe.org (shindell-list-digest) To: shindell-list-digest@smoe.org Subject: shindell-list-digest V3 #247 Reply-To: shindell-list@smoe.org Sender: owner-shindell-list-digest@smoe.org Errors-To: owner-shindell-list-digest@smoe.org Precedence: bulk shindell-list-digest Wednesday, August 1 2001 Volume 03 : Number 247 Today's Subjects: ----------------- Re: [RS] The Live CD [Jeff Gilson ] [RS] big stages [Lee Wessman ] [RS] *pout* [Gwen Kern ] Re: [RS] Live Album Progress Report [john andrew clary ] [RS] Festivals ["Gene Frey" ] ---------------------------------------------------------------------- Date: Wed, 01 Aug 2001 12:03:09 -0400 From: Jeff Gilson Subject: Re: [RS] The Live CD At 11:43 AM 08/01/2001 -0400, you wrote: >Hey you guys, > >Charlie, have you decided if the intros and between-song chat will be part >of the track of the song to which it refers, or placed on a separate >track? Those of us who do mix discs would love you forever if you kept the >intros on separate tracks, especially if they go more than 10 seconds or >so. And, it makes a cut a lot more likely to be played on the radio >without the spoken part attached. Actually, from the way it looks, it seems they may have done what I wish more live CD producers would do, which is place the intros in the index space for the track. But I couldn't say for sure. jeff. - -- I think the trouble with poets is that they see poetry everywhere --Peter Mulvey - -- writing by osmosis http://www.onefreeradical.com/osmosis/ ------------------------------ Date: Wed, 1 Aug 2001 08:47:56 -0700 From: Lee Wessman Subject: [RS] big stages Rockin Ron sez: "I came away from this FRFF with a new realization. Most folk music, especially the quieter singer/songwriters, just doesn't go over well when there's a rock concert-sized crowd and the sound system distorts so much." Ron bring up an interesting issue that has nagged me for a long time: Are folk artists worth seeing in large venues? Personally, I lost interest in large-venue concerts and festivals many, many years ago. The lack of intimacy and distance from the performance, among other things, just turned me off. And that was a key factor in why I got so into the folk scene. Discover the right artists and you can experience brilliant performances in intimate settings, with great sound and few distractions. And so... the large folk festival is something I have just never latched onto. It feels contradictory to me to strain to watch a folk artist on a distant stage. It runs contrary to the reasons why I love acoustic music. So what am I missing by skipping the folk festivals? Does the camaraderie of being with thousands of other people of similar ilk outweigh the annoyance of a large crowd and distant stage? Do the performances reach new levels in front of large crowds more often than they fall flat? Does everybody get naked and roll in the mud? - -lee ------------------------------ Date: Wed, 1 Aug 2001 09:28:10 -0700 (PDT) From: Gwen Kern Subject: [RS] *pout* I just need to mope publicly about the dearth of SNP songs on the live disc. I hope they will be included on the bonus CD... Also, I have a question. How will radio distribution be handled? Will AAA music directors (like me!) get copies of the bonus disc on their desks? I sure hope so. More choices of what to play on the air means more of a chance that *something* will be played... at our station, anyway. Gwen ------------------------------ Date: Wed, 1 Aug 2001 17:07:07 GMT From: john andrew clary Subject: Re: [RS] Live Album Progress Report Rongrittz@aol.com writes: >> Clary gets the slow "Reunion Hill." << That's a very beatiful song without the Canadian accordian marching band but it's not my favorite. I do agree to "encore" RH after Transit, perhaps with the usual pre-encore applause inbetween them if there's a good recording of it to splice in. >> And, Charlie, I LOOOOOVE "Hell Bent on Saturday." Love it love it love it. << I love this one too. I was gonna suggest, "It's Never a Cinch," but "Hell Bent..." is much better. Doesn't sound too Judas Priesty to me. Too bad Greitzer hasn't encouraged Richard to cover Black Sabbath tho. "Paranoid" would make a good hidden track and Title. john andrew clary ------------------------------ Date: Wed, 01 Aug 2001 14:03:39 -0700 From: jim colbert Subject: [RS] well spoken, bruce, er, gene (intros and whatnot) > Hey you guys, > > Charlie, have you decided if the intros and between-song chat will be part > of the track of the song to which it refers, or placed on a separate track? > Those of us who do mix discs would love you forever if you kept the intros > on separate tracks, especially if they go more than 10 seconds or so. And, > it makes a cut a lot more likely to be played on the radio without the > spoken part attached. > Good point, Gene. That's one of my pet peeves as well Even just listening to it in the truck, I'll often want to skip over the (softer volume) spoken intros and get to the meat of the song. A separate track # for the intro makes that easy. And while I'm venting, and absolutely not shindell related so bail out here if you want- you know what single moment in CD history I felt was really muffed? Jackson Browne's the pretender, one of my all time favorite albums (along with late for the sky) i was so elated around 84 or so to have it come out on disc, free from clicks and pops and scratches (this is when CDs where novelties and the ominous tone was that many things were simply not going to be released on CD, if you can imagine such a thing.) Anyway "the fuse" ends, and it's like, WAAAAANK. Sudden, abrupt ending. Uh, what happened to the subtle fade out and seque? Geez, it was as obtrusive as the clunk you'd get between tracks on 8-tracks when they had to break a song. jpc needing to let it go, somewhere near bellefonte pa ------------------------------ Date: Wed, 01 Aug 2001 18:08:32 From: "sharon g" Subject: [RS] the live cd and I get all the lucy kaplansky harmony... sharonG - ------------------------------------------------------------------------ Get your FREE download of MSN Explorer at http://explorer.msn.com ------------------------------ Date: Wed, 01 Aug 2001 14:11:53 -0400 From: "Gene Frey" Subject: [RS] Festivals Hey you guys, Lee, regarding Falcon Ridge and other large festivals, pondered: >>Does the camaraderie of being with thousands of other people of similar >>ilk outweigh the annoyance of a large crowd and distant stage? Do the >>performances reach new levels in front of large crowds more often than they fall flat? Does everybody get naked and roll in the mud? << Yes, sometimes, and not nearly enough. Some acts, like Moxy Fruvous, Eddie from Ohio, Entrain, the Nields (probably) and the Paperboys actually seem to be inspired by the size of the crowd. Not every act does. Those lucky enough (or carrying enough drawing power) to get a nighttime slot have it easiest. There is nothing going on at the workshop, so most of the crowd is yours, and there is no sound bleed-over from the workshop stage. It is a crapshoot, but worth it to me. For a weekend I give up being a purist about the music (as if I ever were) and enjoy the whole experience. There is way more to FRFF than the main stage. There have been plenty of references to the incredible collaborations on the workshop stage. There is a dance tent where you can learn to swing or contra dance, just go to participate as my son did during a lull in the day, or watch amazing dancers fly around the floor in a state of bliss. Even strolling around the vendor tents is a fun way to pass some hours. At night, there are song circles where you can take a hack at your favorites, hear others who are more or less accomplished than you, or just sit and enjoy the company of others. One of the best songs I heard all weekend was at the Camp Dar Camp song circle, 'Glacier' (I think the title is) by Arjuna Greist. I don't play, and have been banned from singing in nine states, but watching and listening to everyone at the circles was an absolute highlight of the weekend. Another great part of the festival setting is getting to see a lot of acts, and discovering some new favorites. This weekend I got to experience Kevin So for the first time, really got into Beth Amsel and Mark Erelli, and finally 'got' the Nields after their fun set on Saturday night. It would take months to get to see all of these people, even if you do live in one of the big cities in the northeast. And, everywhere on the grounds you get a feeling of community that you will never get crammed behind a 12" table at the Bottom Line, or sitting in a padded seat at a theater. There is an incredible feeling of acceptance that is everywhere. If you're on the Dar list, look at Dan Nooter's 'Wisheries' post from Monday. He says it way better than I ever could. Sure, the business aspect is always there, and you can't get out of the place without spending more money on CDs than you ever thought you would, but I'll be back next year for sure. Besides, you're paying around $60 for three days of music, and camping to boot. That's less than for one ticket to see the Eagles wheeze around the stage for 90 minutes. And, if the performances aren't as sonically impeccable as in a theater, so what? I know it's not going to be Carnegie Hall before I get there. Once a year I get to spend a weekend where people standing on line for the bathroom or food are talking to strangers about music, not bitching about why the lines are so long. If this means that Dave and Tracy are a bit muddy sounding, I'll take it. Gene F. _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp ------------------------------ End of shindell-list-digest V3 #247 ***********************************