Clambake Episode for July 4, 2005

Here is the Bittorrent link and direct MP3 download for the EGC clambake for July 4, 2005.

I play the next installment of the Rocket City Riot interview and song; I talk about why I’m not doing a big “Declaration of Independence” after all; I play a song by the Siderunners and one Michelle Malone; as I’m being driven driven crazy by the delay in my headphones it all goes to hell so I stop.

Don’t forget, you can fly your EGC flag by buying the stuff package.

This show as a whole is Creative Commons licensed Attribution-NonCommercial-ShareAlike 1.0.

Links mentioned in this episode:

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13 Replies to “Clambake Episode for July 4, 2005”

  1. Good one, Dave! Thanks for the Siderunners. I was all dressed up in my EGC finery yesterday, which turned out to be a perfect fit with Willie Nelson’s Picnic on XM Radio.

    A couple of items from the picnic caught my attention, and fit well with the sentiments you’ve been blogging and podcasting.

    The first was the attitudes of the performers towards the country record labels, and the entrenched Nashville monopoly in particular. A group called the Geezinslaws had a line in one of their songs about the music establishment that went “You call it country, I call it bad rock and roll.”

    Second, the XM Radio people not only had to acquire rights to the event, but had to get permission from *each band* to play their stuff live as part of the coverage. I didn’t stay up until midnight or after (today being a school day) to hear the whole show, so things may have changed, but Bob Dylan was there, and as of about 7:30 or 8:00 last night, XM still had not gotten his permission. I thought of the irony of Dylan, having already made his mark, and fortune, and the Geezinslaws, and Heather Myles, and a score of others, who were new to me, saying “By all means, play our stuff”. I know whose artist’s websites I visited during the show, and whose stuff I’m gonna buy.

    –Ken–

  2. Oh, and I’m checking out the F1 Podcast as well. If I dig ’em, the guy will know how I found him.

    –Ken–

  3. The thing that country and bad or good rock and roll have in common is that they are stale forms of music that are well past their time in the sun, mainly enjoyed by geezers and well on the way to oblivian.

  4. Are you saying that even good rock and roll is stale and only enjoyed by old people? I’m having a hard time seeing that. Please explain further.

  5. All I am saying is that I don’t hear any innovations in rock; just rehashing of what has already been done. Like the classic blues form, it does not change. I’m also talking about sales and disappearing rock stations. The urban contemporary and hip hop stations are now at 60%. That form of pop music is more vibrant and I hear more experimentation in it.

    I actually listen to ambient electronic and other strange music. I just don’t like to hear the same arrangements and instrumentation over and over again for 30 or 40 years for god’s sake!

  6. There are lots of great ambient artists, for sure. But just because you don’t see it in the mainstream doesn’t mean it’s not out there! The innovators are not on the radio.

  7. The point of my original comment was not to discuss the merits of any specific music genre. I like some music, dislike others. Every one here is the same; whatever bakes your bread.

    My point was that there is artist frustration vs the big labels, whatever the genre, and that my bucks and support will go to whomever in any genre plays music because they love what they do; I can hear good music, the artist gets my support, and the big labels can pound sand.

    The second point was that Dylan had absolutely nothing to lose by having his set broadcast on XM (not sure whether or not it was broadcast there), yet he was the one dragging his feet. The artists I’d never heard of were tickled pink to play, and to have their music heard on XM, and were eager to be interviewed during the concert. Even though these artists were new (to me), a check of their websites revealed that they each have recorded a *bunch* of CDs. It’s like the Michelles, Malone and Shocked, that Dave plays here; go to either of these ladies’ websites, and run the table buying their music. I at least have to adjust my entertainment budget for such things.

    I’m just glad that in my waning, if not precisely geezer years, that I have music, the labelling of which is secondary, that I can get excited about again.

    Thanks for the show, Dave.

    –Ken–

  8. Hi, John Mark.

    Thanks for sharing the birthing of the new album on the EGCasts.

    Thanks also for the insights you offer into the creative process. I’ve heard of serial novels, etc, but never albums. Pretty cool..

    –Ken–

  9. Fair enough Ken,

    I would like to add that I have experience with small independent labels and they can be every bit as evil to the artists as the big ones, they also can release music which in it’s own way is just as bad as big label releases.

  10. Contrary to popular opinion all indies are not owned by the artists. Buying direct from the artist is the answer but for some reason musicians still insisting on pressing hard copies; not very efficient, also many artists have had their perception of what music should sound like polluted by the big labels. It will be a while before music can become pure again.

    iTunes sells “songs” not music and a 10 minute “song” is the same price as a 3 minute “song”, also all of the “songs” are the same price and the price never drops after the cost of recording is recouped. In the art world, we don’t have all art the same price but now we have turned music into a commodity like milk or toilet paper and that is a dirty shame.

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