That's a good categorization for 16 Horsepower. Though I've always associated them as a kind of prog steampunk country.

Though I've always associated them as a kind of prog steampunk country.

Huh. I'll have to point them out to my friend who runs Sepiachord.

Borders? That's just not right.

So this song of the day thing is something from itunes?

So this song of the day thing is something from itunes?

No, it's just something from my brain. I'm just askin'.

And I was being all flip with the iPod thing.

Hey, wanna watch YLT murder another classic? [link]

What's your country song of the day?

Just got Be Here To Love Me on dvd yesterday so, Townes Van Zandt's For the Sake of the Song.

Oh goodie....

CANNES, France (AFP) - Online music giant iTunes and newcomer eMusic had better watch out -- a new world of music covering every imaginable genre and artist on the jazz, classical, dance, electro and even aboriginal chant music scene, is opening up.

Record giants and music distributors are starting to make massive back catalogues, stretching back for years, available online, industry executives said at the MIDEM global music fair that closed its doors Thursday.

Until now, "the amount of music available online has just been the tip of the iceberg but now the rest is starting to come to the surface," Yves Riesel, who heads classical back catalogue giant Abeille Musique, told AFP in an interview.

Another big plus will be new music-rich download sites selling music that has far superior sound quality to what's been available up to now.

Classical music lovers will be the first to benefit from this new trend as some of the top classical houses are the first out of the starting blocks.

But executive types working in dance music and other popular genres said their companies too are readying to go down the back catalogue road.

...

[link]

The NY Times finally allows negroes to listen to rock music. Free at last!

[link]

Mighty white of them, I tells ya.

Some reasons why you might want to own Jellyroll Morton's Library of Congress recordings:

Sipping whiskey and narrating in what Alistair Cooke described as his "billiard ball baritone," Morton speaks of spirituals, blues, jazz, ragtime, opera, symphonies, and overtures. He airs his own theories of harmony, melody, discords, rhythms, breaks and riffs, scat singing, swing, and the value of jazz when played slowly so as to enhance its bouquet. He speaks of musical origins, antecedents and precedents, originality and piracy; of nocturnal entertainments, musical cutting contests and impromptu fisticuffs, 24-hour honky tonks and street parades.

With all the descriptive power of a Zola novel, Morton describes horses, fine food, alcohol, narcotics, body lice, card sharks, pool sharks, prostitutes, pianists, hoodoos, race riots, funerals, gang violence, and cold-blooded murder. He tells stories of hitting the road and scuffling to get by, even selling bogus patent medicine door to door. He plays Miserere from Verdi's Il Trovatore, explains the use of tangos, waltzes, and habanera rhythms, traces the quadrille origins of "Tiger Rag," sings Mardi Gras Indian chants, and describes the circumstances that led to his being called "Jelly Roll."

Loosened by liquor and encouraged by Lomax, Morton even revives the smutty songs he used to perform in the sporting houses of Storyville. Morton's scatological lyrics to "Make Me a Pallet on the Floor" and his own cheerfully lewd "Winin' Boy Blues" are almost as bracing as his version of the ever-popular "Dirty Dozen," peppered with references to inter-species copulation. Even the epic-proportioned "Murder Ballad" contains its share of overt sexual verbiage.