Hey, I'm going to edit the above post to give some brief descriptions to help you winnow down what you want.

Edit: hayden, your love for Moby-Dick makes me incredibly happy. So many people hate that book, and it breaks my heart. Melville was the first Modernist, IMHO, and he's got a lyricism that even Virginia Woolf would envy.

Oh yeah! The writing is sometimes painfully beautiful, and the story is pretty much The Greatest Story Ever Told.

I've been told to check them out, but haven't heard anything by them yet.

They don't have a full-lenght out yet. I'm told thy're recording one as I type for WB. They're from Tyler. The girls do bautiful harmonies. The lyrics are (what's the adjective form of imagry?).

I wish the amazon page had clips from the first EP, but alas no. Here's the second one. It does have clips.

Aren't Uncle Tupelo and Son Volt related?

Uncle Tupelo split into two pieces - Son Volt and Wilco.

Hey! I had musical knowledge! Go me!

I suddenly have become obsessed with finding a copy of Robyn Hitchcock's Invisible Hitchcock. I was really into this album at a certain, um, "intense" time of my life.

It's out of print, and no used CD site that I've found has it in stock. I did manage to listen to low bitrate samples of a few tracks - they brought tears to my eyes as memories came flooding back....

Alt.Country. At last a category in which I can contribute:

David Olney - Deeper Well, Roses
Tom Russell - Hurricane Season, Poor Man's Dream
Fred Eaglesmith - Lipstick Lies & Gasoline
Kathleen Edwards - Failer
Kasey Chambers - The Captain
Buddy & Julie Miller - Buddy & Julie Miller
Robert Earl Keen - Gringo Honeymoon, Bigger Piece of Sky

I have two CDs to send to meara, I have been lazy.

ALSO! does anyone other than Carl Douglas sing "Kung Fu Fighting", I can't find it on iTunes.

tommy - Invisible Hitchcock

Thanks Jon!

ALSO! does anyone other than Carl Douglas sing "Kung Fu Fighting", I can't find it on iTunes.

I think Robyn Hitchcock does... or maybe I'm thinking of some other '70s novelty song he covered.

I got it off musicmatch, but thanks.

Go Down, Moses is actually my favorite Faulkner, hayden (hence my email address), but A!A! is right there. "Wash" pairs nicely with "Barn Burning," too (which reminds me that it *is* available online -- because I put it there when I led an alumni seminar on the two), very similar themes & a number of scenes that echo one another. One of the advantages to reading an author's work as a totality, especially someone like Faulkner, is seeing his obsessions and seeing him search for the right vehicle to frame the story he wants to tell. The central conflict in Faulkner, it seems to me, is his profound love of his land and its people coupled with an unblinking yetnuanced recognition of its past and present sins (his language, but I concur). When Wash Jones belatedly acquires that clear vision it destroys him: "Better that all who remain of us be blasted from the face of earth than that another Wash Jones should see his whole life shredded from him and shrivel away like a dried shuck thrown onto the fire." He commits de facto suicide; Quentin actually kills himself. The young Sarty Snopes flees because he can't process what he now knows (including his complicity: do what's "right" and destroy his father or maintain the status quo and become part of the problem.) Ike McCaslin is Sarty grown up yet stuck in stasis and ineffectiveness, repudiating his legacy but ultimately realizing it can't be escaped. "The Bear" gives us Faulkner's extraordinary imagery of why the "past isn't even past": the New World was a new Eden and we poisoned it by chattel slavery (among other things). The sweat of the slaves watered the crops they tended, cotton and food, the former providing the money which built the society, the latter providing the nourishment for all who lived there -- America's Original Sin, the South's "curse," literally was ingested and became part of everyone who lived there, and their ancestors continued to drink from the poisoned well.

As you can see Faulkner gets me a little worked up. This is the music thread, so I'll stop. The Table Talk Faulkner thread is how I ended up here, and the Book of the Month I started with was A!A!. Guy running the thread didn't know what he was talking about, but it was fun anyway.

Love Melville. Respect but don't dig Pynchon. Eliot and I occasionally yell "Fickt nicht mit der Raketemensch!" at each other, but I want more than one tagline out of a 900 page book. I will say, though, that in the aftermath of 9/11, especially with the war in Afghanistan, and now with the "peace" (or at least post-"cessation of hostilities") in Iraq, I've had the urge to re-read the whole "In the Zone" section. Haven't done it, but still feel the urge. I will admit that I haven't put nearly the work into Pynchon that I did with Faulkner, and I'll stipulate that the former is much smarter than the latter -- though I think that F is the far greater artist. In a nutshell, I think the difficulty in Faulkner arises from his struggle to find an appropriate narrative technique to tell the stories he wants (one that conveys the struggle in his stories and characters), whereas I think Pynchon is willfully obscure and wants to dazzle his audience with how smart he is. I'm not saying there's not more to it than that, but I don't feel like putting in the work to get more out of it.

And now for <fanfare> music! Do you like/are you familiar with Jim Hall, hayden? With a few exceptions I'm not much of a jazz guitar fan, but Hall is one of the exceptions. And he's playing at the Vanguard this week & I think I'll go see him.