whats the hooting/whistling/stomping bros ur-album

Health insurance rip off lying FDA big bankers buying
Fake computer crashes dining
Cloning while they're multiplying
Fashion shoots with Beck and Hanson
Courtney Love, and Marilyn Manson
You're all fakes
Run to your mansions
Come around
We'll kick your ass in

Postby ripersnifle » Mon Jun 08, 2020 3:39 pm

bongo wrote:

Hangin' with Colter Wall in Madison, near Nashville, over at Hank Snow's old house. Hank was another Canadian who came to Nashville playing country songs. He played the first North American written version of that ever famous song, "I Been Everywhere Man", adding a number of Canadian towns to the mix in his hit 1962 version. Anyhow, never get tired of hearing Colter play his songs. He's a humble, hard touring fellow. On such a tour schedule, this song about longing for the plains of home is no doubt a true story. Hope he finds some time to relax at the ranch this year.
this dude is the son of Saskatchewan's wildly popular shitty neoliberal former premier, a fact that is consistently elided in all canadian coverage of him lol
steakspoon wrote:sorry if sounds corny fellas but i'll always remember where i was when i heard my first big star song..the internet.
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Postby ripersnifle » Mon Jun 08, 2020 3:46 pm

his schtick is essentially selling a romantic settler version of The Great Plains to witless americana/country ppl like Steve Earle as a vestige of purist country music which ... is to say the least wildly dissonant, given much present-day, vital Indigenous activism on the prairies pushing against the terra nullius of that figuration, etc

anyway
Colter
Wall
steakspoon wrote:sorry if sounds corny fellas but i'll always remember where i was when i heard my first big star song..the internet.
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Postby echo » Mon Jun 08, 2020 3:48 pm

lol that's perfect. truly a humble hard touring son of the plains

also,
Wall recorded a seven-song EP, Imaginary Appalachia, in 2015 with Jason Plumb the producer at Studio One in Regina, Saskatchewan.[2] He collaborated on the EP with other artists from Regina such as Belle Plaine and The Dead South.[4] He described his music as a blend of blues, folk and Americana.[8] The EP was released on March 9, 2015,[9] and "The Devil Wears a Suit and Tie" was released as his first single. His music gained the attention of Brock Lesnar who helped to raise his profile among wrestling fans.[10] Songs from the album were featured in the television show Dog the Bounty Hunter,[8] and the films Hell or High Water and Three Billboards Outside Ebbing, Missouri.[11][12][13]
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Postby baleen » Mon Jun 08, 2020 4:41 pm

hoot thread is stomping

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Postby Autarch » Mon Jun 08, 2020 4:50 pm

baleen wrote:hoot thread is stomping

Image


Image
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Postby Autarch » Mon Jun 08, 2020 4:51 pm

ripersnifle wrote:this dude is the son of Saskatchewan's wildly popular shitty neoliberal former premier, a fact that is consistently elided in all canadian coverage of him lol


ripersnifle wrote:his schtick is essentially selling a romantic settler version of The Great Plains to witless americana/country ppl like Steve Earle as a vestige of purist country music which ... is to say the least wildly dissonant, given much present-day, vital Indigenous activism on the prairies pushing against the terra nullius of that figuration, etc

anyway
Colter
Wall


lol perfect
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Postby speakers » Mon Jun 08, 2020 4:58 pm

neoliberal is being really generous to brad wall
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Postby echo » Mon Jun 08, 2020 5:24 pm

Brad Wall's face is giving me the duckrabbit effect because depending on the photo he either looks like younger Jeb! or older Mayor Pete :|
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Postby ripersnifle » Mon Jun 08, 2020 6:09 pm

echo wrote:lol that's perfect. truly a humble hard touring son of the plains

also,
Wall recorded a seven-song EP, Imaginary Appalachia, in 2015 with Jason Plumb the producer at Studio One in Regina, Saskatchewan.[2] He collaborated on the EP with other artists from Regina such as Belle Plaine and The Dead South.[4] He described his music as a blend of blues, folk and Americana.[8] The EP was released on March 9, 2015,[9] and "The Devil Wears a Suit and Tie" was released as his first single. His music gained the attention of Brock Lesnar who helped to raise his profile among wrestling fans.[10] Songs from the album were featured in the television show Dog the Bounty Hunter,[8] and the films Hell or High Water and Three Billboards Outside Ebbing, Missouri.[11][12][13]
lmfao i didn't know about the Three Billboards... connection
The Dead South have popped up in here too like 400 pgs ago with this video:
Saskatchewan rly went hard into Hoot in the '10s lol
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Postby bongo » Mon Jun 08, 2020 6:22 pm

just remembered The Lone Bellow
yeaaaaaaaaaaaa american nostalgia love it suburban living civilized families this could be my life
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Postby Frank » Mon Jun 08, 2020 7:17 pm

ripersnifle wrote:
echo wrote:lol that's perfect. truly a humble hard touring son of the plains

also,
Wall recorded a seven-song EP, Imaginary Appalachia, in 2015 with Jason Plumb the producer at Studio One in Regina, Saskatchewan.[2] He collaborated on the EP with other artists from Regina such as Belle Plaine and The Dead South.[4] He described his music as a blend of blues, folk and Americana.[8] The EP was released on March 9, 2015,[9] and "The Devil Wears a Suit and Tie" was released as his first single. His music gained the attention of Brock Lesnar who helped to raise his profile among wrestling fans.[10] Songs from the album were featured in the television show Dog the Bounty Hunter,[8] and the films Hell or High Water and Three Billboards Outside Ebbing, Missouri.[11][12][13]
lmfao i didn't know about the Three Billboards... connection
The Dead South have popped up in here too like 400 pgs ago with this video:
Saskatchewan rly went hard into Hoot in the '10s lol


Is it me or does The Dead South sound like the Squirrel Nut Zippers with banjos?
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Postby Frank » Mon Jun 08, 2020 7:18 pm

Also lol at the drop ceiling in that video.
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Postby Autarch » Mon Jun 08, 2020 9:51 pm

bongo wrote:



WE WERE
EVERGREEN
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Postby Autarch » Mon Jun 08, 2020 10:02 pm

going back and looking at posts i don't even remember. There was a period of a couple months where this thread moved too fast to keep up with. Those were my best days.

bongo wrote:
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Postby internethandle » Mon Jun 08, 2020 10:13 pm

echo wrote:Colter Wall
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Postby marble » Mon Jun 08, 2020 10:16 pm

Autarch wrote:Billy Strings
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Postby Link » Fri Jul 17, 2020 10:13 am

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Postby kit fox » Fri Jul 17, 2020 10:55 am

bradford loomis
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Postby Slaps » Fri Jul 17, 2020 10:59 am

Billy Strings is huge with the bluegrass set and I'm not sure I get it but he does cook live there just isn't a whole lot of soul. Not sure its as embarrassing as, say, The Dead South
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Postby hbb » Fri Jul 17, 2020 10:59 am

“I’m not a perfect person”

—Hootbrahstomp
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Postby Slaps » Fri Jul 17, 2020 11:30 am

I saw this legendary moment of hoot live



learned from setlist.fm that they did not do this cover as a one off but have performed it at least 27 times
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Postby blogger status » Fri Jul 17, 2020 2:42 pm

Slaps wrote:Billy Strings is huge with the bluegrass set and I'm not sure I get it but he does cook live there just isn't a whole lot of soul. Not sure its as embarrassing as, say, The Dead South


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Postby kit fox » Fri Jul 17, 2020 6:47 pm

billy strings is doing "streaming strings" where he "tours" all of nashville's closed venues

we're gonna get some good sessions out of this

"he does cook live there just isn't a whole lot of soul" is the perfect description of the feeling i get watching him or like, molly tuttle
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Postby blogger status » Fri Jul 17, 2020 6:54 pm

hes doing one tonight
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Postby Slaps » Fri Jul 17, 2020 7:36 pm

kit fox wrote:billy strings is doing "streaming strings" where he "tours" all of nashville's closed venues

we're gonna get some good sessions out of this

"he does cook live there just isn't a whole lot of soul" is the perfect description of the feeling i get watching him or like, molly tuttle


Heh im a big Molly Tuttle fan. She definitely cooks like Billy live but her album last year is actually really soulful and pop forward which was pretty brave for someone who is solely famous for picking. I think Billy Strings is at his best when he's playing off her because he dials it back a bit rather than just going straight to 10 which is why BS sets get pretty boring.

She released a good Dead cover with the guy from Dawes this week if your looking for a good hoot adjacent tour de force. Less interesting was the National cover from a few weeks ago but it is also nice.

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Postby Slaps » Fri Jul 17, 2020 7:41 pm

Has hoot Mclusky been covered I cant read 250 pages of hoot content



One time when I saw Punch Brothers Chris Thile got really pissed at people for talking at the bar at like a 9 pm on a Friday club show which did not happen when I saw Future of the Left
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Postby kit fox » Fri Jul 17, 2020 8:48 pm

that's cool to hear about molly, I really only know her from picking vids

i should be clear too i am 1000% jealous of both of their abilities
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Postby BlackSugar » Fri Jul 17, 2020 9:27 pm

I realize this is a thread to make fun of these weird looking guys jamming but as a fan of classic bluegrass, I'd love to be able to do what billy strings does on that video of him sitting on a couch playing dust in a baggie
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Postby Stuntman » Fri Jul 17, 2020 11:23 pm

.
ImageImageImageImageImageImage
ImageImageImageImageImageImage
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Postby ripersnifle » Sun Nov 08, 2020 11:53 am

https://pitchfork.com/reviews/albums/various-artists-o-brother-where-art-thou-original-soundtrack/
It’s no real surprise that the Recording Academy, never the vanguard of taste or talent, favored an album that spoke to white Americans’ nostalgic follies over one by two Black men from Atlanta daring to turn a critical eye toward the future. But the win was a watershed moment for an album that would define a significant part of the music-industry landscape of the next two decades. Beyond the immediate impact of the soundtrack—minting major careers for some and giving a late-in-life boost to others—O Brother, Where Art Thou? primed a generation for a modern folk revival, establishing a new Americana industrial complex along the way.

[...]

The impact of O Brother, Where Art Thou? coincided with a cultural moment that left millions of Americans reaching for reassurances about their values. The music spoke to ideas of gentle, earnest goodness, which seemed an increasingly difficult comfort to come by. In subsequent years, boundaries between bluegrass, country, alt-country, blues, Southern rock, old-time, and folk music have been dissolved and re-negotiated under the umbrella of “Americana,” which has itself become a convenient marketing label for just about anything else.
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