02/28/01

02/27/01

02/26/01

02/25/01

FM Pioneer Bumped off Commercial Radio
From Rolling Stone issue #863
March 1st, 2001
By David Fricke

An era in rock radio ended early on January 1st when VIN SCELSA, the Sunday nite host of Idiot's Delight on WNEW FM signed off with "Somewhere Over the Rainbow," played on a music box.

...Scelsa lost his slot when WNEW, a former rock powerhouse that switched to shock talk in 1999, did not renew his contract.

"The stuff that goes on (at WNEW-FM) now is so locker-room. I was glad when they didn't want to renew.

... Scelsa returned to the New York ozone on February 3rd; Idiots Delight now airs on Saturday's on non-commercial WFUV (90.7 fm).

... "I've got a good feeling about this," Scelsa says of his new global listeners. "Were replacing the old physical tribe, the one that used to show up in Central Park for the Be-Ins, with the cyber tribe."

From WFUV.org:
Vin Scelsa's Idiot's Delight® takes over Saturdays from 8 to
midnight. Idiot's Delight®, a longtime Sunday evening institution, is a
program which defies categorization... a free-flowing mix of music,
monologue, live performance, and interviews with musicians and
writers, ranging from Elvis Costello, Emmylou Harris, and Cesaria
Evora to Allen Ginsberg, Tom Stoppard, and Anne Rice. Scelsa
comments, "Thirty-three years ago I started doing a free form music
show on non-commercial radio, because there was no place on the commercial
band for such an open-ended, open-hearted presentation of a wide variety of music.
How ironic that all these years later I find salvation from the musical mediocrity of
commercial radio in this marvelous offer from listener-supported, non-commercial WFUV
-- the only broadcast radio station in New York playing a wide
range of "pop music" for thinking adults -- to return to my roots!"

02/24/01

02/21/01

02/20/01

02/16/01

02/14/01

Ok, here's some more from the January issue of Mojo
(hey I gotta stretch some of my news eh!)
;-)

In the end page of the issue there is a regular column called Hello, Goodbye

This issue it's about GENESIS.
Phil Collins Interview by Johnny Black

It talks about how Phil Collins went to audition for Mike Rutherford, Peter Gabriel, and Tony Banks.

August 1970:
"Mike Rutherford came out wearing a smoking jacket and slippers. I thought, This is a band of
Noel Cowards. This is incredible... I listened to some of the other drummers (who were also auditioning)
so, by the time I was on, I kind of knew the songs... My initial reaction to the music was -
Crosby, Stills and Nash. It was soft and hazy music and I remember thinking, I could give a bit of balls to that."

Friends, Romans, Countrymen... and everyone else!

;-0

A retraction here to what was posted 02/11/01 in regards to the Stills shows @ Harrah's
Tahoe. I can not confirm that 12/8 Blues was played. Unless I hear from someone else who attended,
and can confirm that Stephen did in fact perform 12/8 Blues. I have omitted from the entry below.

Have a nice day!

Lorraine

02/11/01

Visit their new website

Chock full o' CSNY related content in
Jan 2001 issue of MOJO Magazine

*Full page ad for Virigin Megastores
"Road Rock" is one of the features.

* A "Road Rock" record review by Johnny Rogan

*Mention of the Manassas Musik Laden DVD:
Located in the Vision On column (@ the latest dvd's)

"On the same label is a similarly excellent color
stereo recording of Stephen Stills and Manassas The Best of Musikladen Live Pioneer Artist,
USA Region1 NTSC) featuring nine tracks from 1971. If it hadn't been for German TV some
important pieces of rock history would have been lost forever and this disc is a must for anyone who treasures the short-lived supergroup's exotic feast of funky, Latin-flavored rock, and country music."

02/06/01

Relix Magazine is under new ownership.
After 28+ years... Les Kippel has sold the magazine.
This was announced in the current Feb 2001 issue
out on News stands now.

Some CSNY related contents:

-Coverage of Bridge 2000

-Record review of Road Rock

and...

-Graham Nash article on his appearance in December at
The Rock and RollHall of Fame and Museum

Feb 2001 issue of RELIX

Graham Nash
Appearance at Rock and Roll Hall of Fame and Museum
December 6th, 2000
by John Patrick Gatta

Dressed in a nearly all-black outfit, Graham Nash sat down and announced, "Just as a small point of interest, it was
32 years ago today that I left the Hollies... and they're still pissed." His openhearted honesty, humor and recollection of
his life in the Hollies, as well as Crosby, Stills, Nash and Young followed over the next 95 minutes.

His appearance was part of the Rock and Roll Hall of Fame and Museum's four-year-old Hall of Fame Series, which
provides an intimate setting for an inductee to discuss one's career. Nash joined in 1997, along with David Crosby and
Stephen Stills. Past Hall of Fame Series performers include Dickey Betts, Roger McGuinn, Aretha Franklin, and Ray
Davies of the Kinks.

Early on, Nash admitted that among his many songs, his favorites are the most recent ones. Backing up that statement he
played two new numbers - one unnamed tune that was dedicated to Susan, his wife of 25 years, and "Try to Find Me,"
based on an incident at Neil Young's Bridge School Benefit. Performing solo on acoustic guitar or keyboard, he offered
portions from "Marrakesh Express," "Chicago," "Immigration Man," "Heartland," and "King Midas in Reverse."

Nash and moderator David Spero, a longtime friend and the Rock Hall's Senior Director of Programming, displayed an
easy-going rapport in front of more than 300 fans seated and hanging over the balconies on several of the Museum's floors.
Under Spero's guidance, he went through his earliest days with the Hollies and moved forward, chronologically, to CSNY's
last tour.

He described how the Everly Brothers changed his life. Brothers Phil and Don played in his hometown of Manchester in 1960.
He and fellow Hollie Allan Clarke waited for them at their hotel. Around 2:30am, they met their idols. "Instead of pats on the
head and signing autographs, they actually talked to me and Allan, about why we're there, why we were fans, isn't this too late
for kids - we were 18 at the time. And ever since that moment I realized the power of communication. They validated my very
being by just talking to me, and I've never forgotten it. "That's one of the reasons why I'll talk to anybody, because you never
know what kind of tangent you set people on from that point of contact." He collaborated with the Everly Brothers years later
on record (Two Yanks in England) and in concert. Nash reveled that he used to sing harmony with the duo's records.

He left the Hollies because the other members weren't pleased with his songwriting direction, and Crosby quickly recruited him.
Two of the songs of those unsatisfactory numbers included "Marrakesh Express," and "Teach Your Children." Nash recalled
how the latter song contained Jerry Garcia's first-ever recording on pedal steel. Garcia was teaching himself how to play it at the
time. Despite protests that he could do better, Nash ended the session after two takes. "You can play all you want, Jerry. I know
what I want. It's my record, so get over it."

Talking about his association with David Crosby, Stephen Stills and Neil Young bared some emotional scars as well as laughs.
As a result of his breakup with Joni Mitchell, Nash wrote "Simple Man." When it came time for its live debut at the Fillmore East,
she was sitting in the audience. Fifth row. He also reveled that before Young joined, Stills was in England inquiring whether Steve
Winwood or Jimi Hendrix was interested.

Whether is was who was to receive top billing in the moniker or who didn't show up for a gig, fighting was an integral part of
CSNY's makeup. "We can only make music when we like each other, when we can stand to be in the same general area."

At the end of this period of reflection, Nash confided, "You have no idea how much fun I've been having for the past 40 years.
It's been an amazing journey. There have been certain things that I didn't want to do, but the essence of what I do I wouldn't
change for anything. I get to express what I feel, I get to have an audience for that, I get to be respected for that, and I get paid for that."

02/05/01

In the December issue of MOJO Magazine

There was some NEIL YOUNG content:

-a Full page ad for Road Rock

-a Full page review of Johnny Rogan's latest book release: Zero to Sixty (a critical biography)

Book Review by John Harris
December 2000 issue of Mojo

Neil Young
Sixty to Zero
by Johnny Rogan

Thanks to Morrisey And Marr: The Severed Alliance and his masterful Byrds history Timeless Flight, Johnny
Rogan's modus operandi is well known. He's a specialist in careful research rather than flights of theoretical fancy;
a merchant of detail rather than heart-stopping prose. But if Zero to Sixty confirms that Neil Young is still waiting for
his Greil Marcus - a writer who can convey the evocative wonder of his music - that's a commendation rather than a barb.
Rogan alerts you to one gap in the market by so brilliantly filling another. "One of the most detailed and exhaustive studies
of its kind," says the dust jacket. It isn't far wrong.

Somewhat inevitably, the key subtext that can't help but emerge is the parallel between Young and Bob Dylan. Both were born and
raised in the snowbound north of the American continent, each was given crucial propulsion by the collision of folk and rock; both
were one-time adherents of credos that repulsed the baby boomers (Young's support of Ronald Reagan, and Dylan's Christianity).
Each of them, meanwhile, had truly wretched artistic spells during the 80's.

What differentiates Young, and proves to be Rogan's meat and drink, is his ongoing need for collaborators. He cuts a much
more befriendable figure than Dylan - which also lays the ground for endless fall-outs and schisms. They begin during a fascinating
drive from Toronto to Los Angeles, described by Rogan as "momentous": Young and five friends crammed into his hearse, illicitly
entering the USA, getting waylaid in New Mexico, and finally arriving in LA minus their of their number.

And so the journey - and the human traffic - goes on, via the on-off career of Buffalo Springfield, the yet more fitful progress of CSNY,
and the ongoing saga of Crazy Horse. By the end, one has the distinct feeling that 'solo artist' is a complete misnomer. At times, Zero to Sixty
rather suggests a melange of three biographies, with countless appendices: Young's Ontario band, The Squires, the countrified Stray Gators,
his latter-day endeavors with Pearl Jam.

In that context, Rogan has pulled off a masterful feat indeed, weaving all these strands into a work that glides through its subjects history,
where events suggest that it would have little option but to determinedly barge its way along. That, after all, has been Young's tale: could
there be two more different bands than CSNY and Crazy Horse? How does the same career take in a spell as a rock renunciant, determined
to leave the form behind and go country, and such fuzztoned masterpieces as Ragged Glory? How do you account for the surreal rag-bag of
bit-part players: Kurt Cobain, Willie Nelson, Rick James, The Shadows? Not even Neil Young knows the answers to those questions.

There are but two irritations: Rogan's tendency to mark the release of each album with a plodding song-by-song breakdown, and two occasions when he dumps his detached, reasoned voice and sounds a very bizarre note indeed. Sinead O'Connor's infamous stunt on Saturday Night Live is described as a "disgraceful desecration"; and when Young appears with Crazy Horse at a pro-choice benefit, Rogan is a little short of outraged.

"It was a little jarring," he writes, "if not repugnant, to see Young... aligning himself with a movement whose agenda was the negation of the fundamental rights of the unborn child to life." His local priest should be very pleased indeed.

02/04/01

02/02/01

02/01/01

01/31/01