1. Old 97's Too Far To Care Rar

May 25, 2017. Impressive Torrents Picker. Download free software Old 97S Too Far To Care Rar. Old 97s Too Far To Care Rar File. Old 97'S Album: Mimeograph EP. 1997-07 the Computer Paper - BC Edition - Free download as PDF File. 1997-07 the Computer Paper - BC Edition. By using the over S500 of free software. Mar 29, 2002. It shows all the way through the excellent Too Far To Care: in the resigned loneliness of 'Streets Of Where I'm From'; in the bitterness of 'Big Brown Eyes,' a classic country-song-about-country-songs; and in the alcoholic self-pity of 'Barrier Reef,' perhaps the best drunken pickup line since George Jones'. Too Far to Care is the third studio album by American country/rock band Old 97's, first released on June 17, 1997. The album's title comes from the song 'Streets of Where I'm From.'

“We felt some kinship to the alt-rock scene of the early Nineties, but we wanted to do it on our own terms. We wanted to be able to love Hank Williams and love punk rock.” While this sentiment from Old 97’s frontman Rhett Miller isn’t a strange concept today, it was still a relatively underground idea when he and his bandmates unleashed their raw-and-rowdy major label debut Too Far to Care 20 years ago this month ­– and helped birth a whole new subgenre in the process.

Together with guitarist Ken Bethea and drummer Philip Peeples, Miller and Hammond mixed the explosiveness of punk rock and the raw sonics of alternative music with heavy doses of classic country swagger. Two albums – 1994’s Hitchhike to Rhome and 1995’s Wreck Your Life – quickly put Old 97’s on the map outside of their native Dallas, Texas, and generated major label buzz.

By Miller’s count, no less than 15 labels courted the band over a six-month period. “They were flying us to New York and Los Angeles and taking us to every major sporting event you could imagine,” he says. “There was so much noise and so much ego inflation. I can see why so many bands get lost when their ship comes in.”

It was a unique moment in time for both the band and also the unruly, amorphous musical scene of which they were a part. “It felt like there was something in the zeitgeist happening with this genre of music that everyone was still trying to find the right name for,” he says of the nascent movement, which also included Uncle Tupelo (and its post-breakup offshoots Wilco and Son Volt), Drive-By Truckers and the Ryan Adams-led Whiskeytown.

Mafikizolo khona uhuru video download. Questionable terms like “y’alternative,” “honky skronk” “insurgent country” and “cow punk” (a holdover from the Eighties) were being thrown around to describe the sound, with the consensus eventually landing on “alternative country,” often shortened to just “alt-country.”

“It’s like we all had the same education but were on different campuses,” Hammond says of the scene and its like-minded bands. “We’d all gone through punk rock and Sixties garage rock and we all liked Johnny Cash and rediscovered country music around the same time.”

Eventually signing with Elektra Records, Old 97’s decamped for El Paso to record at the famed Sonic Ranch studio (then known as Village Productions). The bucolic setting near the Rio Grande helped inspire what would become Too Far to Care.

“When we finally wound up out in this little desert hacienda surrounded by a pecan orchard, it felt like one of those science-fiction movies where you get squeezed through a time portal,” Miller says. Working with producer Wally Gagel, the band cut some of the most enduring songs of their career and refined their sound along the way.

Miller points to the boozy ballad “Salome” as a notable evolutionary step in the songwriting of the 97’s. Sandwiched in between the full-throated chorus of “Broadway” and the twangy railroad chug of “W. TX Teardrops,” the song features the pedal-steel work of guest Jon Rauhouse, who would also play on the band’s 2014 effort Most Messed Up. “That song was a really big breakthrough because the live sound of our band was so caveman at that time,” Miller says. “We went from being a band that was always at 9 or 10 on the volume and energy scale, to being a band that could make something work on the lower, quiet side.”

Still, the group also raged, cutting the scorching album opener (and frequent live-show encore) “Timebomb.” For the record’s howling closer, “Four Leaf Clover,” they enlisted Exene Cervenka of L.A. punk band X to sing harmony. “I was a little star-struck around Exene,” says Hammond, “but now she’s my buddy. I don’t always know what to talk to people about, but with Exene I know I can always talk music and UFOs.”

For Miller, it’s two other subjects that remind him most of the Too Far to Care sessions: presidents and telephones. Both, he says, have evolved greatly in the last two decades.

“We play ‘Barrier Reef’ every night and I have to sing the line, “Midnight came, midnight went, I thought I was the president,” he says of the album’s second song. “When I wrote it, Clinton was in office but he hadn’t yet gone through the Lewinsky scandal. When that happened, I would sing it and think that it was a sly, subtle reference to oral sex. Then when Bush was in office, I was personally not a fan of his policies, so that line changed to being about a warmonger. Now it’s even more complicated because of our current president.”

Old 97's Too Far To Care Rar

Miller is even more amazed by how anachronistic payphones have become. On the road in support of the band’s early albums, the quarter-call was his primary source of connecting with loved ones. “When I wrote the line ‘telephones makes strangers out of lovers’ in ‘Niteclub,’ I was imaging a guy on the side of the road with trucks whizzing by in the rain and him getting yelled at by a girlfriend,” he says. “Now when I sing it, I’m looking down at an audience full of people where the majority of them are on their cell phones. Telephones are still making strangers out of lovers, but it’s because it’s all we look at and all we think about.”

The line about “calling time and temperature just for some company” in LP standout “Big Brown Eyes” is especially dated – which Miller admits to realizing even at the time he wrote it. “It was already a joke in ’97,” he says. “It was just my way of shouting out to a past that was disappearing.”

Surprisingly, that landline past came rushing back to Miller when he returned to the Sonic Ranch to record the band’s latest album, Graveyard Whistling, released in February. Opening a drawer of a bedside table, he discovered a note containing the telephone number of the girl about whom many of the songs on Too Far to Care were written.

But for Miller, the legacy of Too Far to Care isn’t about phone calls, ex-presidents or even alt-country. In fact, the “alt-country” tag gave him grief for quite some time. “It took me a bunch of years to come to peace with it, but I embrace it to some extent now,” he concedes. “I feed my kids with alt-country – who would’ve thought that was even possible?”

Rather, he credit’s the album’s staying power to a certain innocence and lack of irony. He and the 97’s were writing, recording and playing from the heart.

“There was nothing calculated or self-aware about Too Far to Care,” he says, “and that’s what people still respond to when they hear those songs.”

Too Far to Care is the third studio album by Americancountry/rock bandOld 97's, first released on June 17, 1997 (see 1997 in music). The album's title comes from the song 'Streets of Where I'm From.'

History[edit]

The album was the band's first on Elektra Records. Unlike the later two Elektra recordings, the band retained some of their country twang, making this another fan favorite.^[9] Lyrically, the band's constant touring is evident in songs like 'Barrier Reef' (with references to Chicago), 'Broadway' (in New York City), and 'Niteclub' (inspired, according to the band, by clubs in Cleveland, Ohio and Ann Arbor, Michigan).^{[citation needed]} 'Four Leaf Clover', re-recorded from the band's first album, Hitchhike To Rhome, is performed here as a duet with Exene Cervenka of the band, X. 'Big Brown Eyes' is also re-recorded, this time from the second album, Wreck Your Life.^[10]

Rhett has clarified that, although his name is Stewart Ransom Miller (The Second) the song 'Barrier Reef' is not really autobiographical.^[11] Stewart Ransom Miller is technically Rhett's father, who apparently is sometimes asked 'are you the Stewart Ransom Miller?' and answers 'yes, but I think you may have me confused with my son.' Instead, it's 'the guy in that song, the guy who gets laid and finds himself unsurprised at how little solace there is in the coupling.'

'Broadway' was written while Miller was in a hotel room in New York City during their courtship with Elektra Records ^[12] Miller felt very out of place, saying 'As I stood in that tiny room, I did the math. I could live for a month in my East Dallas garage apartment for the amount of money Elektra was paying per night at the Paramount Hotel. Granted, my accommodations in Dallas were humble to say the least, but this was some serious opulence. If you ever wonder why the old 'major label' business model failed, look no further than the money lavished on our little Texas rock band by the dozen or so labels that wooed us that summer. Ridiculous.'

Miller used the biblical name 'Salome' to 'protect the, well, not-so-innocent .. castigating female.' ^[13] Miller came to visit his female acquaintance and found no answer at her door. He 'retrieved an inflatable pool float', then fell asleep at her doorstep. He awoke to male and female laughter, kicked in her door, put his hand around the man's throat, and then decided to leave.

The title of 'Melt Show' comes from the band Melt which had one of Miller's best friends, Clark Vogeler as a member (now part of the Toadies).^[14] Miller says 'I spent many a night in the front row at the Melt show.' The song is specifically about a Cuban girl from Miami that Miller fell in love with, proposed to, realized his mistake, and eventually parted ways with.

The line, 'I'm calling Time And Temperature just for some company' in the song 'Big Brown Eyes' refers to calling the time and temperature line.^[15] Rhett says: 'the phone in our kitchen had a twenty-five foot cord that stretched throughout the upstairs of the garage. Not only was this before cell phones, it was before the ubiquity of the cordless land line. That phone, with its unending silence, mocked me. I still remember dialing 844 and then any four numbers in order to discover the time and temperature. The internet has since rendered such a service laughably archaic. At the time, though, the voice at the other end of that number soothed me in a way I can't quite explain. She was a constant in a mad, quickly changing world. And when I called, she would always answer.'

'Just Like California' is, according to Miller, 'a simple fantasy about being in love with a girl named Clementine who lived in California until the San Andreas Fault gave way, dropping the whole state into the Pacific Ocean.'^[16]

'Curtain Calls' was written while Miller was visiting his brother in Breckenridge, Colorado in 1996 with his sister.^[17] Miller went out to a local nightclub and came home 'feeling lonely.' He felt: 'so many people, so much mirth, and yet, in the end, we are all alone.' He said that 'like many songs I was writing at the time, it dealt with the allure of the itinerant life of a musician, the life onto which I was embarking, and the strong ambivalence I felt about it.'

When writing 'Niteclub', Miller 'was living with a young woman who was poised and destined to move to New York City to pursue her dream. And then she did move. And the fuel that her departure provided my young songwriting machine burned hot indeed. I remember writing this song, or its lyrics anyway, in a phone booth in a nightclub in Cleveland. It was her 22nd birthday, and I was not with her. But I was where I was meant to be.'^[18] Miller has observed the irony of the lyrics: 'the nightclub did steal my youth. And the nightclub does follow me around, unchanging and eternal. And while I'm busy loving my job, I'm also lamenting the life it precludes. You know, the normal life? The 9 to 5?'

Miller wrote 'House That Used to Be' around 3am while feeling lonely in his 'two bedroom house a block off of White Rock Lake.' He wrote it with the assistance of a Rhyming Dictionary. 'I gave myself a challenge: make a list of rhyming, two-syallable words, compound words or phrases that sounded juicy and turn that list into a song. 'Graveyard/Co-starred,' 'Corn silk/Spilt milk,' 'Quaaludes/Corkscrewed' etc ..'^[19]

'Four Leaf Clover' was originally recorded on Hitchhike To Rhome, the first Old 97's album. Rhett was searching for a duet to record with friend Exene Cervenka and 'had started work on an old-fashioned duet that I thought we might sing, but Exene proclaimed it 'too pretty'.'^[20] That song later became 'Fireflies.' Instead, Exene sang on 'Four Leaf Clover', replacing the lyric 'nothing to impress you' with 'nothing to attract you' which Rhett found 'much sexier.'

Track listing[edit]

All songs written by Rhett Miller, Ken Bethea, Murry Hammond and Philip Peeples.

1. 'Timebomb' – 3:08
2. 'Barrier Reef' – 3:49
3. 'Broadway' – 3:22
4. 'Salome' – 4:07
5. 'W. TX Teardrops' (vocals by Murry Hammond) – 3:05
6. 'Melt Show' – 3:07
7. 'Streets of Where I'm From' – 3:15
8. 'Big Brown Eyes' – 4:23
9. 'Just Like California' – 2:33
10. 'Curtain Calls' – 4:18
11. 'Niteclub' – 3:49
12. 'House That Used to Be' – 4:08
13. 'Four Leaf Clover' (with Exene Cervenka) – 3:20

Too Far to Care: Expanded Edition[edit]

For the album's fifteenth anniversary in 2012, Omnivore Recordings released an expanded two-disc version of Too Far to Care.^[21] The first disc is a re-issue of the original recording with four bonus tracks entitled Too Far to Care: Expanded Edition:

• 'Northern Line' – 4:27
• 'Beer Cans' – 4:28
• 'No Doubt About It' – 2:40
• 'Holy Cross' – 4:24

The second disc is a collection of demos titled They Made a Monster: The Too Far to Care Demos:

1. 'Broadway' – 3:40
2. 'Daybed' – 4:55
3. 'Barrier Reef' – 3:45
4. 'W. TX Teardrops' – 3:19
5. 'Niteclub' – 3:46
6. 'When I Crash' – 3:26
7. 'You Were Right' – 3:30
8. 'Sound of Running' – 3:04
9. 'Everybody But Me' – 3:06
10. 'Holy Cross' – 4:24
11. 'The 1' – 3:09

Personnel[edit]

Old 97's

• Rhett Miller – vocals, guitar
• Murry Hammond – bass guitar, vocals
• Ken Bethea – guitars
• Philip Peeples – drums, percussion

Additional personnel

• Jon Rauhouse – pedal steel, banjo
• Wally Gagel – piano, Mellotron, percussion
• Exene Cervenka – vocals on 'Four Leaf Clover'

References[edit]

1. ^Johnson, Zac. 'Too Far to Care – Old 97's'. AllMusic. Retrieved February 16, 2012.
2. ^Caligiuri, Jim (October 12, 2012). 'Old 97's: Too Far to Care: 15th Anniversary Edition (Omnivore)'. The Austin Chronicle. Retrieved April 2, 2017.
3. ^Weiss, Dan (October 3, 2012). 'Old 97's Too Far To Care [15th Anniversary Edition]'. The Boston Phoenix. Archived from the original on May 15, 2017. Retrieved April 2, 2017.
4. ^Stewart, Allison (June 20, 1997). 'Old 97s: Too Far To Care (Elektra)'. Chicago Tribune. Retrieved April 2, 2017.
5. ^Christgau, Robert (2000). 'Old 97's: Too Far to Care'. Christgau's Consumer Guide: Albums of the '90s. Macmillan Publishers. ISBN0-312-24560-2. Retrieved February 16, 2012.
6. ^Cober-Lake, Justin (October 11, 2012). 'Old 97's: Too Far to Care'. PopMatters. Retrieved April 2, 2017.
7. ^Alden, Grant (August 21, 1997). 'Old 97's: Too Far To Care'. Rolling Stone. Archived from the original on October 5, 2008. Retrieved February 16, 2012.
8. ^Harris, Keith (2004). 'Old 97's'. In Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. pp. 602–03. ISBN0-7432-0169-8.
9. ^Marchese, Joe (12 Oct 2012). 'Review: Old 97's, 'Too Far to Care: Expanded Edition''. The Second Disc. Retrieved 2012-11-10.
10. ^Marchese, Joe (12 Oct 2012). 'Review: Old 97's, 'Too Far to Care: Expanded Edition''. The Second Disc. Retrieved 2012-11-10.
11. ^'Rhettrospective: Barrier Reef'. Archived from the original on 2013-02-13. Retrieved 2012-02-12.
12. ^'Review: Rhettrospective: Broadway'. Archived from the original on 2012-10-13. Retrieved 2012-10-10.
13. ^'Review: Rhettrospective: Salome'. Archived from the original on 2012-10-14. Retrieved 2012-10-15.
14. ^'Rhettrospective: Melt Show'. Archived from the original on 2012-10-16. Retrieved 2012-11-09.
15. ^'Rhettrospective: Big Brown Eyes'. Archived from the original on 2012-09-27. Retrieved 2012-08-27.
16. ^'Rhettrospective: Just Like California'. Archived from the original on 2012-09-10. Retrieved 2012-08-24.
17. ^'Rhettrospective: Curtain Calls'. Archived from the original on 2012-09-27. Retrieved 2012-08-22.
18. ^'Rhettrospective: Niteclub'. Archived from the original on 2012-09-27. Retrieved 2012-08-20.
19. ^'Rhettrospective: House That Used to Be'. Archived from the original on 2012-09-10. Retrieved 2012-08-17.
20. ^'Rhettrospective: Four Leaf Clover'. Archived from the original on 2012-08-20. Retrieved 2012-08-15.
21. ^Marchese, Joe (12 Oct 2012). 'Review: Old 97's, 'Too Far to Care: Expanded Edition''. The Second Disc. Retrieved 2012-11-10.