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NEMS News #230 - July 7, 2007

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    New England Music Scrapbook News Alan Lewis, Editor Our Corner of the Rock n Roll Life July 7, 2007 Issue 2007:230 To SUBSCRIBE to this newsletter:
    Message 1 of 1 , Jul 7, 2007
      New England Music Scrapbook News
      Alan Lewis, Editor

      Our Corner of the Rock 'n' Roll Life

      July 7, 2007
      Issue 2007:230

      To SUBSCRIBE to this newsletter:

      E-MAIL via:
      (Please do NOT click the Reply button.)

      NEWSLETTER's Yahoo Groups Home Page:

      General CONTACT Information:

      We've got Thrills, chills, Dirty Water
      What more do you need?
      When the big beat hits ya
      Comin' from your transistor
      Like the T at full speed
      When the big beat hits ya...

      -- "Boston Lullaby," Dudick/Naihersey.
      Copyright c. 1980 by Camaraderie Music, BMI.
      All rights reserved. Used with permission.

      . . . . .

      BRATTLEBORO, VT, July 7 - This is the Fourth of July Weekend, for all
      practical purposes. Independence Week, as some call it. And it
      should come as no surprise to anyone that we have less news than
      usual. There is nothing quite like a major holiday falling
      dead-center in the middle of a week. This is kind of like our
      All-Star Break. But this is also roughly the point in the calendar
      when activity levels start picking up. So, enjoy the lull while we've
      got it. The season will soon enough heat up.

      With any luck, you're getting outdoors. Personally, as a runner, I am
      having my best year in somewhere in the range of a dozen to fourteen
      years. I feel as though, like Merlin in "Camelot," I'm youthening.

      On practically no notice, singer-songwriter SCOTT KING and I set up an
      interview. The results get most of the space in the Scott King
      feature article which appears below. I actually did not know his name
      until his latest album arrived in our mailbox a couple weeks ago. But
      because of his power-chording history at Bill's Bar in Boston, with
      his old band Xguru, and his current Maine-based singer-songwriter
      career, I believe this piece is likely to interest a lot of our
      readers: not everyone for the same reason.

      There is a distinction to be made between a million-selling record and
      a CERTIFIED million seller. Who knows when the first country record
      sold a million copies. But the first C&W hit to be industry-certified
      as a million seller was a World War II piece with a long-ish title
      something like "There Must Be a Star-Spangled Banner Flying
      Somewhere." It was written by a Maine man who divided his time
      somehow between Swans Island and Aroostook County. I do not
      personally have an especially strong connection to Swans Island. But
      nonetheless, if you check the Swans Island genealogy website, you will
      find me duly recorded therein. My ex-wife Christine, who I have
      probably never mentioned in this newsletter, is a Swans Island native
      from the tiny community of Atlantic. And I recall once bringing up
      "There Must Be a Star-Spangled Banner" to a group of locals on The
      Island, as they say, and a number of them knew the songwriter
      personally and remembered him well. It seems to me he ran a village
      grocery store. I raise this again, here and now, mostly because there
      are people who believe that this date


      is going to be extremely lucky for certain folks, as that country
      record was lucky for its Swans Island writer. And this date just
      happens to be Christine's birthday. So to Swans Island native
      Christine Lewis, here's hoping you have a great day. And though there
      are those who believe, by virtue of your fortunate birthdate, you are
      set for tremendous luck today without anyone wishing it for you,
      here's wishing you the best of luck anyway.

      And to all the rest of you, have a wonderful 7-7-7!


      A great New Hampshire bluegrass band,


      sent us the following information about the


      which is happening today and tomorrow (Saturday and Sunday).

      "Come join us at the 6th annual Summer Bluegrass Festival at the
      Stratton Mountain Resort in Stratton, Vermont, on July 7 & 8.
      Admission is FREE to enjoy the great line up of music offered. High
      Range performs a set on Saturday, July 7th 11:45 am -12:45 on the
      village stage. Also performing this weekend are Freewheelin ', New
      England Bluegrass Band, The Lonesome Whistle Band, The Bondville Boys,
      and Gordon Stone. For all of the information you need to enjoy this
      festival go to www.stratton.com or call 1.800.STRATTON


      -- High Range, "Stratton Mountain Bluegrass
      Festival," July 6, 2007


      Since the closing of the Vermont Guardian, I have run Guardian-like
      feature articles in this newsletter. In addition to my Vermont summer
      season music preview, I have contributed features on

      The Neighborhoods
      Eileen Rose
      The Weisstronauts

      This week's newsletter issue includes an article of good size about

      Scott King.

      For next week, we have a feature in the works on the Pioneer Valley band,


      And I have an agreement in principal to preview an upcoming show by
      Boston's re-emerging rock singer-songwriter

      Jennifer Tefft.

      If anyone may be interested in posting any one of these on a website,
      please contact me by way of the following Web page:


      I would gladly ask permission of the people who gave me the needed
      interview(s). Though asking such permission is probably not in anyway
      required, it is a step I would simply like to take.

      I am bringing this up because, as far as I can tell from a Metacrawler
      search this (Saturday) morning, no one has posted our Neighborhoods
      feature - not even The Neighborhoods, themselves - with or without
      permission, though the article is already several weeks old. I am
      very interested in getting these pieces as wide circulation as
      possible. So if we could make arrangements to get some of these
      pieces posted on the Web, with the usual original-publication source
      citation, it would please me greatly.

      From 90s Power Chords at Bill's Bar in Boston
      to a 2007 Solo Acoustic Summer Trip Through Maine

      By Alan Lewis
      New England Music Scrapbook Newsletter
      July 7, 2007
      Issue 230

      Little is more hope-inspiring in this line than finding a
      CD-mailer in our mailbox. As a rule, people send us records they
      think are pretty good. So when we get a record by an artist we know
      nothing about, such as Scott King, it inspires optimism like the
      coming of spring or the approach of a Red Sox season. The artwork of
      King's new CD cover gives a sense of post-Suzanne Vega
      singer-songwriter fare, and a sticker says the featured song is Dave
      Carter's "Frank to Valentino." Carter was a brilliant guy, and it
      would be hard to go wrong singing his material.

      "Aunt Camilla Brown," the opening cut on Scott King's "In Your
      Head," is more early-70s sounding than most surviving early-70s
      artists these days could manage. Then a few tracks into the disc, we
      come face to face with a thing we know intimately: an Adult
      Contemporary-format OBVIOUS SINGLE. Make no mistake about it. If
      "Go, Maria" could get the necessary promotion and distribution, it
      would be - or at least SHOULD be - all over AC radio and probably
      Triple-A radio, too, coast to coast. "Go, Maria" is the work of a
      pop-oriented singer-songwriter who is conversant in "Revolver"-era
      Beatles. King speaks of idolizing Paul McCartney, but a line in "Go,
      Maria" reflects a John Lennon moment.

      Most of the discs we receive are hot with main action, to one
      degree or another, through the first few tracks; and then they run out
      of steam well before closing. But even way off at the end of King's
      new CD is to be found one of his best songs, the bluesy/jazzy "You
      Stole My Heart." This song - distinct from Kings several musical and
      interview references to The Beatles - has a passage which calls to
      mind a personal all-time favorite oldie, Sam Cooke's "Bring It on Home
      to Me."

      So, Scott King is an easy guy to figure, right?

      As it turns out, King's background in music is more than a little
      different from what a listener might imagine when hearing his diverse,
      catchy new album, "In Your Head," and knowing nothing more. So I
      asked him for the story of his days, in the late 1990s, of playing a
      noise-rocking Boston venue, Bill's Bar.

      "You're absolutely right about the discrepancy between the sound
      of the songs on 'In Your Head' and the type of music one would expect
      to hear in Bill's Bar, at least back when I was playing there in the
      second half of the 90s," allowed King. "Had you been in our practice
      room whenever I would bring a new song to the rest of the guys in
      Xguru and play it for them live on acoustic guitar or piano, I suspect
      that you wouldn't have noticed an enormous difference,
      musically-speaking, between what I was presenting to them and what you
      can hear on 'In Your Head' or 'Portrait' (2005). In fact, 'Something
      New' would have been a good song for Xguru, but it would have been
      recorded differently. The acoustic would have been buried in the mix
      and the electric brought way up and about six more heavy electric
      guitar tracks added.

      "The songs I was writing then are not as strong lyrically as
      what's on the new record or the previous one for that matter, but I
      think I was nearly as strong a crafter of the musical side of songs.
      What happened was that the band would immediately reject anything with
      Folk, Blues, Jazz, or even Classic Rock influence. If it didn't seem
      to be a cousin of Live, Lit, Eve 6, Stabbing Westward, or at least U2
      ('Achtung Baby' forward), The Samples, Toad The Wet Sprocket, etc., it
      got the big boot (with the exception of 'Mystery' which the executive
      producer strong-armed the rest of the band into including on the
      record). It was about having 'a sound' - one sound - and it was big
      power chords with little to no tolerance for conventional solos, and
      that's what was mostly happening in Modern Rock at that time.

      "Tim O'Heir was a big part of the evolution of my songs on record
      and on stage. He already had a big resume for that (Juliana Hatfield,
      Dinosaur Jr., Sebadoh, Folk Implosion, etc.) and great confidence and
      a clear vision for what he was going to do with our material. He just
      took over at Fort Apache and had us layer a gazillion distorted
      guitars over everything."

      "My acoustic would sometimes start a song," he continued, "but it
      would quickly become a minor player, part of the underlying texture as
      opposed to the featured instrument that it was when I would bring the
      raw song to the group. It was cool though. A great experience. Tim
      helped us define a sound that put us squarely in the Modern Rock
      format, and it was satisfying at the time.

      "I'll never forget the sold-out CD release at Bill's, or the many
      gigs upstairs and downstairs at The Middle East, etc. At the same
      time, [since then] it has been very gratifying to have a hand in the
      production of my songs and to hear them on record closer to how they
      are in my mind. I've sort of become what I would have been had Xguru
      been the Scott King Band instead.

      "I don't naturally rock out all that hard I guess, and I have
      many influences and like a variety of styles. So now I've kind of
      come into my own. I've figured out who I am and I'm getting to be
      that artist I always wanted to be: a musician who just writes in
      whatever style he feels like and puts it all together without someone
      saying, 'Hey man, you can't do that; you have to have a sound.' I'm
      probably less marketable because of it, I guess, but I don't know why,
      because I think it's a strength to have more than one dimension
      musically, and lyrically, too, for that matter. The music of The
      Beatles certainly confirms that, don't you think? They were
      stylistically all over the board, and I think that shows their
      versatility and contributes to why those records are so fun to listen
      to. You don't get bored."

      That, interestingly enough, is most (but not quite all) of one
      answer to a single question. Clearly Scott King has given a good deal
      of thought to his music and career, and he has a solid sense about how
      he wants to put those ideas into words. Notice his comment about
      getting to be "a musician who just writes in whatever style he feels
      like." Here and there, in interviews with musicians, I paraphrase a
      thought from singer-songwriter Amy Fairchild along very similar lines.
      And it has been my experience that being able to draw from
      widely-varied directions is really important to a whole lot of
      artists, though many find themselves in situations that hardly could
      be said to encourage diversity and versatility.

      "I never played as part of the [WBCN Rock 'n' Roll] Rumble," said
      King, "but Xguru did do a few things with WBCN. I remember one gig
      that Juanita the Scene Queen attended. I recall some problem with my
      gear and hating my guitar sound that night and thinking we sucked.
      Next thing I know my manager is telling us that Juanita has invited us
      to do a little tour of venues in the city, riding in the 'BCN van with
      the station's Hummer cruising alongside, and we're hitting all these
      different spots for Cinco de Mayo and playing a bunch of gigs for our
      favorite Boston station. We also teamed up with the 'BCN for some
      college gigs. ... [W]e hit MIT and Northeastern and a few others for a
      series of outdoor shows."

      For all his songwriting, past and present, the featured song on
      "In Your Head," Scott King's latest album, was written by Dave Carter.

      "At some point while listening to 'Frank to Valentino,' I just
      started hearing it with a full band, and the version you hear on 'In
      Your Head' is exactly as I heard it in my head. It's pretty much that
      simple. Dave made it easy for me by recording the song with just his
      voice and guitar. I had somewhere to go with it."

      Speaking of Carter, in reference to the "whole canon of great
      American poets," King said, "[W]hat if Robert Frost had also played a
      mean guitar and written beautiful melodies for those words and had a
      gorgeous voice?"

      King actually seldom interprets the work of other writers. "I
      have performed one other cover, Larry Norman's 'The Outlaw,' and it's
      on 'Wrecking Ball' (2007)...."

      If there could be a perfect double bill including Scott King,
      what would the other act be? King puzzled a bit, from different
      points of view, over what would make a perfect double bill; and he
      recalled some split shows involving his 90s band, Xguru. He wound up
      answering, "From my perspective as a musician ... the perfect double
      bill would be with my idol, Paul McCartney, but I'm not sure his fans
      would be happy about that!?"

      Reponding to a standard question about surprising happenings in a
      career, King said, "I just think generally about the mystery of
      songwriting, which continues to surprise me." He next explained, "I
      tend to be bone dry and then one day I pick up my guitar and the songs
      start coming on like gangbusters; but regardless of the chosen method,
      there's a mystery to it. Where do melodies come from? In Paul
      McCartney's case, for example, he woke up and there was 'Yesterday,' a
      melody so beautiful it'll make you cry. And Dave Carter dreamed
      entire songs."

      Taking it, for a moment, in a different direction, King said,
      "The un-mysterious part is that in this process I may have to work a
      while to get the right progression of chords for that bridge I know
      the song needs, or I might grab a rhyming dictionary or research
      something online to finish the lyrics, but the song is there; it was
      waiting for me. That's the mystery in all its spiritual beauty, and
      it surprises and delights and unsettles me every time."

      Asked about a "free, breezy feel" to much of his latest music,
      King said he thinks it is "an apt description of this collection of
      songs and how they've been recorded. One reviewer from Northeast in
      Tune Magazine published a similar observation about my last record.
      She wrote that 'Every song feels comfortable, as if King breathes air
      in and music out.' I think that observation applies to 'In Your Head'
      as well. [With the album, 'In Your Head,' in mind, I had said, in an
      interview question, that it sounded to me as though King was 'singing
      in a style that seems to come quite naturally - a good fit.']

      "As for whether or not this represents a stylistic departure, I'd
      say that immediately post-Xguru it would have, but not now. This is
      kind of the trajectory that I've been on through the last two records,
      but I expect to be redefining myself somewhat on the next one. I've
      got some exciting ideas percolating."

      One thing that was percolating on the new disc, "In Your Head,"
      is the drumming of Ginger Cote. Many of our readers know her from her
      times with a great Maine band, The Coming Grass. On "In Your Head,"
      she contributes slight degrees of roughness and eccentricity in ways
      that add positively to the character of the recording. Call it nuance
      or texture if you prefer. Character seems right to me. Among the
      records I have heard, her latest studio efforts, including "In Your
      Head," have been her best.

      "I'm solo on almost every leg of this summer tour," said King.
      "I'll be playing a lot of the songs off 'In Your Head,' because that's
      the disc that just came out and that I'm on the road to promote and
      hopefully sell, but I have also been writing a lot lately, and
      whenever I have new songs, I'm chomping at the bit to play them in
      concert. I find this to be at once a necessary and deeply enjoyable
      process of working the kinks out, seeing how the audience responds,
      and determining which songs are the most vibrant and deserving to be
      on the next record."

      Scott King's July and August concert schedule is heavy on Maine
      bookings, but the run of shows noted below includes an appearance at
      the Common Ground Coffeehouse in Fitchburg, Massachusetts. He also
      already has a gig set for way off in early 2008 at Lowell, Mass.

      For a personal view of the road from Bill's Bar to Old Orchard
      Beach, a Scott King show is the place to be.

      Who: Scott King
      Where Lakeshore Cafe, Livermore, ME, July 12
      and Hooligans, Old Orchard Beach, ME, July 13
      When: Common Ground Coffeehouse, Fitchburg, MA,
      July 14
      For more information: http://www.olsenrecords.com/scottking/

      = = = = =


      New Review in
      Performing Songwriter

      "From the very gospel-influenced strains of the title track ('We're
      All Going There'), Noam Weinstein has created something utterly
      unique. Brainy like Joe Jackson and soulful like Joe Cocker, there's
      still an element we can't quite put our finger on. Maybe it's his
      skillful guitar work, especially on the driving 'Marching in Place' or
      the country-flavored 'Other People's Hearts.' Highlights from the
      record include the poetic 'Green to Yellow' and the pounding blues
      rock of 'Gonna Have to Charge You.' In an indie-music world that's
      sometimes drowning in introspection and poor musicianship, Weinstein
      descends like the answer to a prayer. Wherever he's going, we'll follow."

      -- Performing Songwriter

      Noam Weinstein Addendum:

      "(Should the author be praying for something of greater urgency? Not
      if her basic needs are being met and no one in her family is ill.)"

      -- Noam Weinstein, "New Reviews and Show Monday,"
      July 6, 2007

      ANSWER TO A PRAYER OR NOT, Weinstein's latest two albums have been
      fantastically produced, and he is a gifted songwriter. To my mind,
      this Performing Songwriter notice is right on the mark.

      Track on "Feels Like Home" Compilation

      "FEELS LIKE HOME: - 'Here and Now,' the lead-off track on 'Hope and
      Other Casualties,' will appear on an upcoming CD, 'Feels Like Home,' a
      compilation to raise awareness about homelessness. A cooperative
      effort between socially-conscious Appleseed Recordings and the Give US
      Your Poor initiative, the CD will feature new music from Bruce
      Springsteen & Pete Seeger, Natalie Merchant, Jon Bon Jovi, Jewel,
      Madeleine Peyroux, Michelle Shocked, and many others. I'm honored to
      be in such vaunted company and for such a great cause. Look for the
      CD in stores September 25th."

      -- "Mark Erelli July 2007 Newsletter," July 4,

      BOSTON 1982

      We have received a reader question about what bands played Boston's
      Nickerson Field in September 1982. Do any of you recall?

      A quick search of the Beta version of the forthcoming Boston Globe
      search produced no results. (The New York Times has just traded way,
      way, WAY DOWN in its provision for historic archive searches. They
      have made matters so much worse it is practically beyond belief. Let's
      hope The Boston Globe does not follow the same path.)

      If you recall what bands played Nickerson Field in '82, or you think
      you may, and you would be willing to share your information, please
      e-mail us by way of the following Web page:



      The Faith Hill and Tim McGraw review, which we are linking to here,
      includes a very short notice of the opening set by Massachusetts


      Hill and McGraw cover highs and lows
      By Joan Anderman, Globe Staff | July 6, 2007


      end BRIEF ITEMS

      = = = = =

      In Southern New Hampshire



      signed with Universal (which I believe is the world's largest record
      label group), it was said the members would be recording, starting
      right away. We have heard little if anything about this outfit since.
      So it is terrific to have a show to note: kind of a return from the
      studio to the stage. (Or maybe just a break - we will know more later.)

      Bristol Entertainment Presents...
      Universal Motown Recording Artists

      Sunday, July 22nd

      At the Pheasant Lane Mall, Nashua, NH

      -- Bristol Studios, "Jada Live With the Plain
      White Tee's," July 5, 2007

      Releasing an Album as Members of The Strangelings;
      Continuing To Promise a Release of Their Own

      "Strange, Stranger, Strangeling, Pt. 2.

      "As mentioned in last month's Newsdumpster, we recently became the
      third half of the Strangelings, featuring the angelic vocal trio of
      Maura Kennedy, Chris Thompson and Rebecca, and instrumental
      fortification by all the above plus Pete Kennedy and Ken. With Pete
      and Maura at the knobs, we just finished the first Strangelings CD,
      'Season of the Witch;' and lookee, it contains three Rebecca tunes,
      namely, 'Hard Way to Learn,' 'Man of Poor Fortune,' and 'Sculptor's
      Song,' all in glorious Strange-O-Phonic sound. 'Season of the Witch'
      will debut at the Falcon Ridge Folk Festival later this month, where
      we're slated to do a mess o' shows."

      . . . . .

      "'Hungrytown' is mostly done. A smattering of violin, cello, comb and
      tissue paper and a small-mouth bass is about all it needs at this
      point. Money would be good, too."

      -- Rebecca Hall and Ken Anderson, "July 2007
      Newsdumpster," July 2, 2007

      The Roundhouse DVD

      "the roundhouse DVD is about to go on sale!!!

      "a little about it:

      "we filmed our entire, love-fest and carny-filled show at the
      Roundhouse in London and the DVD includes footage from the entire show
      plus clips and interviews from all the other performers and bands who
      were part of the madness, including: Margaret Cho, Emilie Bera &
      Marie-Herveline Caron, Katie Kay & Erin Maxick, Circus Krin & Jonas,
      Baby Dee, Edward Ka-Spel & The Silverman, Marisa Carnesky & Lily
      White, Future Cinema, Zen Zen Zo, Raphaelle Boitel, Reggie Watts, The
      Pish Dolls, Bang On!, Trash McSweeny of The Red Paintings, Jason
      Webley, Lene Lovich, Nicholas Vargelis, Sxip Shirey, and The Dresden
      Dolls' Brigade.

      "it was truly a magical night. i was recently talking to some press
      folks about it and they asked me what the difference was between this
      DVD and theParadiseDVD (our first, shot in Boston a few years ago).
      the Paradise DVD really caught us in our element, in our hometown
      throwing down with our hardcore local brigade and friends. this show
      in london brought together the best of the out-of-town friends we've
      made over the years ... there are performers from literally every
      corner of the globe and you can just feel the love in the room as
      everybody criss-crosses and connects. it's a beautiful reminder of
      how far we've come as a band, how far the brigade has come as a
      phenomenon, and how much love has been put into the entire community.
      it's pretty awesome. i usually cry at the ending."

      -- Dresden Dolls, "Roundhouse DVD Release,"
      July 6, 2007


      She spends all her time on a bus, but her songs are about much more
      By Marc Hirsh, Globe Correspondent | July 6, 2007




      Bill Barber, 87, pioneer in melding of tuba, jazz
      By Adam Bernstein, Washington Post | July 1, 2007


      I AM TOTALLY OUT OF TIME. So here is the direct Web address for the
      Boston Globe Obituaries table of contents:


      And here are some of the table of contents entries for obituaries that
      I think may interest many of our readers:

      Johnny Frigo, 90; jazz bassist, violinist helped write standards
      (By Adam Bernstein, Washington Post, 7/6/07)
      WASHINGTON -- Johnny Frigo, a highly respected jazz violinist and
      bassist who helped start the Soft Winds Trio and co-wrote such
      standards as "Detour Ahead" and "I Told You I Love You, Now Get Out,"
      died Wednesday at Weiss Memorial Hospital in Chicago, after suffering
      complications from a fall. He was 90.

      Bill Pinkney, 81, original bass in '50s group The Drifters
      (Boston Globe, 7/6/07)
      DAYTONA BEACH, Fla. -- Bill Pinkney, the last survivor of the original
      members of the musical group The Drifters, died Wednesday. He was 81.

      Regine Crespin; diva noted for magnetism
      (By Chris Pasles, Los Angeles Times, 7/6/07)
      LOS ANGELES -- French soprano Regine Crespin, who forged an
      international reputation largely in German operas, died yesterday at a
      Paris hospital, according to her longtime record label, EMI. She was 80.

      George Melly, 80, jazz singer, critic
      (Boston Globe, 7/6/07)
      LONDON -- George Melly, a flamboyant, gravel-voiced jazz singer,
      critic, and raconteur, died yesterday at home, his wife, Diana, said.
      He was 80.

      Boots Randolph; saxophonist was top sessions player; at 80
      (By Joe Edwards, Associated Press, 7/4/07)
      Boots Randolph, whose spirited saxophone playing on "Yakety Sax" was
      resurrected years later on Benny Hill's TV show, died yesterday. He
      was 80.

      Hy Zaret, 99; wrote words to 'Unchained Melody'
      (Boston Globe, 7/4/07)
      Lyricist Hy Zaret, who wrote the haunting words to "Unchained Melody,"
      one of the most frequently recorded songs of the 20th century, died
      Monday. He was 99.

      Beverly Sills, people's diva, dies
      (By Mark Feeney, Globe Staff, 7/3/07)
      Beverly Sills, whose radiant soprano and vibrant personality made her
      "America's Queen of Opera," as Time magazine called her in 1971, died
      last night. She was 78.

      E-MAIL US via:

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      If you have friends who would be interested in any of the items in
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      As a rule, we do not post SHOW LISTINGS. The reason is quite
      simple. Our readers are spread out all over the map. Though our name
      is the NEW ENGLAND Music Scrapbook, we have readers all across the
      southern tier of states - with large numbers in Florida generally, the
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      have readers in each of the six New England states and many in New
      York and New Jersey. The great majority of show listings would be of
      no interest at all to most of our readers.

      We make exceptions when show listings are part of an item of more
      general interest. CD-release events are great examples. For us, the
      main point of an item of this sort is that an act has a new record.
      The show being announced is of secondary interest to us - if that - as
      far as the contents of our newsletter goes.

      We also make a few exceptions for shows in the immediate Boston
      area. Our single biggest concentration of readers, as far as we know,
      is in and around Boston. We understand from e-mails we receive that
      we are able to help turn out an audience to many entertainments in the
      Boston area. But even in the case of Boston shows, we make few

      So, the general rule of thumb is that we don't post show
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      ... Shows can be canceled, sold out, or even moved to another
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      Issue 2007:230

      Published no less often than monthly.
      We're guessing eventually we'll settle
      into an every-other-week schedule.

      Copyright © 2007 by the New England Music Scrapbook. All rights reserved.

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