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 GRAMMY CHANGES (SHAMMIES!)

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Rickabilly

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PostSubject: GRAMMY CHANGES (SHAMMIES!)   Wed Apr 06, 2011 2:47 pm

It figures. Just as Brian is about to release an all-instrumental album, most of the instrumental categories are going to be dropped!

Grammys Drop More Than 30 Categories

List of Categories Dropped

Gone are Best Pop Instrumental Performance, Best Rock Instrumental Performance, Best Jazz Instrumental Performance, and another category Brian has won in, Best Pop Vocal Performance by a Duo or Group. (I can't really begrudge them axing the Best Classical Crossover Album category - what was that anyway?)

Instrumental performances are still recognized, but you have to get them for an entire album in one genre. Best Pop Instrumental Album and Best Jazz Instrumental Album are still intact. But what would you do with an album like Instru-Mental? It's all over the musical spectrum.

The new system rewards monotony and penalizes diversity. If Setzer has a primarily vocal album with one or two stellar instrumentals - sorry, those standout tunes are no longer recognized! (Unless it would be in the Best Jazz Instrumental Solo category.)

I'll bet Jeff Beck is mad - no rock instrumental categories whatsoever!

There is a composing/arranging category for instrumentals, but I don't think Brian's improvisation skills would count in this category. Perhaps if he can squeeze another brilliant composition out of Frank Comstock, he might see something in this category.

I realize Brian probably never records anything with the idea that it might be Grammy-worthy. Still, it was something nice to which the fans could look forward.

I guess it's time to turn our torches and pitchforks towards the Rock-n-Roll Hall of Shame! Twisted Evil

Shammy-billy
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Twenty Flight Rick

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PostSubject: Re: GRAMMY CHANGES (SHAMMIES!)   Wed Apr 06, 2011 5:26 pm

Thanks for the links Rick! I'll have to read the article.
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Slim Jon Phantom

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PostSubject: Re: GRAMMY CHANGES (SHAMMIES!)   Wed Apr 06, 2011 6:06 pm

Hmmm.... I disagree with some of those dropped catagories, but I will never agree with the dopping of things like male and female singers.... it's something completely different.

Wouldn't it be different if BS music was sung by Imelda May or Imelda's music by BS?? Truth is that the music itself is wonderful, but the voice makes it absolutely different. I mean, I am comparing these 2 people since they are a very close example to us, but understand what I mean.

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Swansea City

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PostSubject: Re: GRAMMY CHANGES (SHAMMIES!)   Thu Apr 07, 2011 2:55 am

It has long been my feeling that Brian only includes an instrumental on his albums to stand him in a good position of winning a Grammy. The opposition for an instrumental award clearly is nowhere near as vast as for any vocal recording. I'm fully expecting a torrent of disagreement but I've wanted to get this off my chest for a long time. None of this makes me any less of a Setzer fan, but it is my honest opinion.

Basically, that means that I totally agree that this particular Grammy change and am hoping that it will encourage the great man to write some better songs with words and win one of the real big Grammy sections. Let's face it, since the success of Dirty Boogie and Vavoom, what has Brian produced of great quality? The Rockabilly Riot album is one of my favourites of all time, but it was, after all, cover versions.

Let's hope this encourages the next great piece of Setzer work, to rival STRAY 1 or Dirty Boogie!
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Brett

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PostSubject: Re: GRAMMY CHANGES (SHAMMIES!)   Thu Apr 07, 2011 4:42 am

He wrote Lonely Avenue. It´s a fantastic song.
I read these arguments very often.
But Dirty Boogie is unique. He can´t repeat this again and again.
Most great artist just have 1 or 2 genius records and a lot of good records.


And it`s a question of taste.
My BSO favorites are:
Brian setzer Orchestra (the 1st one)
Lonely Avenue
Dirrty Boogie
Guitar Slinger
Vavoom
Wolfgang
and all the live and X-mas ´records

Solo:
NFBD!!!
13
Ignition
all Stray Cats
Knife


Last edited by Brett on Thu Apr 07, 2011 6:45 am; edited 2 times in total (Reason for editing : keyboard didn`t work well)
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Rickabilly

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PostSubject: Re: GRAMMY CHANGES (SHAMMIES!)   Thu Apr 07, 2011 6:33 am

Because the instrumentals came before the Grammys, I would like to think that the instrumentals are not necessarily motivated by the award. As great a singer as Brian is (or was), his greatest strength has been as a guitar player. Why wouldn't he showcase that playing at least once an album? I think instrumentals were the tunes the record company believed had the best chance of winning their category, especially after he won for Sleepwalk and Caravan on successive albums. So I suppose the award might have been in the back of his mind after "Vavoom!", but I have to believe it's never been the primary motivation. Some instrumentals also go over very well at concerts, especially Sleepwalk. I remember watching several guitarists in the audience drool over "Rat Pack Boogie" at a Nashvillains show.

In case you're wondering, here's Brian's latest bio from his press agency, where he discusses how "Setzer Goes Instru-Mental" came about. No mention is made of the Grammys.

Brian Setzer is one of those wild geniuses who keeps the Earth properly spinning on its axis – a consistent institution who you can count on while pretty much everything else comes and goes. If nothing else, he might be saving American history from the scorch of its own warped magnifying glass memory. We’ve screwed up the 50’s – reduced it into one giant goof cartoon of crummy over-fattening food, leather jackets and endless sock hops. And the 80’s showed up more or less mangled on arrival. But Brian Setzer, a punk rocker grinning across a gorgeous Gretsch splashed through the neon of the 80’s scene with a sound that channeled the earliest primal yelps of rock n’ roll. Then in the 90s when every guy within a fedora’s throw of Hollywood wanted to form a swing band, Setzer massed a bloody orchestra and launched a blistering assault on all the zoot-suited mannequins cruising the scene. With an astonishing consistency and quality of output, an honest reverence for the American musical tradition and an idiosyncratic swagger that is itself the kind of brand that defies all contrivance, Brian’s on that short list alongside guys like Billy Gibbons, Jeff Beck, or, hell, Hendrix who inhabit their own crazy little islands where the waves around them may change direction but the guitar licks are scorching, the drinks stay cold and the circle remains unbroken.

Setzer Goes Instru-MENTAL! is another elegant affirmation of Setzer’s legacy and a beautiful betrayal of what we tend to expect from guitar records. Betrayal? Ok, look let’s admit something. Even people who buy guitar records made by guys who make guitar records for people who buy guitar records know that guitar records are often not all that much fun when you boil them down. Usually there’s a certain quota of “see, I can do this” fretboard pyrotechnics, a few “exercise in getting a certain guitar tone” kinds of exotic moves and then the inevitably boring retread of some song snatched from a different genre. As a guitarist, Setzer has basically nothing whatsoever to prove, so Instru-MENTAL! skips all of those games. Instead, it’s a richly lyrical spin through songs where Setzer (as usual) makes complex guitar figures sound organic with a delivery that’s alarmingly effortless. If anything, its instrumental-ness was something that revealed itself along the way. “I didn’t start writing an instrumental record per se,” Setzer says. “As a matter of fact I wrote 7 songs with lyrics and then all of a sudden I just took a turn and started fooling around with ‘Blue Moon of Kentucky,’ except without any vocals. I just started playing melody chords and thought, ‘wow, this is pretty cool! So the direction turned about halfway through my writing. I had never done an instrumental record, but I thought, well, now’s the time!”

The result is a record that feels like a Sunday afternoon with one of the world’s best players of any given instrument fumbling around the living room, picking up a dazzling vintage ’63 D’Angelico acoustic guitar, a Scruggs banjo or a signature Gretsch and with a quick knot of knuckle-work chiming out one gorgeous piece after another. There are charming covers in “Blue Moon of Kentucky” and “Cherokee” alongside ripping originals like “Go-Go Godzilla.” As always, it’s the kind of stuff that he can hurtle outward as far as the room allows – music that’s equally at home in the low fog of a smoky jazz club, the chandelier pomp of a big city ball-room or the crisp zing of a festival night sky air. It’s music made with real love by a guy who just can’t help but grab a guitar.

Taken as a whole, Instru-MENTAL! is a kind of a hot quickie Cliff Notes on the thing that is the Brian Setzer canon. There’s jazz without pretension, country without cowshit, swing without poses, an infusion of blues that is deeply honest and the most classic form of rock n’ roll that in Brian’s hands feels as fresh and vital as the day those other genres slopped it into being. Some of Setzer’s secret is his inherent understanding of the deep soul-level link between Eddie Cochran, Gene Vincent, Joe Strummer, Jimmy Page, Cliff Gallup, Son House, Chet Atkins, Elvis Perkins, Elvis Costello, Charlie Christian, Les Paul, Johnny Marr and Johnny Rotten. Some of Setzer’s magic is the fact that he’s the guitar-toting lightning rod who soaked all that in and shoots it back at us in dazzling bolts that carry his own unique signature in every note. He’s Brian Setzer, he plays a mean hot crazy pretty guitar, and that, thank God, will never change.


The Grammys have been rewarding individual songs from albums for years, including instrumentals. Maybe they didn't need so many categories of instrumentals, but I am sorry to see them go. I know many fans were looking to the album to bring home some Grammy gold. Maybe it still will.

What Are Words For-a-billy

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Twenty Flight Rick

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PostSubject: Re: GRAMMY CHANGES (SHAMMIES!)   Thu Apr 07, 2011 7:38 am

Thanks for posting that Rick! It's interesting to me that Brian doesn't regard Wolfgang as an instrumental record.
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