Zaikesman,
I really don't know quite how to start this reply being as low brow as I am. First, Willie Nelson is one of the most prolific song writers in the history of music and his album Stardust was definitely a minimalist recording. Yeah, there are amplified instruments but remember, he plays a classical guitar and was acompanied by, primarily a harmonica. This album hardly qualifies as rock. Regarding the Janis Ian album, you might want to actually read how this magnificient recording was made. Analogue Productions knows how to do it and do it right. Period. If you don't agree then please disect the recording proceedures as shown on the back of the album jacket and tell us how it should be done. Steely Dan has taken a lone approach to recorded music. If you would read the book "Reelin In The Years" you would get a grasp on how technical these two are in so many of the aspects of recording their tunes. This way of doing things was by design on their part from the very beginning of their joint venture as the Dan. There incredible efforts shine through in the vast majority of their work. Mark Knoppler, who I love as a unique guitarist, spent two weeks in the studio trying to measure up "technically" and left with apologies to Becker and Fagan for his failed attempt. Just reading the names of the artists that have contributed to their body of work speaks for itself. Highly produced isn't "technical" by its own definition?
How can I really appreciate a Ferrari if I've never even seen one close up, let alone be able to drive one? I grew up in rural Nebraska, didn't live in a house with indoor plumbing until I was a teenager, graduated with a class of 38, lived before public television and radio and had no opportunity to ever hear classical music prior to college. While Willie and the Dan may do it for me I can assure you that I've heard them live and know what they sound like so by inference you're telling me I can't hear? Gimme a break.
I've discovered music (mainly jazz and blues) that I wasn't familiar with as a youngster. I've pursued accumulating those genre's with a passion. IF A FUCKING ORCHESTRA WOULD PLAY IN A BAR MAYBE I WOULD HAVE FOUND CLASSICAL. Some of our roots aren't planted deeply in metropolitan areas. We lived and worked in the areas that raised the food and resources city dwellers consume.
Classical isn't the be all and end all. Hell, I'd include Nitty Gritty Dirt Band's "Will The Circle Be Unbroken" if I would have thought of it earlier. Acoustic, live, minimalist recording techniques and an execution to die for without a weak cut on two LP's. Low brow stuff for sure but in my mind these artists are as meaningful as any of the examples you give.
I've tried to appreciate classical in the broad sense and can't wrap my emotions up with most of the offerings. I guess that makes me a mid-fi listener.
Your last paragraph is simply wrong. Like I said before, I've got more seat time as a listener than almost anyone else I know. The genre's I've listened to LIVE include rock, jazz, blues, reggae, folk, bluegrass and classical. From the age of 20-23 I worked as a tour director with the likes of the Kingston Trio, Diana Trask, Johnnie Ray, Jeannie C. Riley, Lou Rawls, The Supremes, The New Christy Minstrels, J.P. Morgan, Johnny Rodriguez and Tanya Tucker. This was through 1970 to 1973. Opening acts too. Two shows each day on 21 day tours. I attended practice sessions, hotel room jam sessions and a takeover of the bar after hours, not to mention the hours on the road listening to them play and sing while I drove. I've been in a bar at a Holiday Inn in Oklahoma City in 1971 when Leon Russell and George Harrison came in and played with the drummer of the house band, taking over the keyboard and guitar.
I sat up sound systems in these small club venues with the exception of The Supremes (without Ross), Tucker and Rodriguez. These were large events which failed monetarily and led to the demise of Star Attractions, the San Antonio based company I worked for. I also had to operate the Quartz Follow spots on occassion. It's been a long time but I once was familiar with every club in the Midwest from country clubs, oil clubs, officers clubs, nco clubs and the occassional private (Kansas) bar. Reproductions of music? I think not.
As if I didn't love music prior to this experience enough, afterward, in spite of not working with artists any longer, I was a live music junkie. It was only in 1982 with the birth of our child that I put less emphasis on going to live events. Now that she is on her own my wife and I have pursued this passion full tilt boogie again rather than the occasional typical concert. Minimum listening time twice per week and I don't know the natural sound of music? Gimme a break.
