GNU GENERAL PUBLIC LICENSE Version 2, June 1991 Copyright (C) 1989, 1991 Free Software Foundation, Inc. 51 Franklin St, Fifth Floor, Boston, MA 02110, USA Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not allowed. Preamble The licenses for most software are designed to take away your freedom to share and change it. By contrast, the GNU General Public License is intended to guarantee your freedom to share and change free software--to make sure the software is free for all its users. This General Public License applies to most of the Free Software Foundation's software and to any other program whose authors commit to using it. (Some other Free Software Foundation software is covered by the GNU Library General Public License instead.) You can apply it to your programs, too. When we speak of free software, we are referring to freedom, not price. Our General Public Licenses are designed to make sure that you have the freedom to distribute copies of free software (and charge for this service if you wish), that you receive source code or can get it if you want it, that you can change the software or use pieces of it in new free programs; and that you know you can do these things. To protect your rights, we need to make restrictions that forbid anyone to deny you these rights or to ask you to surrender the rights. These restrictions translate to certain responsibilities for you if you distribute copies of the software, or if you modify it. For example, if you distribute copies of such a program, whether gratis or for a fee, you must give the recipients all the rights that you have. You must make sure that they, too, receive or can get the source code. And you must show them these terms so they know their rights. We protect your rights with two steps: (1) copyright the software, and (2) offer you this license which gives you legal permission to copy, distribute and/or modify the software. Also, for each author's protection and ours, we want to make certain that everyone understands that there is no warranty for this free software. If the software is modified by someone else and passed on, we want its recipients to know that what they have is not the original, so that any problems introduced by others will not reflect on the original authors' reputations. Finally, any free program is threatened constantly by software patents. We wish to avoid the danger that redistributors of a free program will individually obtain patent licenses, in effect making the program proprietary. To prevent this, we have made it clear that any patent must be licensed for everyone's free use or not licensed at all. The precise terms and conditions for copying, distribution and modification follow. GNU GENERAL PUBLIC LICENSE TERMS AND CONDITIONS FOR COPYING, DISTRIBUTION AND MODIFICATION 0. This License applies to any program or other work which contains a notice placed by the copyright holder saying it may be distributed under the terms of this General Public License. The "Program", below, refers to any such program or work, and a "work based on the Program" means either the Program or any derivative work under copyright law: that is to say, a work containing the Program or a portion of it, either verbatim or with modifications and/or translated into another language. (Hereinafter, translation is included without limitation in the term "modification".) Each licensee is addressed as "you". Activities other than copying, distribution and modification are not covered by this License; they are outside its scope. The act of running the Program is not restricted, and the output from the Program is covered only if its contents constitute a work based on the Program (independent of having been made by running the Program). Whether that is true depends on what the Program does. Lydia Loveless | For The Country Record

Tag Archives: Lydia Loveless

Sep
27

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Lydia Loveless’ Postcards From The Road

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Back in the day, it was kind of fun when you’d go to a live show and hear the band announce that you were going to be on a live album recorded that night. The thought crossed my mind watching Lydia Loveless, when she stepped on Mountainstage in Charlestown for a taping of a forthcoming West Virginia Public Broadcasting radio program.

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Aug
20

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Lydia Loveless ‘Real’ – Album Review

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The first time I heard “Bilbao” from Lydia Loveless’ new album ‘Real,’ it was like I was hearing a voice repeating inside my head. As I felt the emotions swelling, I could hear the whispered line from 10cc’s great pop song “I’m Not In Love” repeating “Big boys don’t cry… big boys don’t cry.” The reverie puts you in a trance and when things come to a climactic bridge, her voice soars to majestic heights, wrapped around a wall of sound that feels like she’s reaching the pinnacle of her career. And when she comes back with a killer one-lite fade out, it just about does you in, in a few spectacular minutes that sum up all the attributes of the great expansiveness of ‘Real.’ I just cried inside – I admit it.

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Dec
19

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FTCR’s Most Popular Posts of 2015

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It’s that time of year when there are lists galore, and here is yet another one for you. Our good friends at Farce The Music recently posted their most popular posts of the year, and I thought I’d steal their idea follow their lead. So, for your reading pleasure, here are the top 25 most popular articles on FTCR in 2015, tabulated on December 4.

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Jul
12

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When Sad Songs Say So Much: Lydia Loveless on Life and Death, Her Next Album & New Film – Interview

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Lydia Loveless Starts Her Summer Tour In Harrisburg (Concert Photos By Molly M. Holtzinger)

Lydia Loveless had barely said howdy and was just one song into her set when she had something to tell everyone. She’d just finished her fourth album. Well, finished with a few caveats. There’s still mixing, mastering and six months of promoting to do so, as she put it, everyone could download it from the internet and its real shitty sound. On that upbeat note we welcomed the start of her summer tour in Harrisburg and had a night to remember.

A little earlier husband and bassist Ben Lamb told me that the band had spent just about a week recording, cutting seven or eight songs in April and another three or four a few weeks ago. Not quite as fast as the Ramones but still quick work for a band that since May has logged more than 10,000 miles travelling across the country and throughout Europe. And in the middle of all this, they’ve started filming a documentary called Who Is Lydia Loveless?

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May
1

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Phases and Stages: The Travels of Lydia Loveless (Stagecoach Recap)

2015 Stagecoach California's Country Music Festival - Day 1

Lydia Loveless and Ben Lamb at Stagecoach (Photo by Frazier Harrison/Getty Images)

It’s only been a week since the ACM’s but people are still talking about Kacey Musgraves and the dapper man on her arm in Dallas. On the eve of the Stagecoach Music Festival in Indio, Musgraves is all smiles when asked about her grandfather and his striking western rhinestone suit.

Musgraves is part of a three-day festival that is like a lot of mini-festivals going on all at once. Fresh off of being named one of Time Magazine’s 100 Most Influential People of 2015, Tim McGraw is set to headline with Miranda Lambert, Blake Shelton and Dierks Bentley playing over the weekend. But of more interest to me is the tract of emerging artists playing here like Sturgill Simpson, the Lone Bellow, Lindi Ortega, Nikki Lane and especially Lydia Loveless.

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Feb
10

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Lydia Loveless @ The Rock and Roll Hotel, Washington DC | February 8th, 2015 – Review

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Lydia Loveless Out On Grammy Night (Photo By Peter Hitchins)

What does it mean to love somebody? Why did Verlaine shot Rimbaud and what does it tell us about our own passions and possessiveness? And where does it all fit within the way music should be played?

Lydia Loveless throws out lines that stick in your head for days on end and I’ve spent many a waking moment thinking about them. I had a lot of my mind when I went to the Rock and Roll Hotel and with a great sense of anticipation. It was the night of the Grammy Awards but tonight was a throwback to an old fashioned bandstand in a small room.  I knew I would be missing a lot of drama and headlines but the chance to be in a club almost the size of my old apartment in New York was too good to pass up. Little did I know that the room was even smaller than I could have hoped for and I was going to feel like I was seeing Loveless play in my living room.

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