No Kinda Dancer - Robert Earl Keen Jr. LP SIGNED AUTOGRAPHED w insert

$

27

LP NM

 

Jacket NM-

Artist Biography by James Manheim

Among the large contingent of talented songwriters who emerged in Texas in the 1980s and '90s, Robert Earl Keenstruck an unusual balance between sensitive story-portraits ("Corpus Christi Bay") and raucous barroom fun ("That Buckin' Song"). These two song types in Keen's output were unified by a mordant sense of humor that strongly influenced the early practitioners of what would become known as alternative country music. Keen, the son of an oil executive father and an attorney mother, was a native of Houston. His parents enjoyed both folk and country music, and his own style would land, like that of his close contemporary Nanci Griffith, between those genres. Keen wrote poetry while he was in high school, but it wasn't until he went to journalism school at musically fertile Texas A&M that he learned to play the guitar. He and Lyle Lovett became friends and co-wrote a song, "This Old Porch," which both later recorded.

Keen made a splash in Austin with his debut album, No Kinda Dancer, self-financed in 1984 to the tune of $4,500 dollars. He moved to Nashville during the heady experimentalism of the '80s that saw Lovett and k.d. lang hit the country Top Ten, but he soon returned to Austin. Texas landscapes and residents provided Keen with creative inspiration, as his second album,West Textures, made clear; that album yielded one of Keen's signature numbers, an ambitious crime-spree song called "The Road Goes on Forever." Now recording for Sugar Hill, Keen recorded a live album shortly after West Textures but waited several years to release a studio follow-up, 1993's A Bigger Piece of Sky. After that album (which contained "Corpus Christi Bay") came Gringo Honeymoon (1994), which merged Keen's story songs with the emerging sounds of alt-country: guitars were laid down by the influential Austin musician Gurf Morlix, who later produced albums for both Keen and Lucinda Williams, and a young Gillian Welch provided harmony vocals.

Once again, after taking his career to a new stage, Keen recorded a live album (No. 2 Live Dinner, 1996) and took time to accumulate new material. The 1997 album Picnic, his first for the Arista Texas label, again moved in the direction of alternative country, featuring Keen in a duet with the Cowboy Junkies' Margo Timmins, while 1998's Walking Distance featured sparer textures. Whatever production style surrounded his songs, Keen's musical personality seemed consistent, and his live shows, widely known thanks to a touring schedule that often approached 200 dates a year in the '90s, grew organically in depth and control. In the early 2000s, Keen signed with the Lost Highway label and released the album Gravitational Forces (2001). He also devoted time to his influential annual concert series and talent festival, Texas Uprising, which took place at several venues around Texas and the Far West. 2003 saw the release of his eighth studio album, the amiable Farm Fresh Onions, as well as The Party Never Ends: Songs You Know from the Times You Can't Remember, a compilation of Keen's Sugar Hill days. His next release was 2005's What I Really Mean for the Koch label. It was followed in 2006 by Live at the Ryman. Rose Hotel, his first recording with famed producer Lloyd Maines, appeared in 2009 on Lost Highway. Keen decided to experiment for his next album, and began writing on the road instead of in his small, solitary cabin in the hinterlands of Texas. Once again recruiting Maines as producer, he cut 11 new songs -- among them nine originals including a re-recording of "Paint the Town Beige" from 1993's Bigger Piece of Sky -- and a couple of covers. It was released as Ready for Confetti on Lost Highway in the summer of 2011.

All Lps Are Sight Graded

 

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RECORD GRADING Based On Goldmine Grading Standards:

Near Mint (NM): A nearly perfect record. There may be one or two small inaudible defects. The record should show no obvious signs of wear. A 45 RPM or EP sleeve should have no more than the most minor defects, such as almost invisible ring wear or other sights of slight handling. An LP jacket should have no creases, folds, seam splits or any other noticeable similar defect. No cut-out holes, either.

Near Mint Minus (NM-): A record that should play mint but has a few slight visible marks. The album will have as much luster as an NM, there just may be some superficial scuffs from the sleeve or very light hairlines that shouldn't be audible. An NM- album cover subjectively fits somewhere in between VG+ and NM.

Very Good Plus (VG+): A Very Good Plus record will show some signs that it was played and otherwise handled by a previous owner who took good care of it. Record surfaces may show some slight signs of wear and may have slight scuffs or very light scratches that don t significantly affect play. Slight warps that do not affect the sound are OK. The label may have some ring wear or discoloration, but it should be barely noticeable. The center hole will not have been misshapen by repeated play. 45 Picture sleeves will have some slight wear, lightly turned-up corners, or a slight seam-split. An LP jacket may have slight signs of wear also and may be marred by a cut-out hole, indentation or corner indicating it was taken out of print and sold at a discount.

Very Good (VG): Many of the defects found in a VG+ record will be more pronounced in a VG disc. Surface noise will be evident upon playing, especially in soft passages and during a song s intro and fade, but will not overpower the music otherwise. Groove wear will start to be noticeable, as will light scratches (deep enough to feel with a fingernail) that will affect the sound. Labels may be marred by writing, or have tape or stickers (or their residue) attached. The same will be true of picture sleeves or LP covers. However, it will not have all of these problems at the same time, just two or three of them.

Good (G), Good Plus (G+): Good does not mean Bad! A record in Good or Good Plus condition can be put onto a turntable and will play though without skipping. But it will have significant surface noise and scratches and visible groove wear. A jacket or sleeve will have seam splits, especially at the bottom or on the spine. Tape, writing, ring wear or other defects will start to overwhelm the subject. 

Poor (P), Fair (F): Below good. imperfections will be described.

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