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Show Page 8 r : ' - Tula MUSIC NOTES By Jim Miller White Pine Touring Center ; Like something good steaming away on the ole' stove with someong good cooking it nothing gets me more excited than a good guide book. I've spent more time reading "Climbing Guide to the Teton Range" or "Desolation Canyon River Guide" than time spent reading any ten other media put together, including the Book of Mormon and Ms. Magazine. ; Seems like a wealth of information can be gained, plus it's always good to learn from another's experiences. Climbing guides are old hat now, one for every mountain range and popular canyon (there's even one for the climbing area in Alta canyon). Now whether guide books are needed, wanted, or worthy of attention is up to the individual but without a doubt, I sure get a great sense of adventure after reading one. , A new guide book, "Wasatch Tours", by Salt Lakers A. Kelner and D. Hanscomb, gave me the shivers more than just a few times. As guide books go, especially in the immature stage of ski touring guides, this one is a classic. The aerial photography is excellent, every picture is clear, precise and portrays what the authors intended.-It covers the western side of the Wastach front Millcreek Canyon south to American Fork Canyon. The tours are arbitrarily broken down into novice, intermediate and expert divisions. Mileages, trail descriptions, altitude gain and loss are all accurate while attaining the illusive balance. of adequate information without an obnoxious know-it-all attitude (sometimes the latter is prevelant at-mountain at-mountain shops and nordic ski schools). Ski Urouring routes can be incredibly varied, dictated ! by ..snow conditions, party size, strength and ambition, plus time of day. A danger of a guide book is to be much too structured as to stifle any creativity of the read$r or worse insult his or her intelligence. Beingp vague within the descriptive capacity of the gurae book, however, is a waste of paper. The authifrs have pretty much stuck to a discipline of listing ofjy known and constant factors, such as kr&o avalanche paths, mileage, and parking areaf--with suggested lines of skiing drawn in n photographs and short descriptohs. Their $fvn personal opinions, such as their strong anti-deyefip-ment beliefs and a healthy respect for the imnise avalanche potentials, creep into the dialogue :onfy enough to break it up and do not detract from 4he goal: Avalanche hazards must be emphasized in suipn a book, and "Wasatch Tours' gives a veiyf$ijl ; impression of this danger. Again and again; the warning, "Approach this pass under only the ftiost E stable of conditions.". ' ; I I sometimes wonder about some of their ' recommendations, such as a trip. over Cardiff Pass (labled as Intermediate) plus I'd hesitate recommending Cardiac Pass to anyone. At the same time, I feel a good guide book should list some of the most demanding and dangerous tours, as long as a proper warning is accompanying. In fact, mj only major criticism is of the opposite, ignoring some of the more gentle terrain and de-emphasizing the sport of flat track skiing. At times the authors imply that a ski trail without a steep headwall is not worth completing. Perhaps more space could have been used for some cruising areas. ; Even at $5 a shot, this book deserves a lot of time and credit to the author. Tt definetely sits comfortably next to the Mountain Gazette and Peterson's GuideTo Western Bird? 580 Main Strati 649-8338 OPEN DALY JUNIOR SKI AND SPORTS OUTFITTERS by JeyMeehtnand Jely Roll McGee liable to go out and sit down at the Motel and talk with Henry about fishing and hunting or guns or something. We stay in a little motel down there that has 16 units. It's one of the old right-out-of-town motels. One of the first ones that they , built out there. We know the people out there well, and they know us. We don't ever tear nothing up. That's one thing this band don't do. We don't tear up motel rooms. We don't tolerate that kind of thing. He takes us fishing when we go down there. We eat supper with him, They're just real good people. It's different in Nashville. If Nashville was a strange town to me, I'd probably end up going to all those show business bars and running into all these jive-ass people. Macon is different situation. If you - don't go to the L'Bistro or one or two other places in town, then there's just country people, like I was raised around, it's a relaxed sort of atmosphere and its a real good way to cut records. Is there a Macon scene the same way there is an Austin scene? . , , ' Well; I think the Austin scene has been blown up all out of proportion. Let me put it to you like this. I get the impression from talking to other people, that they're comparing whas been happening in the south on a small scale, to what happened in San Francisco a few years ago, or in Liverpool. It's not that kind of scene at all. there are no coat-tails to ride on. You don't ride on "Marshall Tucker's" coat-tails or the "Allman Brother's" coat-tails, or anyone elses. Just because you play what is termed as "southern music", and that's getting to be a real ambiguous item because there's so damn many different kinds of music involved in it, it doesn't mean that every record company in the world is gonna come beating a path to your door like they did to those San Francisco people and the Liverpool people. It's up to the individual band, and as long as we play good, write good, and get along good together, as long as everything goes along good, then we will prosper. But, if we ever let down then we are not going to prosper. It's that simple. There's just no coat-tails to ride here. It's up to us how well we do. . ' Why is this music so much more viable today than it was 10-15 years ago? I think it's kind of a national attitude. I don't think it means as much to people to be cool anymore. In other words I think you would be more inclined to like what you like rather than what somebody else would say was good, I think people tend to think for This interview with Charlie Daniles, conducted November 30 in the bar on the 10th floor of the Salt Lake Hilton, will continue next week. It's obvious from your music that you're from Tennessee, Charlie. What part? Mont Juliet. It's about 25 miles east of Nashville,! over toward Knoxville off Interstate 40. It's in what we call Middle Tennessee. The Tennessee flag is just like any other flag, except it's red and it's got a circle in the middle of it, and there's three stars in the circle. They stand for what they call the three states of Tennessee. There's the central part that we live in that they call the 'Highland Rim', which is sort of a rollin' grassy, woodsy sort of place. Heaven on earth. East of us are the mountains and west of us is the Mississippi Delta. Those are the three states of Tennessee: The Mountains, the Highland Rim, and the Delta. v 1 Was your family into music when you were young?! No. They were into listening to it but not into! playing it. I don't know of a professional musician i my family as far back as I can go. That's all I've; ever wanted to do though, for some reason, is pla music. Ever since I was a little boty I wanted to tr; and make my living playing and singing, and I jus pursued it. . What was your first instrument? Guitar. I was about 15 I guess'. J just never had' been around anybody who knew how to play. I was too busy chopping tobacco and cutting down trees. You lived on a tobacco farm? k? Yea. We grew bright leaf tobacco. It's lot of trouble to go through to smoke a cigarette! (laughs) When did you pick up the fiddle? Well, I learned the guitar, and then I started to play mandolin. The. fingering on a mandolin and the fiddle are the same. The techniques are different, naturally, because you gotta hold the fiddle up here (gesturing) and the mandolin down here. I picked up the fingering on the mandolin and then started fooling around with the fiddle, ; Who was your main mandolin influence? ' V Bill Monroe. I used to idolize him like some of these little teeny-boppers Idolize Mick Jagger. Not to the point of where I wanted to go up and tear his clothes off him, I just wanted to hear him pick, you know. Did you have any fiddle influences? Anybody. A Jtmnch of old square dance fiddlers around North Carolina. I was born in North Carolina. I'd just pick up something off of one fella ana someuiing oh anouicr. my iavwij.B-- ..... , : players right now would be Vassal? Clements and $HJR'' &T SKfT auu ine Aiiiciiuaii uivam, u yuu wiu, iictviug iwu Johnny Gimble. Vassar's the best all around fiddle player in the business as far as I'm concerned. He makes it look so easy. How did you get into session work? You could say it was a political thing. A friend of mine whom I've been knowing for years moved to Nashville and took over the Columbia operation. A fella by the name of Bob Johnston. He was producing a lot of artists at the time. (Note: he was producing Bob Dylan at the time. He is the name of Bob of "Is It Rolling, Bob?" fame) so I moved to Nashville. Was it through Johnston that you got the job on "Nashville Skyline"? I was only supposed to play one session on "Nashville Skyline", but I just happened to be playing, what Dylan wanted at the time. I was hungry, I ended up pickin' on all of it. playin' lead guitar. Had you already known Norman Blake? I met Norman just about at that time. Johnny Ca$h had brought Norman to town, back during the time that he was doing his TV show. Was the Nashville studio musician scene back then similar to what it is today? It wa.s just as clique-ish, always has been. I don't know what they do down there now, cuz' I don't pick there,:I've recorded my last four albums in Macon, Georgia. The reason we go down there is because the environment is good for us. It's good for our mental attitude and everything. The studio is the best one I've been to to start with. Our producer lives there and works in that studio a lot. Another ' thing is that when you walk out of that studio, with '-.V the exception of one or two places in Macon, you are 1 finished with show business for the day. We're just cars and a house in the suburbs, ain't all it's cracked up to be. Ain't nothing like the wide open spaces, tfie trees and the woods and stuff, and I think people are starting to realize that. I think, and this is a personal opinion, our kind of music and Tucker's and several other groups, especially our two bands, kinda represent that kind of lifestyle, like, you know, if you don't like the way I'm living, then just leave me alone. If you do like it then join in and have fun with us. I think people are tired of having there lives interfered with. You know, it used to be that all they had to do in Paris was design a few dresses and everybody over here went crazy over it, but it ain't that way anymore. mm Wr1 ii ESTABLISHED 1972 Park City's Finest Dining Beef Seafood Lamb . Top of Main Street, Park City, Utah OPEN EVERYDAY 6-10 except Clown Day I U UNS WW . Lfei fe$ons Exceptor -ft Excepton 6ifc I Gift CetifKate, -or a fejr Icrtbership or ' i LIST YOUR PROPERTY WITH . . t, OUNTAIN REALTY X hM IMCltUMiMOM ffc.lO-M-ttl Wednesday, December 8, 1976 1 SKI TEAM "SELLING" CHAIRS ON NEW LIFT With the United States Ski Team headquarters in Park City, the Park City Ski Corporation, lift that one of the two new chairiifts installed install-ed for the 1976-77 ski season should be named in honor of the Ski Team -"The U.S. Ski Team Chairlift." To further recognize the team and their efforts, the new U.S. Ski Team Chairlift has been dedicated to the Ski Team, and individuals are : being invited to show their support of our skiing athletes by purchasing chairs on the lift." ' . Each individual chair can be purchased for a 5 tax deductible donation and in return, the purchasers name : will be engraved on a metal ; plate displaying the Ski Team logo. The plates will, then be riveted to the chairs Those wishing to support the U.S. Ski Team by ;. purchasing a chair, may do so at the Park City Resort -- Ticket Office, or by mailing a; check (payable to the U.S. Ski Team Fund) to: U.S. Ski Team Fund, P.O. Box 100, Park City, Utah 8060. All mail donations should indicate indi-cate that they are purchasing a Park City chair and the name to be inscribed on the plate. SNOWPLOWING Crescent RWge Maintenance 649-8212 649-8000 Plowing: Private drives and commercial parking Mountain Top Service 649-9617 649-8938 649-8197 Get plowed with Mountain Top Service ENGINEERING Summit Engineering Silver King BankBkJg. 1650 Park Ave. 649-8808 Subdivision planning, surveying, civil and structural struc-tural engineering. ..........MNP&QARWP ., f Jerry Penrlne :"v.;' 649-8435 ' ;. C "Landscape Planning Design and Instalation" PLUMBING Emporium Rentals and Service 649-8511 649-8505 Instalfing and repairs, drain and sewer Knes cleaned. 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