From Vintage Vinyl News: (http://www.vintagevinylnews.com/2012/02/grammy-wrap-upthe-year-of-adele-alison.html):
ALISON KRAUSS BECOMES MOST AWARDED LIVING ARTIST
.....for Krauss, it was her 28th, making her the most awarded living artist (she passed Quincy Jones who had 27). Only one other artist, the late-Sir George Solti, has won more with 31.
I did not know Solti was dead. How can I keep up with all the alives and deads??
Again, this site may not have their facts straight, maybe Alison is sharing the above honor with Quincy Jones, perhaps the debate will not soon be settled!!!! Either way, this is really a great day for Alison, and I agree with what sophie91 said, why the heck is radio not playing her music???
I'm pretty sure most people are getting their facts from Wikipedia. On the page for the Grammys, it says that Alison's at 28 and until a few hours ago, Alison's Wikipedia page also said the same thing. I wouldn't trust any news articles right now. I've seen numerous sources say it was her 28th and numerous sources saying it was her 27th.
As for radio, it's just that they're probably not really what country radio wants right now. And to be honest, it doesn't bother me. Alison seems like she doesn't really want the fame and like she runs from it at times. I doubt she cares about being played on radio; I might even go far as to say she doesn't really want to be played. Alison's never cared about that. And I don't understand the big deal about being played on the radio, anyway. I'm not trying to be rude, but I'm just genuinely curious as to why radio airplay is so important to some people. It's not like they need recognition or need to prove themselves. They're well-respected in their area and tonight was just more proof that they're not snubbed.
Kind of irrelevant, but I really like how it is now, having a smaller audience of more dedicated fans. Makes them able to book more intimate venues and have Alison be able to do things like sign autographs in NYC after the interview (where the auditorium wasn't even filled) and have there only be 60-70 people in the room. Having a smaller following makes them more accessible (like Jerry giving out meet & greets -- for himself only, not the rest of the band -- to anyone who asks on his message board).
Post by nascarholly on Feb 13, 2012 14:32:41 GMT -5
Allie! Thank you so much for sharing the clip of AKUS winning last night! Four more Grammy awards and Alison will then tie with who it is that currently has the most, may the man rest in peace. I forget his last name.
God bless you and AKUS always!!!
P.S. By the way, I love how this forum looks! Yellow is so much easier to read in a black area!
If she is, I would like her to post here and identify herself, as we are all very grateful to her for her many rare AKUS videos!!! And if she isn't, she's been invited by me, maybe each of us should msg her on YT and invite her.
Later: I just sent her this msg on YT: "Hey dahliacorona, I would like to invite you (again) to come and be a part of the AKUS chatboard, at www.newfavorite.proboards23.com You have provided us all with great videos of our favorite band and singer, and we are all very grateful and would love to chat with you on a regular basis. I think you would like this chat board, it's very homey and informal and easy. Please check in. And if you're already on there, what is your board name there?
Thanks, hope 2 C U there!!
--Art, moderator on the board ("turbo")"
Maybe some of you could send her an invitation also??
Post by chasingsunshine on Feb 15, 2012 1:36:53 GMT -5
I just laugh at "worst dressed" because really, I know she could care less and no one will even remember this in a week. Anyways, she has 27 Grammys, who cares what she wears to the show, she still wins She could wear overalls and a sweatshirt and still be the best in that line-up. I liked the dress anyway
I don't care, anybody with a few million dollars and an opinion can post their own personal preferences on their own personal best dressed list, and you know what they say about opinions. I loved the dress, it was about the only CLASSY outfit there that evening. I guess class is just not in style anymore. And yes sophie91, no one will ever be able to forget the gun dress, as hard as we may try.
Pretty sure that's all her. Very healthy follicles. Look at her pics from 1987, she had a LOT of hair. I know from some mutual friends that she had extensions from about 2004 to about 2007, but like I said, I hear that's all her now. 'Nuff said......
I recall reading about some music industry dinner/conference that Alison and Robert Plant attended. While they were schmoozing with the guests, someone complemented Alison about her hair being so beautiful, and she modestly replied "they're extensions."
Here's an excerpt of his experience working with Alison:
Shipley recalls that the recordings for Paper Airplane were spread out over two years, largely because Krauss was in poor health during this period and often unable to work. Her website makes mention of “a bout of migraine headaches” that “brought sessions to a dead stop”, and how one result was the album’s title song, written by Robert Lee Castleman but inspired by Krauss’ experiences. From Shipley’s account, it appeared that significant work also went into getting other circumstances right, ranging from testing the engineer to finding the right studio. “We started off at a studio in Nashville where she had been before, but perhaps they had been there one too many times, because the sessions didn’t really work very well. So I suggested that we go to House Of Blues studios in Nashville, because I had worked there on a Faith Hill record years ago [There You’ll Be, 2001]. The whole band instantly loved that place, because it has a nice, old‑school vibe with lots of wood panelling. The energy really picked up after that. Many studios in Nashville today are very modern‑looking, but Alison likes working in older‑style rooms, with not too much daylight, so she can just focus on the music and not be side‑tracked.”
Despite the initial uncertainty in finding the right studio and engineer, and the long period over which the album was recorded and mixed, the team that worked on it remained the same throughout. In addition to Shipley and Krauss, there were the Union Station players — Jerry Douglas (Dobro, lap steel), Dan Tyminski (guitar, mandolin, lead vocal), Ron Block (banjo, guitar) and Barry Bales (bass), who are all seasoned Nashville pros — and Shipley’s assistant Brian Wohlgemuth and additional engineer Neal Cappellino. According to Shipley, many more songs than the 11 that appeared on the album were recorded, at a rate of one or two songs a day. The band generally did some minimal rehearsal before coming into the studio, just to know their way around the songs, and then recorded the songs predominantly live. With Shipley sitting in House Of Blues’ Tom Hidley‑designed 20Hz control room behind the 80‑channel SSL 9000 J‑series, the band had set up in the large recording area.
“Alison had her own vocal booth, but she was in a line of sight with the rest of the band, so they felt all together. There was a little too much spill between the rest of the band for my liking, particularly with Jerry playing the Dobro, which is a very loud instrument, and Dan the mandolin, which is very quiet. So I built little huts around everybody, using baffles and screens. They all wore headphones, and each of them had his or her own mixer so they could have the balance they wanted. Once they had set up, they spent however long it took to get the arrangements and the feel and the tempo of each song right. These people have worked together for 20 years, so they know each other well and almost have their own language, and Alison really knew what she wanted and dictated everything around the lyrics. She is very particular about what she wants to hear. The idea was to get the feel right by capturing the basic tracks live, and then to fix things afterwards. Sometimes Jerry wanted to change his solo, or Barry might want to replace a bass part. Things might get shifted around, but the essence was always one take.
“Alison sang a guide vocal during tracking, but would overdub her lead vocals later. We probably spent six or seven months, off and on, recording just her vocals. She doesn’t like to have many people in the room when she’s recording vocals, so most of the time it’d be just her and me. At some stage, when it didn’t make sense for me to come to Nashville, she’d work there with Neal Cappellino. She knows exactly what she is after, and would sing each song many times. I did a fair amount of comping, but the material would usually come from two or three takes that were done at the same time, when she got the groove and the feel of the vocals right, so it was pretty easy to comp the stuff. Once she hit the sweet spot, she was right there. Doing vocals with her is an amazing experience. It’s very emotional, and the hairs at the back of my neck would often be standing up.”