cih

Electric..

this:

not sure if box sets are the best/easiest way to go with this particular genre - though there are some handy things on JSP, eg:

Blacks, Whites and Blues - Tony Russell, one of the Paul Oliver produced Studio Vista paperbacks, but more recently republished as a part of 'Yonder Come The Blues' and still available as such. and btw those two Abbot/Seroff books Allen mentions are amazing and beautiful (expensive though)

Paul Oliver is apparently working on a big Texas blues book with loads of unseen stuff in it

Some good recommendations.. I would add Alan Lomax's The Land Where The Blues Began - an enjoyable read. Also for an overall survey, Paul Oliver's Story Of The Blues

Picked this up in Whitby's 'Folk Devils' yeterday - a recent Dust-to-Digital release, late seventies field recordings. Really great stuff, with some one-string material which sounds almost avant garde. Comes in a nice book of essays, photos etc

'Starvation Blues' is one of my favourite recordings, and would probably accompany me to the desert island

Bilbo Baggins Andrew Tibbs Mr Tibbs

Da Vinci drawings at the Ferens gallery in Hull, which drew a fair crowd - they provided magnifying glasses which were unnecessary as the works were not overly detailed or miniscule Barbara Hepworth's hospital drawings at the Hepworth - being surrounded in a whole room full of these is very effective - & she had a very sharp pencil

That's what I do - firstly I watch the arm wave forward and back while the record goes around.. when it reaches the position furthest from the spindle, just before it starts to swing back in I note where on the record label it's lined up with, and scrape a little from the edge of the hole at that point.. and keep doing it in small increments until it's right (this way you don't end up with a big round hole but a minimal oval one.

'Danny the Champion of the World' is the best one imo - and the villain only gets his car crapped on

Mindy Minty My Little Pony

It's an oft-repeated curiosity that the Klan also managed bluesman Jaybird Coleman following his recordings for Gennett in the 20s - I think the story came from his brother.

Maybe a biologist would have an answer?

Also he said something about how he used to regard jazz as just 'noodles'.. but then later - though he still regarded it as noodles - learned to tell good noodles from bad.. or something like that

James Thwaite. He's left the company, and is pretty cynical about cards anyway - the card I sent was always meant ironically anyway but you can only take irony so far. A card to his home address would look weird.

The Baker Street Irregulars The Bow Street runners Old Bill

Had a revisit to the nearby galleries in Wakefield - The Hepworth - which has rotated its collection of paintings completely and has some things which I'm sure must be on loan (Bacon for one, who I don't really get) And Leeds Art Gallery where there was a small exhibit of some British modernists influenced by the machine (or industry or something) - Bomberg, Paul Nash, Nevinson.. small black & white graphics and drawings - I like that stuff. Also I had forgotten that the gallery has a handful of Walter Sickerts And another visit to the Miro at Yorkshire Sculpture Park, though I missed last Saturday night when they had a Miro meets Duke Ellington evening.

"sound system" meaning a mobile system, right? Yes - in the UK Duke Vin would travel from London to Manchester or Birmingham (or wherever), and people would follow his 'Sound' - and this would have been before they were playing Jamaican-produced records so it was US r&b In mid-fifties Jamaica the sound systems had overtaken the live jazz bands that were big beforehand, and they played US imports. And there was huge rivalry between system operators, hence the blank labels mentioned earlier. When rock and roll took over in the US, Jamaicans started making their own records as they favoured the older r&b.. and this home-grown stuff developed into ska etc etc. Interestingly, Duke Vin referred to himself as a 'disc jockey' (who plays records) and not a 'deejay' (who talks/toasts over them) the sound systems started small but became huge, playing bass frequencies at 30,000 watts (this figure means nothing to me, I just read it in Steve Barrow's excellent 'Rough Guide to Reggae )

Duke Vin was a veteran of the Jamaican DJ scene who set up the UK's first sound system in '55 (according to David Katz' 'Solid Foundation - An Oral History of Reggae')

Last I heard was this month or next (but that was a while back).. I only just got the other two so that I didn't fall three behind