felser

Julie Miller is a FABULOUS songwriter. Here is what I consider to be her masterpiece. Buddy Miller brings music alive. They both added much to Emmylou Harris's great awakening, especially Buddy.

Havent seen that nutsness in a while. So much for me hoping to get one for $400 or so.

Really appreciate your thoughts and the leads, thanks so much!

There's only one Hank Patterson/Farmer Fred Ziffel! Very cool! My locale is stuck instead with Blobfest (which I don't partake of, though it would probably be fun). https://thecolonialtheatre.com/programs-categories/blobfest/ I look forward to watching this, thanks. Interestingly, Serling went the "Twilight Zone" supernatural route at least in part to get around the network censorship he was facing. The supernatural stuff was never the real point of the Twilight Zone, morality and redemption were. He hated Night Gallery overali, it was not his vision, he was just a hired hand - I was not aware he had written any scripts for it, and am excited to watch this.

My current watching project has been going back to view the pre- and post-Twilight Zone 1950's Rod Serling masterpieces from Playhouse 90. Started with "Patterns" last weekend, next up this weekend is "Requiem for A Heavyweight", then on to "Seven Days in May" and "The Velvet Alley", and we'll see from there. We have nothing to apologize for when we choose what art we want to partake, regardless of whether it is "current" or not. What speaks to us is what speaks to us. "Patterns" has more to do with my life than any of the current TV shows/movies I am aware of. Serling was, at root, a complex moralist, and I appreciate that in his work. I doubt there are any John Coltrane's out there right now that I am missing because they are not advertised sufficiently.

Sample definitely sounds all 1964-quartet0ish to me, so I am enthusiastically in, even if it is re-recordings of older material.

It isn't as bad as you make it. Out of 100, you'll have one person give you a hard time and two shipments that arrive late. That being said, it's still work. Just sell them here (no one will give you the trouble you are concerned about), then sell the remainder in bulk to Dusty Groove. You can get 100 good mailers for $25. Feel free to contact me via IM if you want to discuss some of these approaches in detail.

I always thought Johnny Marr made the Smiths. Saw CSNY twice, about 30 years apart. First time was at the Atlantic City Raceway concert in 1974/75, and Santana absolutely played them off the stage. That was the great group with Leon Pattilo and Tom Coster, Borboletta era. I actually like Crosby's music quite a bit. Graham Nash is the one whose music always annoyed me with that group (though I liked him in the Hollies). Could live my life quite happily without ever hearing "Teach Your Children" or "Our House" again.

Sell them here on the forum in the "offering and looking for" section. Just note CD's with visual defects as far as grading. Much friendlier crowd than on the usual sites.

I've had mixed success with bundles here (still can't believe no one wanted that Atlantic Aretha Franklin bundle at like $3/CD), but Lon knows how to do this stuff, and has the magic touch (totally meant as a compliment to him).

Met him once when he played Upper Merion Concerts Under The Stars, about two blocks from my house. He was wonderful musically and personally, so very kind to our obviously adopted daughter, who was about 10 at the time. Have his autograph ("to my good friends, the Felser's) in his autobiography. Got to see him live three times overall, always a delight. "Freedom" is the #1 highlight of the whole Woodstock Festival for me.

And yet the song itself is about the second coming of Jesus. Thank you, Columbia Records Art Department.

And that his albums are out of print.

One of the greatest of 1971: "Brothers and sisters, I have many struggling along to do their thing. Love is a song, it's better than any, it's powerful music but it's easy to sing...". Boy, I miss the music of those times.

Remember that she was a 22-year old unknown asked to perform in front of 400,000 people with no advance notice. The vibrato has always been hard to take, and I have always found "Brand New Key" mega-annoying, but she has actually written some excellent songs, and "Lay Down" is still a moving memoir of her Woodstock impressions. I'm off work Thurs-Fri, but plan to listen to the 10-CD set next Mon-Wed.

Here's an article about their set followed by a youtube posting of my favorite song by them - perfect for 1967 rock. You can hear how tight they could be. https://www.nicholasjennings.com/music-feature-the-paupers-at-monterey-pop Monterey was a big deal for The Paupers after their Café Au Go-Go showstopper. The group spent two weeks rehearsing for the festival, working out a strong, twenty-minute medley of their best numbers. The chance to blow away the competition looked good when the band was scheduled to follow mellow popsters The Association. David Crosby hyped The Paupers in his rave introduction, calling them the best thing heʼd ever heard. “Just watch,” he told the crowd of 30,000, “youʼre going to be amazed.” The minute The Paupers kicked into their set, everything seemed to go terribly wrong. First of all, guitarist Chuck Bealʼs amp crapped out, then came back on, emitting an odious, sputtering noise. To make matters worse, Denny Gerrardʼs bass playing seemed strangely out of sync. The problem may possibly have been a batch of LSD circulating at Monterey, likely Purple Haze tabs from Owsleyʼs infamous lab. According to Pauper Adam Mitchell, Gerrard had dropped some acid just before going on-stage, and wound up marching to the beat of his own drummer. Says Mitchell: “Denny was probably the best bass player who ever lived, certainly at that time. But on this particular day, he totally fucked up.” Many of the Monterey acts blew peopleʼs minds. The Paupers simply blew it. Ralph Gleason, influential music columnist with the San Francisco Chronicle, called the band one of the festivalʼs real disappointments. (Gleason had already been a champion of Gerrardʼs talents in Playboy, where the musician had twice been voted top bassist in the magazineʼs annual jazz poll.) And, perhaps most significantly, the groupʼs performance was not included in Monterey Pop, the seminal rockumentary by D.A. Pennebaker that helped to make superstars out of Hendrix and Joplin.

I actually have a good bit by Lighthouse. And it was a GREAT 45 hit in 1971. Evolution Records in the USA, GRT in their native Canada. Skip Prokop had been in the Paupers (of Monterey Pop Festival infamy).

Good music. Agree most are lesser-known, though few are obscure. I have dozens of CD's combined by these groups. Kalapana and Upp are new to me, but they appear to be mid - 70's groups. Love the early Rare Bird albums and the first few Shawn Phillips A&M albums and the original two Blodwyn Pig albums. Blues Project with Al Kooper are pretty legendary and very good. Have never heard the Three Man Army albums, ca early 70's. Camel were a very accomplished 70's Canterbury prog group. Moby Grape were notorious for Columbia's over-promotion of their debut album. Ian Matthews was originally the "other" singer in Fairport Convention. PG&E had a great 1971 single - "Are You Ready".

I'll see your Archie Whitewater (which I am quite enjoying, thanks!) and raise you a Good God - excellent covers of John McLaughlin's "Dragon Song" and Zappa's "King Kong".

Thoughts on this one? I love it, but am unqualified to join the present conversation:

Of course! They were the advance publicity band for the festival, playing around town the whole week before.

Very mixed bag there. I like the second cut quite a bit, and find the MFT portion of the first cut very nice, but the "Funky Broadway" chick shtick is really hard to take in 2019 (and I bet it also was in 1973). Must have seemed like a good idea to somebody. I actually love the first two Chicago double albums, and like III/IV/V quite a bit. Goes downhill from there, and useless by VIII. Really really liked Guercio's earlier work with the Buckinghams.

Very cool programming idea. My alma mater, and where Michael Cuscuna cut his teeth five years ahead of me. Other major talents, such as the great Michael Tearson, and Gene Shay and David Dye have been involved with the station through the years. It is a Philly institution along with WRTI, the Temple U. radio station, and only legit jazz station in the city (though it is only a shadow of what it was in its prime, with Harrison Ridley Jr., Kim Berry, etc.). WXPN has remained vital through the years.

That is a gorgeous set. I own it and feel sort of guilty whenever I play it, because it is so opulent.