felser

Webb City in November, me in December, you in January!

Did anybody sign up for November 2022?

I don't get them musically. You well know my listeng aversion to that sort of thing!

And Anthony Braxton. I do not get the Anthony Braxton compositions with the numbers and symbols in the title (and I'm really good at math).

What's your view on OTC it beyond a condescending wink at the conversation?

I have, and like, those early Funkadelic albums now, and they're my favorite George Clinton by far. But didn't actually ever hear them back in the day, just knew of their existence. And doubt I would have been into them even if I had heard them back then - it took me 25 years to gravitate to them. The whole Westbound label seemed pretty strange, especially with those bizarro album covers (and I've still never heard those early Ohio Players albums, as I have no use for their later work on Mercury). I foolishly have sold off that "On The Corner" box twice. It brought me good money, but I should have held onto it and done without something else.

I'll take those bonus points. Never heard (or heard of) this album, though I have the BN's that come before it, and 'Musart' that came after it (thank you, Real Gone Records annual clearance sale!). Reminds me of my four year old grandson!

I didn't get it then, and don't really get it now. I liked much of the electric work that came before (Jack Johnson, Bitches Brew) and that came after (Big Fun, Get Up With It, Agharta/Pangea), but the stretch of 'At Fillmore'/'LIve Evil'/'On The Corner'/ 'In Concert' remains relatively lost on me (though I own them) with 'On the Corner' being the nadir. Would be great if one of the people here much more knowledgeable than I am could explain what during that period is different than the recordings before and after which turns me off. I know part of it is Keith Jarrett's distorted electric keyboard playing (I like his acoustic work fine), but there's more to it than that, and he's only on a couple of the titles. Probably something rhythmic I'm unable to explain.

Only the withdrawn library one is left.

RIP, I stumbled across some of his collections in my youth.

And in most cases, rightly so! 'Infinity' immediately comes to mind as an outstanding record (interesting that McLean and Morgan recorded so much together, but seeems like all of it didn't get released until much later).. But especially in this case, this is unlike any other Elvin BN album.

Agreed, can't believe they left it in the can when it was recorded.

I do like that McLean a lot, and the Pullen. Carla Bley is hit/miss for me, not sure if I know this particular title.

The vocals are a turn-off for me. Won't be a pre-order for me, something I may pick up used some day. There is so much Mingus Dynasty/Big Band/Orchestra stuff already out there (and on my shelves).

RIP

To me, Bruce's earlier recordings stand up well, but the later rant-oriented sets are hard to endure, such raw pain.

#2 - M.O.A. by the J's with Jamie. I assume a promo release on/by Columbia Records. Very cool story! They were huge in the advertising industry, did a couple albums on Columbia in 63/64 and another on Decca later in the decade. Fun sleuthing, thanks!

Sal Salvador ca. 1960.

Trying to figure out #2. I hear the line which gives it all away, but can't quite make out the words. Sounds something like "We're the Chiefs with Jimmy from Columb-eye-a", so Columbia Records. But not finding much on Google. Bouncy little cut which gets into your head! Update: Guessing it's a promo for "Run Back to Mama" by Chase, with involvement of Jim Peterik (earlier of Ides of March, later of Survivor), trying to get it carried on juke boxes (remember those)?

Agreed, not at this late date...

Studio albumwise, "Darkness on the Edge of Town' is my favorite Springsteen album. Everything up to "The River" is wonderful in my book. And very little since then does all that much for me. "Letter To You" is my favorite from the last 40 years, with "Lucky Town" coming in second. Other albums have a cut or two (love "Girls in Their Summer Clothes"), but don't hold up overall for me, and I don't like the production style introduced with "Born in the USA". My absolute favorite is the Live In New York City, with Live 1975-1985 also wonderful. And a lot of the authorized live bootlegs ca. 1978-1980 are stunning.

Don't think I am. guess I'll find out!

Worth the hour to watch if you like the genre?

I actually love the old TV Playhouse stuff. Rod Serling's "Requiem for a Heavyweight" is my favorite.