danasgoodstuff

Losing my $ in poker machines works pretty well to cut down on my CD purchasing, unfortunately...

I voted for cheesey, but I was thinking post-Roy Wood. ELO w/Wood is basically the Move, pt. II (III?), and the Move were a great band, IMHO. But as is always the case with cultists, once the band had changed to the point where the gen pop got interested, I got uninterested...

Ayler, Ghosts, done as an air to start, then as a jig. Always sounded celtic (and anthemic) to me...

Not to be snide or anything, but I think you just answered your own question...I think he was v. conscious of having his own sound and being his own man.

I remember quite prefering the alt. take of "Blind Man, Blind Man" on the HH box, it had a little extra bump in the bass...

Most daily papers also publish current exchange rates for those of us paranoid enough to want to do the calculations ourselves.

I, too, have long loved this album. Might have something to do with having paid $2 for my LP. And the "hey check this out" factor is good too. But ultimately it's just a groove to listen to. I am bummed, however, that the outtakes of "home On the Range" and "Old Cow Hand" weren't included. One of the things I really dig about GG is that it seems he was as much a fan as us.

Atlantic was struggling in the early '60s (after losing Ray Charles0 and a lot of stuff got delayed, Coltrane's The Avant Guarde fer instance. They may have waiting for a window of oppertunity where Stitt didn't have three other LPs out on other labels; could've been a much longer wait... I like this one, ironically enough to me it shows that Stitt isn't merely a Bird clone but has his own, similar but distinct, thing going on. Kinda feel the same way 'bout Bud Plays Bird and that took even longer to come out.

The source I looked at wasn't clear on the use of recitative v. spoken dialogue in the original (1935) Broadway production. But since that was a relatively short run, the more successful 1941 use of spoken dialogue seemed to have more of an impact that has only relatively recently been replaced by a return to Gerge & Ira's 'original intent'. Personally, I think they should drop the 'blacks only' requirement and let peoples do it any old way they feel like, but that's a whole 'nother can of worms...

I don't have my copy in front of me, but I believe that Pete Brown is also the sole sax on Champion Jack Dupree's most excellent Blues From the Gutter (Atlantic). I think that Konitz and Desmond are only superficially similar; on the other hand I hear Trumbauer in both of them but then I would wouldn't I....

Finally got myself a copy of this the other month. It is indeed as fine as everyone here says, BUT am I the only one who thinks the mix is still (post-fix) kinda screwy?

OK, I looked around a bit and what I found out is this: George originally (1935)conceived of it as a proper opera with recitative, but it has often been performed with all or some of that cut and spoken dialogue instead (the 1941 stage version that was it's first success and the film version with Sidney P.). In fact I think it wasn't done in full score by an Opera company til the '70s.

medjuck, I'm not sure about the history of using/not using the recitative in P&B, if I have a chance I'll poke around on the web and see what I can find out.

OK, let me try this again (I tried posting a shile ago and wipped it out somehow). I, too, really dig P & B. I think the music's beautiful and the story moving; people who take issue with it are doing so for reasons that have little, if anything, to do with the work itself. I love Miles & Gil's interp and Bechet's "Summertime". The fact that "Summertime" in particular has supported so many widely varying versions is evidence of it's strenght as a work. I also have the 'cast' recording pictured above by Jazzbo/Lon. Quite good in a v. 'as intended' by George sort of way. At 3 LPs it has the full score, including the recitative (the sung narative that makes it an Opera, not 'merely' a musical). At $2.00 it was quite a deal too! I would've loved to have heard the Atlantic Records roster of the '60s have a go at it: Aretha as Bess, Otis as Porgy and the Wicked Picket as Sporting Life. Makes more sense to me than the Wiz, but what do I know...

Sorry Byrds fans but I have a point of order: weren't they really 2 or 3 (or more) rather different bands? Basically, before, during and after Gram Parsons. All v. good/interesting bands, but not at all really the same animal...What say you?

You should be able to do it for $20 or less, unless your cartridge requires something exotic...

Recovering completist, having hit the point of sharply diminishing returns with the following: Miles, Hank M., Lee Morgan, Blue Note generally, Van Morrison, stones, Beatles, Otis Redding & early Stax generally, sonny R., Dylan, the Band, etc.

I paid $20-25 for this a year or two back and now here it comes. Passed on a copy of the dbl. LP Houston Person live at the Club Mozambicque (what's it actually called?) for $50 at a record convention the other week, which pretty much guarantees it'll never come out... Whatever, Soul Sisters is nice, if not quite great, and it's nice to see it out again.

Brandon & BFrank: Thanx muchly for the secounds re the MGs. I think, ironically enuff, that one of the things that made their excellence as a backing band really stand out was the lack of quality songwriting at Stax, esp'ly early one. That and the naively straightforward production meant that the groove had to carry the records. But unlike James Brown post-Brand New Bag, they were still doing songs, naratives with melodies however simple they might be. That and they were willing to try anything, cover tunes, odd ideas for originals, weird production touches, etc. It may seem condescending to prefer R&B or R 'n R in their 'naive' stages, but I suppose that's just frustration with their never being able to get past their sophmoric phases to really live up to their promise/pretense, IMHO. (So no, unlike many here, I'm not much of a prog fan.) I even have decidedly mixed feelings re later Stax, although I'm happy to grant the excellence of the Bar Kays mk.II and other 'finger snap era' session players. Maybe we should have a seperate poll for best session/studio band?

That Collectablies thing that was coupled with Flashpoint, had some nice stuffs: lots of 12" mixes (but not "Under Cover") and lots of blues jams from 45rpm B-sides. No doubt it'll all (or mostly) show up again when they do a career long multi CD box.

Hey, where's Thinking of Home?! I voted for Caddy For Daddy since it was the first one I owned and lead to all the rest. Also quite found of Slice of the Top and ?Soul Station.

BruceH, I've read at least a couple of things where Cropper mentions how much he dug Pauling. King albums in general had an interesting look...I've seen some of the 5 Royales.

BruceH, Yeas, that's it...thanks for filling in my sketchy memory here, i think I only read this at the newstand! (wearing a tie helps to give you more time to do this...) Lowman Paulings guitar is 'da shit' (can't think of a better term right now!) and was a big influence on Steve Cropper.

The MGs/Mar-Keys/Stax house band. OK, I know that this stretches some peoples idea of 'rock', not to mention 'band', but stretching is good for you! I know the Funk Brothers/Motown house band had far more hits (backing voclists), more than all of the bands on this poll combined probably; but for my money the MGs had the perfect combination of studio band competence/versatility and garage band enthusiasm. If I were to set limits on who qualifies as a '60s rock band' it would be that they had to at least start in the AM radio/3 minute single era. If the MGs are ghettoized to a different catagory, then my choice would be the Band, if I can include their work with Dylan in the computation.

Paul, "The Slummer, the Slum" is indeed a fine record, "Sometimes I feel like messing up!", but the chorus always sounds like "da stompy da stomp" to me. Did you ever read the chapter in some rock history book where the writer just made up an elaborate history of the group in their declining years, simply 'cause he couldn't find anything? Strangely, it turned out to be not too far from the truth...