The Magnificent Goldberg

LOL! Russ Freeman Hoss Cartwright The Littlest Horse Thieves

Oh right. What extra you seem to get on the other one is a handful of alternative takes, an interview and (maybe) a 200 page sleeve note. Hm.... MG

I've got Steve 'Silk' Hurley's 'Jack your body' on a 12" 45 and I think it's about 15 minute per side (2 cuts per side, different mixes) but there are no timings on my copy (because it's a UK edition and UK record labels have always been wary of the Trades Descriptions Act and almost never put timings on records in case some bastard sues - because the costs of defending a trivial case wouldn't be trivial for a record company), and I'm just going by memories of 1985. MG

Dad's Army Fat Daddy Daddy Grapes

I note that the ranting on this issue as well as that of European copyright seems to be coming from the wealthiest musicians. Risk of losing a million or two? What sickens me is that the jazz musicians of consummate artistry whom I turn out to see are paid £100 - £300 per gig, while I read that a lesser light in the pop/rock world can expect £75,000. Dunno why it should sicken you, Bill. That IS part of the natural order of things. This ain't the thirties and they're not Cab Calloway. MG

Yeah, but read this bit - in which the writer covers his arse - quite carefully. " can make money without ever selling -- or even streaming – all the music they 'stock'." The key getout word is ALL. So, if they don't sell one copy ever of either album by Kande Sy, she's still got material out there and the company is providing a service for those as wants to listen to a talented young Soninke singer, very popular in Mali, where they don't generally download or spotify. So, if it's only me in the western world, that's it, ain't it? It don't cost 'em much. He's not saying these firms aren't selling plenty of whatever's number one anywhere in the western world. Or even number 250. MG

Well, I was intrigued by that comment so I opened up the folder again and, this time, it was the last track #9 that was 17 minutes, But the other day, 8 and 9 came out the way I wrote them. That's because I opened them today in Windows Media player, not Winamp. I just looked at all your tags. First problem - for Thom mainly - was that you ripped them as .wma files, not as mp3s. This is an option you can set in Windows Media player, I think. Second, if you do a compilation, you need to alter the track numbers, because you get the track numbers from your original CD. So, both #8 and #9 were track 5 on their original albums. So the two different bits of software choose which track 5 to play first by using different criteria, I guess. Hence the confusion. So, I picked up the track on the drum solo, after seeing what you said. And actually, it's a damn good drum solo and I'm sorry I missed it the other day. And, yes, the bass solo is a BLAST! I kept seeing this mad giant, holding the double bass like a guitar, Chuck Berry style, doing the duckwalk across the stage. I've heard someone playing like that many years ago, but can't remember who it was; though I'm pretty sure it was on an avant garde album. I enjoyed that and the final tag so much I listened to it all again. And liked it much better than the first time - as with Julia Lee and her spinach http://www.youtube.com/watch?v=Ax4tVzuN52U MG

It is not part of the natural order of things that musicians and singers should have a music industry that is interested in boosting their earnings (or even paying them); it's something that happens to a relatively small number of them, and only sometimes. Why is this news? Why is it a cause of ranting? MG

They define the genre. I don't think I agree. They're great recordings, indeed, but Baby Face was MUCH better served in his recordings for the Chess Bros. Those two albums are effin' incredible! But GG's not on 'em; it's Ben White on guitar. MG Didn't someone say that Baby Face Willette cried about those Chess recordings? Don't know about the crying, but the Blues Notes and the Chess recordings are two completely different deals, at least to my ears. I'll take the Blue Notes hands down. I don't know about the crying, either, but it has been said somewhere here that Baby Face and Esmond Edwards didn't see eye to eye at the sessions. Personally, I think Baby Face won, hands down. MG

Barclay James Harvest Lloyd Trotman Yorkshire Tyke

This afternoon The Caravans - Just like him - Vee-Jay (Fontana UK) MG

So, if there's no other way to buy the music you love, you'd all prefer not to have it at all? I honestly can't understand that. All my record-buying life, it's been between difficult and impossible to get most of the music I've wanted at different times (perhaps because I've seldom lived in the right places). I'll put up with anything - jam on vinyl, trashed vinyl, cracked but playable vinyl, muddy K7s, to get the music I want. MG

I was surprised, when I saw this thread, to see how young he was - only four years older than me. Only 20 when he recorded with Kenny Dorham in January 1960. Just looked through his discography; surprised to see just how many albums featuring him I've got (15) including the LP that started the Acid Jazz movement in the UK in 1983 - 'Preach brother'. RIP, Mr Warren. Those recordings won't be forgotten. MG

They define the genre. I don't think I agree. They're great recordings, indeed, but Baby Face was MUCH better served in his recordings for the Chess Bros. Those two albums are effin' incredible! But GG's not on 'em; it's Ben White on guitar. MG Behind The Eight Ball? Yes, and 'Mo rock'. NOTHING like the Blue Notes. Not much like anything else, either. MG

Glad this came up. I've always (since about 1960) seen those Mingus Atlantics about and wanted to get them (all). But for one reason or other, the only one I've ever got has been 'Blues & roots'. So I sprang for this one - got it from a seller for £16-79 +1.26 postage. MG

YAY!!!!! Hope you like it. MG

If you are referring to my response to MG's question, I was wondering why people are asking questions they can easily find the answers to on the internet and MG explained. I was just being curious, that's all. Nothing patronising about it in my view. I didn't think so, either. MG

Guy Whimper Wimpy

Tried this in Winamp, but I could still see some of the tags. 1 Sounds like imitation African music. Not the truth of Africa. Sorry. Too American/European for me. 2 This is nice. I know who it is, 'cos I've seen the tag, and it’s someone I’ve never paid much attention to, though I have quite a few albums with him on it. I can hear quite clearly that I’ve made a mistake in not getting any of this guy’s own albums. Think I might start a thread looking for recommendations. Thanks for this. 3 Good band. Tune I feel I know. But I can’t really feel too involved in it 4 This one’s not for me. 5 Very Pharoah Sanders feel about this one. Or perhaps it’s really a Trane feel that Pharoah picked up and used a lot. I know who the drummer is but not the sidemen. The trumpet player sounds like Freddie Hubbard, but I think I’m wrong about that. Perhaps it’s Woody Shaw. The alto player sounds a bit too much like Jackie McLean for my taste. Oh yes, as it moves on, bits of ‘My favourite things’ keep popping in for a quick beer. 6 Another tune that sounds – oh, it’s ‘Infant eyes’. Well, even Charles Earland’s version of this never really got me, so I’m insufficiently interested to know who this is. 7 No tags on this. Someone playing like Elvin Jones. Oh well, there are so many… And someone playing like McCoy Tyner… ditto. Well, where’s the tenor player playing like Trane?... Oh, he stepped out for a quick cough and a drag. Well, I can’t say I value this stuff. 8 Seventeen minutes, so it ain’t Booker T & the MGs. This is a quite exciting theme. With a nice pianist. Trumpet player has nice ideas and maintains the feel nicely. Not someone I recognise. He might even be the leader, who’s identified in the tag, but I’ve never heard of him, so I've no idea. This is someone I might be interested in hearing occasionally, when I need to – not very often. It was exciting until the slow part, where the trumpet player was given (or asked for) some of Donald Byrd’s Mizell echo. Oh well. In comes a hot alto player. But I don’t really like him much. Yeah, this is jazz as it’s supposed to be – hot and exciting – but… The ideas are there, the energy’s there… Oh here comes the pianist, but he’s on electric piano and he was so effective on acoustic behind the horns. Shame. Electric piano’s not a patch on the percussive qualities of a real one and he’s a percussive pianist. You can hear him trying to be as percussive and it don’t work. But the electric has a much faster response time than a real piano, so for his style, it’s gotta be an option. Now we’re on the drum solo; I’ll skip the rest of this cut. 9 Oh, here’s one I’ve got. It’s Pharoah, and it’s from ‘Journey to the one’, which I was playing a couple of weeks ago. See, that’s how to use a synth. Oh, it’s not from ‘Journey to the one’. Well, it’s still Pharoah. And Bill Henderson. Just looked at the tags. Bollocks! I’ve got this one, too. Covered with embarrassment Actually, that was pretty interesting. I don't mind that I didn't like a lot of it. I'm not supposed to like everything Thanks. MG

They define the genre. I don't think I agree. They're great recordings, indeed, but Baby Face was MUCH better served in his recordings for the Chess Bros. Those two albums are effin' incredible! But GG's not on 'em; it's Ben White on guitar. MG

The Soft Machine Adrome 'Acidman' MacHine Ron Levy

Mostly Amazon UK. I use them for downloads, too, because they've got African stuff on DL but not on CD. For CDs, mostly I use sellers. I think I've bought 15 CDs from them in the last three years; hundreds from sellers. MG

Thanks folks. Had the family here this morning. They've just taken the dog out, so I can do a bit of posting. Really nice day. My wife gave me this: Gene Ludwig - Love notes of Cole Porter - Big O MG

Lou is definitely opinionated, but I don't mind (not because I agree: I don't). As he said, he brought the truth (well, A truth). MG

Well, that would be about all of them, wouldn't it? Universal and Sony together control all the Brunswicks, Sony has the Victors and the Okehs. What's left? gregmo There's the Durium, Cameo and Plaza recordings. (There may be more.) Someone on this Forum gave a complete listing and said-- IIRC-- that they were controlled by Sony. Unfortunately I've searched but can't find the thread. Cameo and Plaza were two of the labels that amalgamated (with Pathe US) to form ARC, so those are Sony owned. But Durium? I thought it was an Italian fifties label. MG Durium was the company that issued 'Hit Of The Week' records Ah, didn't know that. Thanks. So, which company owned it back in the day? MG MG Why not do a search on the internet: http://en.wikipedia.org/wiki/Durium_Records Oh, I see. So he didn't record FOR Durium; he recorded for Hit of the week and Durium issued the material in Britain. (I tend not to do searches (except for images to post, which is different) while I'm reading the board.) MG Well, the answers to questions like yours can be easily found with a quick search (in another window) that wouldn't interrupt your reading pleasure for more than a couple of minutes or even less I often find searches for European record companies very frustrating, they so frequently include accents which I ignore, and can't find them. So I usually don't bother to interrupt my pleasure to engage in frustration MG