The Magnificent Goldberg

C E L E B R A T E !!!!!! or else Happy birthday Jim MG

The Les McCann sides from the Joe Pass box MG

Ernie Andrews Arthur Prysock Billy Eckstine

If only that was always true! Unfortunately, there are many people in the world who make use of their talents of persuasiveness even though they don't know what they are talking about. Well, yes, but they do have a full command of their materials (ie the probably incorrect assumptions that underlie their persuasive messages). I think that's more what I meant. If you can build a world view from your incorrect assumptions, or even lies, then you're able to use it to persuade. This is essentially the same as an actor playing a part so convincingly that they can improvise and remain in character. MG

Doc Sausage Mr Pye Captain Slaughterboard

But don't you think, Jim, that "I just don't stop asking questions of myself" is a separate issue from "eloquence"? Its one thing to feel, and then to venture deeper into something. But the ability to communicate what you find to others is a whole 'nother thing, and you have that in spades. Good point, Dan, but I think they may be separate but related issues. The "don't stop asking questions" thing means that, in addition to learning stuff, you get that stuff sorted out enough to be able to make connections, comparisons, allusions, etc. to other stuff that you've also sorted out. And all of that facilitates the communication part. That's right. What we actually mean nowadays by eloquence is persuasiveness, not, or not necessarily, beautiful use of language. And persuasiveness is almost a direct function of knowing what you're talking about. MG

Allen Ginsberg William Burroughs Jack Kerouac

Alvin Bennett Simon Waronker Theodore Keep

Baba Yaga Modest Mussorgsky Sviatoslav Richter

He's consoling himself by pretending to be peeling onions. He'll be right back as soon as the Dems do something stupid. (About three weeks to the opening of the new Congress, isn't it?) MG

H P Lovecraft Dennis Wheatley William Hope Hodgson

I think Anna Kournikova still looks gorgeous! MG

Jeremy Taylor did the Joburg Talkin' Blues with Ag Pleez Daddy on a 7". There's an EP too that adds a couple of extras. That's the one. "Ag please Daddy, won't you take us to the drive-in All six seven of us, eight nine ten." The chorus was "Pepsi Calla, Ginger Beer and Canada Droi". Funny the things you remember. MG

Yes, but I wasn't sure how people would react, so I was holding off on the reveal. I was looking through the Mosaic site again when I decided to click on the True Blue link. As a few folks are aware, blues has begun to take over most of my listening/purchasing for the last several months. So when I realized that Mom could take care of a lot of wants via a phone order, (she's never ordered anything online), I ended up putting together a list that was the monetary equivalent of a Mosaic box: The three American Folk Blues Festival DVDs Freddie King Dallas Texas 1973 and these CDs: Albert King, Live Wire/Blues Power, Wednesday Night in San Francisco, Thursday Night in San Francisco T-Bone Walker, T-Bone Blues Little Walter, The Blues World Of Junior Wells, Hoodoo Man Blues Sweet Home Chicago Thanks to everyone who participated in the poll; I honestly intended to request one of those three finalists, but ultimately went another way instead. That is some seriously GREAT stuff. I was going to ask which of the JCs' albums you already have, because the extra may be worth it. But let us know next year. Have a very funky Christmas, Dan. MG

Wish I HAD a model! Then I'd express an opinion MG

Boeing DeHavilland Cessna

Malcolm Muggeridge Gilbert Harding Patrick Campbell

No - Oliver Reed. Not much difference, actually. MG

Very odd - Felsted was connected with London, UK Decca's US subsidiary. It would be expected for a release like this to have the "in-house" publisher used. The earliest use of the term "Soul" as marketing that I can recollect quickly would have been 1964. "Otis Redding sings Soul ballads"; James Brown's "Grits & soul". The Impression's "It's all right" also 1964 uses the term soul - "you've got soul, and everybody knows, that it's all right". No, that's not right. There was a ref in a much earlier Ray Charles sleeve note. I'll try to dig it up later. MG

Nope. Ann-M made a film in Gage's stately home (Soldier's return). MG

Sonny Stitt disc 9 MG

Bill Doggett - Honky tonk popcorn - Polydor reissue MG

Barbara Ann Ann-Margaret Viscount Gage (Bonus for guessing connection between last two ) MG

Ok, that's what I was thinking, that this was a really odd choice for an album at that time. MG, what was "in the air" in '63 that might have made somebody think that there was a market for this type stuff? Mercury being a part of Phillips and all by then, and this being on a Wire list, I'm thinking that maybe the album was first & foremost aimed at the Euro-market, and the US release was secondary. No production/coordination credits, but the artists included areSoweto Stokvel Septette, Mr. Dube, Jabulani Quads, S.D.V. Swing Band, Cassius the Great,, T.V. Sisters, & Mr. Bull (it's he who made the record that Masakela later "appropriated"). Any of those names ring a bell, MG? Never heard of any of those names, Jim. This is very early Mbaqanga. What was around in Britain was Miriam Makeba. "The click song"/"Mbube" (Wimoweh) came out in '63, and I bought it then. So I was definitely in the market for African music, but there wasn't much that I saw. But the Makeba sort of material was definitely aimed by the British licensees at the white market in Britain, as were the few Kwela records that had come out in the years since 1957 and "Tom Hark". This album seems to have been aimed at the black market; if it ever came out in Britain, that would be a specifically African market. The West Indians were deep into early Ska and Calypso and well provided for by Melodisc records. I can't see a rival trying to break into that market with African music. What was going on that was relevant to the African population of London was early Georgie Fame; he had at least one African drummer (ie not playing traps) in his band in 1962/3. Fame was doing R&B but, on the few occasions I went to his gigs, there were loads of Africans in the audience. But I'm not sure it ever did come out here. If it had done, I feel sure I would have seen it, if not then, at some time. Sterns opened a separate counter (it was a classical specialist) to deal in second hand records from Africa, in the fifties I think. People would come off ships and flog their 78s and stuff; in a way, like the informal distribution of R&B records in America in the '40s. There appears to have been a good market for it, but wholly among the African population; at least in those days. I didn't know about the shop in those days (more's the pity). My friends and I had a "patch", which was a slice of West London north of the river around to a line from the West End to Harrow - about a sixth. Sterns wasn't in that patch. But when I did eventually get connected to Sterns, they were still doing a big business in second hand material. I think I'd have recognised that title, had I seen it, when I was looking through their LPs. I think it really may have been a US only issue. My memory doesn't agree with yours; I don't think Philips bought Mercury until 1964. Until that time, EMI was the licensee for Mercury over here. I don't think EMI was as interested in Africa as UK Decca (which was Gallo's licensee, had its own West African subsidiary and did issue some West African LPs in Britain as imports a couple of years later) in those days. EMI's prime interest in Africa was flogging EMI records over there (Cliff Richard was very big in SA) not in recording Africans for international release. So I have a definite feeling (no evidence, you note) that this compilation was intended for US consumption. I guess that this must have been aimed at the African-American market not, the African, American market. But I don't know. Were there many Africans living in America in those days? It seems hard to imagine an African leaving Apartheid to go and settle for the middle of the Civil Rights struggle. But I don't know. Can you tell from the sleeve which South African company recorded the material? That would give some pointer as to how it got where it got and, perhaps therefore, why. MG

What is a wall outlet cover? I don't let my walls out alone. MG