WD45

I must say that this is an unrelated beef of mine with the sets, not considering the Selects. Eight of the last ten CD sets have been 7 or 8 discs. This is likely a function of the amount of material. I will say it is also a function of them not ending up on the $helf in my flat.

I think the whole thing is silly. What is keeping Mosaic from approaching the labels that leased the material for a second run? The leasing label gets more cash, more people get sets for non-ridiculous prices, and Mosaic makes money too. I can understand if a set times out. But, if a set sold well, or clearly has the potential to move many copies again [as evidenced by high OOP sale values] they are doing everyone a disservice by sticking loyally to this odd notion of limited edition. It seems entirely self-limiting and an exercise in marketing chicanery. Could Mosaic be naively obsequious when it comes to that label relationship? For example, Weren't the Jimmy Giuffre Atlantic sides leased to Collectibles at the same time the Mosaic set was out? If not at the same time, then the time frame was quite close. Collectibles has made no indication that their lease is limited [which would be to their advantage if it were the case, one would think.] What about making those first runs of 3500 or 5000 like books, and call them "first editions." The collectors can get off on having something rare, and the rest of us can get the music, should we come onto the scene a couple of years late. All that said, I think they do good work, and I own several sets myself. I have gone from being enamored with the idea of limited runs and exclusivity to quite disdainful of it.

After being a daily visitor for years, I stopped going there at all together after the revamp. Sucks all-around.

Excellent!

Does anyone have the setlists for that span?

For the record, it is Minne-sOHHta.

Damn, Netflix doesn't have this. I have an interest in Bussard's story, partly for his connection to John Fahey early in his career. [Fahey's first sides were on Bussard's Fonotone label.] That, and that compilation he put together a couple of years ago of old 78s looks interesting...

I hope you meant to use this smiley: Otherwise you get a:

Count me in for "When the Saints Go Marching In."

I thought of that too. Let us just hope that he had a decent turntable, as to not damage the record.

I don't know why I came here before, but I have a reason now. That reason, quite simply, is this smiley:

This may have been asked before, but why do they put the classical new releases in with the jazz new releases?

Right on! I think they're the best rock band around right now. I didn't find the new one as immediately appealing as their previous "One Beat" (which is probably my favorite rock record of the decade) but it's grown on me immensely and I think "Let's Call It Love" might be my favorite S-K tune. I saw somebody on Amazon describe The Woods as "'Daydream Nation' meets 'Back in Black'". Yeah, that sounds about right! ← Haven't heard the new one yet, but hope to soon. My fave is ALL HANDS ON THE BAD ONE. ← All Hands is killer! Each one of those tunes is a gem. SK are coming to town in June and I think I might just have to go!

...Nuclear War Yeah Its a mother fucker Yeah

This is quite rare, isn't it?

This is the way to go. I always go into my paypal account via typing it myself whenever I get one of these emails. Never is anything wrong.

10-4. Keep it on vibrate and keep it off of the belt.

John Coltrane - Lush Life [sACD hybrid.]

I have seen The Mars Volta mentioned twice in this thread, and I must make a third mention. I don't wish to resort to hyperbole, but their most recent album, "Frances the Mute," is the best album I have heard all year from any genre. The band was in town last week and they were killer. Even with a less-than-average sound system the band made wonderful extrapolations on the album originals. A somewhat unorthodox line-up was heard: reedsman playing bass clarinet, tenor, flute & percussion, a conguero, keys, bass, guitar, drums, & vocals. The drummer has spoken of his disparate influences from Elvin Jones and Tony Williams, to Billy Cobham, Tony Allen, and Bill Bruford. And John Bonham. The music itself is a shifting prog-rock / hardcore thing, with some 70s heaviness and salsa thrown in for good measure. Maybe some Krautrock, too. The prog thing scares many folks away -- don't worry -- they aren't Yes. Sure, they are prone to Fripp-like angular guitar excursions and EAI-sounding bridges between tunes. The lyrics in both Spanish and English are nonsensical but very interesting. Words for the sake of words. Almost like he chooses the words for how they sound, rather than what they mean. I read this review on somethingawful.com that was funny as per usual, but also inviting. I immediately went out and bought the record.

Yep!

I just gotta say that I am listening to Go Ahead John and I have determined that DeJohnette's drumming is highly illegal. DAMN!

I've seen a copy of that go for around $1500. Then again, it wasn't in the coveted "almost immaculate" grade. Looking at the scans, I would actually call it AI-.

What did it taste like? My family was strictly RC Cola while all of this was happening.

BN must have some interest in later-period Green, as they re-issued the re-issue of Alive with those bonus cuts. Come on BN, give it up!

This one looks tempting. Have you had a chance to dig in yet?