Rooster_Ties

It’s a small crime that, far as I know, there’s never been any sort of multi-artist tribute album to Television and Verlaine. That said, there is this Kronos Quartet arrangement of just the one tune “Marquee Moon” — which is pretty damn good.

So, just last night in a txt-msg exchange with an old friend, I learned that Delmark started, in of all places, my home town (St. Louis) -- and was originally called Delmar Records (named after the prominent street Delmar, north of Forest Park). In fact, the location Delmar Records was 5671 Delmar Blvd. STL (about 6 miles west of the river as the crow flies). Delmar had perhaps 20 releases, at least according to Discogs... https://www.discogs.com/label/221306-Delmar-Records The discogs page (link) also states up at the top (and I quote): "US label, founded 1953 by Robert G. Koester out of his record shop on Delmar Blvd. in St. Louis, Missouri. In 1958 Koester moved to Chicago. The label was renamed to Delmark Records in the early 1960s due to the threat of a lawsuit." QUESTION1: Anyone have any idea what other party was that suing to try and compel this change? I guess, obviously, some other company named "Delmar" - maybe one up in Chicago? My cursory Googling can't seem to turn this up. (Or anything whatsoever about the suit. Surely it wasn't another record company by that same name?) Also, I looked on Google Street View, and the location has a social security building there now, that looks like a sort of 1980's (90's?) plain "neo-deco" sort of thing. QUESTION2: Can anyone turn up a photo of the building that was originally there back in the early-to-mid-50's?? Address again was 5671 Delmar Blvd. My Google-fu isn't bringing up anything relevant. Thanks!!

How in the world did you discover Marquee Moon young? I didn’t even know about the band until maybe 15-16 years ago, when a friend hipped me to their debut (when I was pushin’ 40). I certainly never heard them on commercial AOR radio from the mid-80’s on (across 2-3 different AOR stations in St. Louis — so maybe me being in the Midwest was a factor there). Admittedly, there were a LOT of what are termed now ‘Post-punk’ bands that I missed the first time. (I realize historically Television gets lumped in with Punk — but given what ‘Punk’ means now, ‘Post-punk’ describes Television better stylistically speaking — at least to my way of thinking).

First saw the news online last night — and at 8am was amazed to hear a nice 45-60 second piece on NPR during the 5-minute “news up to the minute” piece during the very top of the hour, complete with a little clip of the song “Marquee Moon” and an short interview soundbite from Patty Smith’s daughter, iirc (I just learned last night that Verlaine and Smith dated for a while at some point — and Smith’s daughter remembered Verlaine as a bit of a father figure to her for a while there, was the gist of the clip). The short piece described him and the band as “influential”, and some other accolades. It was a far more prominent placement in the news than I was expecting. Had to get to work before what I assume was a longer ‘remembrance’-style piece, or maybe that’s still to come this afternoon (or tomorrow morning?) — in any case, my wife and I were both very pleasantly surprised!

(CNN) — Here’s something you don’t see everyday. Pet fish playing a video game in Japan managed to log in to the Nintendo Switch store, change their owner’s avatar, set up a Pay Pal account and rack up a credit card bill — all seemingly livestreamed, in real time, on the internet. https://www.cnn.com/2023/01/28/asia/nintendo-switch-pet-fish-credit-card-intl-hnk

Saw Verlaine in 2016 here in DC at the 9:30 B Club, in his more recent configuration of Television — and it was a memorable night. Those first two Television albums are stone classics, and I dig the third (reunion) one too. R.I.P. Pretty sure I read somewhere that Verlaine originally wanted RVG to engineer Television’s debut album, iirc.

I don’t remember the details, and I don’t mean to pile on — but I too have heard all sorts of complaints about the Chambers bio of Miles over the years — fwiw.

I’m just relieved that I’m not an idiot (at least not for this!) for thinking they were pretty similar somehow, and for getting them confused sometimes. To confess, I have genuinely (literally) felt silly when I’ve heard “Solar” played live on more than a couple occasions, and thinking “damn, that sure sounds like ‘HHtM’ — but clearly it isn’t!!”.

Agree, but can you expound? I’ve never thought they were anything other than similar — but I’m not sure how to quantify how similar they are. All I know is I often find myself second-guessing what “Solar” is when I hear it — and less often have to second-guess “HHtM”.

Sometimes I get “How High the Moon” and “Solar” confused for a second, until I try and fit (sing) the lyrics in my head. Not sure if the changes and the form are super similar, but obviously there must be some similarities. Meaning I always know “How High the Moon” when I hear it — but sometimes I’ll initially think “Solar” is HHtM, especially if I’m not paying close attention and it gets into the solos before I’ve considered the question.

I’m betting David Crosby got a chuckle out of this…

Ok, found it — proof(?) that DG at least consults Discogs… Why the hell does DG have this priced at $25??!! https://www.dustygroove.com/item/725406 When it seems to sell for a HELL of a lot less than that based on this Discogs listing history (and I just bought one in St. Louis for $6 several months ago)… https://www.discogs.com/release/11711204-Sal-Nistico-Live Last Sold:Nov 9, 2022 Lowest:$4.35 Median:$8.69 Highest:$9.95 Well, because the very same (exact) release with a SLIGHTLY different cover (same label though) has THIS pricing history on Discogs… https://www.discogs.com/release/23264072-Sal-Nistico-Live Last Sold: Never Lowest:-- Median:-- Highest:-- OK, not quite the “smoking gun” I was remembering — but, still, I can so easily see their pricing worker-bee looking up the one without ANY sales history, and figuring “hell, I guess it’s pretty rare, let’s try $25” — without realizing there was an entirely separate entity (which does NOT have the same root ‘master’ record — so they look like different releases on Discogs, but they’re exactly the same). At least that’s the entirety plausible story I saw unfold in my head, as I was puzzling over why the heck I’d just found one for $6, and here DG’s trying to get $25 for one.

I’m pretty positive DG uses Discogs to help with their pricing decisions — can almost prove it, but I’ll have to dig around to find the example I saw that led me to that conclusion.

And then there’s also Bettye Lavette.

My wife and I would love to be grandparents someday too! It’s just that intermediate step that’s always scared the bejesus out of us (since we never had any kids ourselves).

I understand the this is Chuck Wayne in 1946. More in the YouTube description about the tune — but I’ll quote the most relevant part to the topic at hand: Nearly 50 years after Miles Davis' recording from Walkin' the United States Library of Congress unearthed an obscure live recording of Chuck Wayne performing a strikingly similar composition at a jam session in Oklahoma in 1946; he referred to the composition as "Sonny". Although Prestige Music registered the composition for Copyright in 1963 Wayne claims to have been the original composer while Miles was merely the appropriator. While there are slight differences between both recordings the sameness is undeniable and Wayne's recording clearly predates Miles' by over a decade. More, but pretty much the same info — maybe a couple more details — here (in the ‘authorship’ subsection): https://en.wikipedia.org/wiki/Solar_(composition)

In this case, it was gone before I even had the chance. Not sure I would have gotten it though, for that much over $50.

A used copy of the 3cd expanded version just sold on Dusty Groove — less than a hour after it was listed online — for $60. More than I want to pay, but I guess if it sold that fast, then I suppose it’s priced right with what the market will bear. https://www.dustygroove.com/item/487024 Not sure what I already said upthread, but I’d be happy if I ever found one for $40, give or take $5.

This definitely rings a bell for me too — I also remembered it as having to do with some session with Monk.

❤️❤️❤️‼️‼️‼️

This track from 1960 didn’t come out (at all) until 1999 — so this as the opener was a sequencing decision not made back in the day… But darn if this track’s opening and near-instant(!!!) solo(!!) from Stanley T. — that only later evolves into a theme/head when Dizzy comes in (and it’s really almost more of a vamp, than a head per se, no?) — is just a joy to me. Especially the energy in this opening solo from Mr. T. “Ye Olde Blues” — Dizzy Reece

To quote Gang of Four (the post punk band — NOT the Maoist political faction of four Chinese Communist Party officials)… ”To have ambition was my ambition.”

I understand his last 3-5 albums were and are generally very well-liked on the Steve Hoffman Forums. I’ve never heard them personally, but I’m not recalling too much (if any) negative options of his last 10 years of creative output. I only saw CSN once, the summer after my senior year in high school in 1987 (also saw Nash solo, as an opening act in ~1986). Like so many, I loved the blend of their voices — three unique timbre’s, which both blended, but also allowed the particular qualities of each voice to be discernible (at the same time). RIP.

Supposedly intermissions were “not sanctioned” (or not allowed, or whatever you wanna call it) by the director/producers of Titanic (which clocked in at 3hrs-15min… …but I’ve also found online reports that some theaters that did have an intermission (or people who saw it at the time, remembering intermissions in some theaters).