Rooster_Ties

Oh yeah, Garbage. Forgot about them (and will add them to my original post now). I love their first two albums (pretty much equally), but their third album fell totally flat for me. Perry Farrell / Jane's Adiction / Porno for Pyros is also good. I only have the recent "Farrell" one-disc compilation "Rev", but I like it quite a bit. His cover of Leonard Bernstein's "Tonight" (from West Side Story) is really a suprisingly great track. Also love the Grateful Dead cover (and I'm not much of a Dead fan). Hey, I just looked up Farrell on the AMG - to make sure I got the exact title right of "Tonight".... and I learned that Perry Farrell's real name is "Perry Bernstein". Hmmmmmmmmm......... I wonder.........

I very much doubt that Rob/Neon did any such thing. Late last night, after I read here that Musicboy was back to being a board-mod, I sent Neon a PM via his board, politely (and sincerely) asking about Musicboy's reinstatement. I haven't gotten a PM back from him, but I presume that my message to him prompted his reply in the last few hours, on our board (via this thread). I'm still scratching my head ( ) about why anyone would reinstate Musicboy after what he did here, but it's Rob's board, so he can do whatever he likes. Still, Rob, you'll never really know the extent to which Musicboy edits or possibly censors other people's posts on your board (depending on the extent to which your board's software tracks that sort of thing, of course). And, you never know when he'll go off the deep end again, like he did here. If you're willing to take those risks, we'll - they're your risks to take. If it were my board, I'd probably nuke Musicboy for good, meaning remove even his basic user status from the board. But it's not my board, and in the end, it probably doesn't matter to me what happens. Good luck Rob.

Don't worry, I'm often out of step the same way. My favorite REM album is "Monster", which is often sited as one of their least popular albums (and the AMG only gives it like 2 stars). There are probably other examples I could cite as well, if I thought about it more.

Well, the Beasties kinda go in the Rap catagory (OK, they go more than just "kinda" in Rap), but they also get played on many of the alternative/modern-rock radio stations, so I did include them - just cuz it made sense to me to include them. I guess I wouldn't include more traditional "rap" or "hip-hop" in my original question, but I'd probably include any "rap" or "hip-hop" crossover artists, whatever the hell that means.

Yeah, J-Mo, I got that Auctionstealer e-mail, and at the time I got it - their web-site was still up and running. Does make you wonder if the two events are somehow related.

Hrumph.... I see that Musicboy is back to being a board mod over there. We'll, Neon's credibility (with me) just dropped a couple notches. He still gets a couple points for changing their rules and regs over there, but I'm pretty shocked he let Musicboy back in as a Mod. Maybe Musicboy threatened to ruin Neon's name in "the industry"

I don't know, but I'll add a parallel question... Anybody know what happened to www.auctionstealer.com ???? I used to use them for auction-sniping every now and then, and they went bye-bye sometime since about a week ago. (I had an auction all ready to be sniped, and then my bid was never sent. I went to 'auctionstealer', only to discover that there was no 'auctionstealer' anymore.)

Call this a spin-off of the "classic rock" threads going on around here... OK, name all the bands/solo-artists you like (or at least look forward to their new releases) for bands/artists that have come on the scene only since about 1990 or so, or at least since the mid 80's. I mean bands or rock/alternative artists who were mostly unheard of (at least on a national scale) prior to 10 or 15 years ago (or at the very most, 20 years ago). Off the top of my head (and in no particular order)... Radiohead Ben Folds Cake Cibo Matto (oh when will they have another album out????) Interpol Rufus Wainwright Bjork Tori Amos Peter Murphy Matthew Sweet Red Hot Chili Peppers Jeff Buckley (who died much, much too young) There are probably a few I'm forgetting, but that's the lion's share of the "relatively recent" bands/artists who's careers I'm still following closely, and who I have probably 75% of the CD's form their respective catalogs (or in some cases, more like 90%) A few others I've stumbled on CD's by that I've liked include... Alanis Morissette (Her most recent two albums have been pretty good - still don't have any of her earlier ones) The Smashing Pumpkins Beck (I'm kinda hit-or-miss with Beck, but he's always interesting) The Beastie Boys - I have just a smattering of their CD's, but like 'em all, and I need more!! Garbage - loved their first two albums, but their third was a bomb for me (and not in a good way) Perry Farrell / Jane's Adiction / Porno for Pyros

Do you quote within a quote?? You know, those multi-box quotes. I must be stupid because this has become one of the great mysteries of life for me. Please enlighten me! Do you quote within a quote?? You know, those multi-box quotes. I must be stupid because this has become one of the great mysteries of life for me. Please enlighten me! Do you quote within a quote?? You know, those multi-box quotes. I must be stupid because this has become one of the great mysteries of life for me. Please enlighten me! Do you quote within a quote?? You know, those multi-box quotes. I must be stupid because this has become one of the great mysteries of life for me. Please enlighten me! Do you quote within a quote?? You know, those multi-box quotes. I must be stupid because this has become one of the great mysteries of life for me. Please enlighten me! Do you quote within a quote?? You know, those multi-box quotes. I must be stupid because this has become one of the great mysteries of life for me. Please enlighten me! Do you quote within a quote?? You know, those multi-box quotes. I must be stupid because this has become one of the great mysteries of life for me. Please enlighten me! Do you quote within a quote?? You know, those multi-box quotes. I must be stupid because this has become one of the great mysteries of life for me. Please enlighten me! Could you repeat the question???

I didn't want to limit this to just 10 choices, cuz I think there are well more than 10 "Patrick Roques" BN covers. Which are your favorites??? Post images of them here in this thread, if you like. I don't think the AMG has them all listed (so the list from the next link isn't comprehensive), but there are at least some in this list. BUT, not everything in this list is a brand new "Patrick Roques" cover, cuz in some cases - he was somehow involved in the layout of some visual aspect of the CD issue, but not necessarily a brand new cover. In any case, though, this might give us a starting place for this discussion.... AMG: Patrick Roques - design credits. A few I rather like are...

I voted for "Physical Graffiti", based on my memory of their albums, but to be honest - I don't own any Zeppelin CD's, and haven't listened to any Zep - other than the assorted tune or two on the radio every year - in probably over 10 years. I've threatened to buy "Presence" several times, simply cuz it's the one without any tunes on it that are/were overplayed on Classic Rock radio. But everytime I sample "Presence", I think - "am I really gonna listen to this that much??" - and I always answer "no". There are bits and pieces of all of their albums that I rather like, every now and then. The "Immigrant Song" is great, as is "Dazed and Confused". But most of it is burned in my brain a bit, from hearing it far too much as a teen (for me, in the early 80's) on Classic Rock radio, which is all I listened to back then. I could probably assemble a single CD with all the Zep tunes I'd ever need to hear ever again. ( I did sorta like Jimmy Page's side project "The Firm" back in the day, but it's pretty 'dated'-sounding now. ) I'm not saying Led Zeppelin is bad music - just that it really doesn't do much for me any more. That said, I am slightly currious to hear the new 3-CD live set that just came out. I'd never buy it, but if I found someone with it, I'd probably want to borrow it for a few days.

Damn, if you listen to this cut - do stick around until the 'pirate' bit!!!!!

Yeah, good question. Where's McCoy??? I think of him -- more than Monk, Powell, Harris, or Nichols, and actually more than Sliver even (personally).

Wonder what jazz recordings, if any, even come close to matching their "hit zone", as compared with more 'pop'-sounding music. Actually, this is a somewhat serious question, if one were to say run several thousand 'alternative' hits through their system, to establish a baseline, and then start checking jazz recordings, one by one, to see what jazz (if any) would appeal to a more 'alternative'-oriented audience. Just a crazy idea...

By my count, Herbie was on more than 40 sessions for Blue Note. Was Horace Silver ever a sideman on any dates in the 60's???

Actually, I find this kinda interesting. Kinda evil, too, of course. But still kinda interesting. I'd love to see what all the parameters are that go into their analysis of music. A few, from their web-side: "...and isolate patterns in many musical events, some of which are melody, harmony, tempo, pitch, octave, beat, rhythm, fullness of sound, noise, brilliance, and chord progression." More technobabble about their process: Technology

FYI, here's Jim's post from the other thread, about this week's AOTW...

I had to vote for Herbie. Since he could really do it all, both 'inside' as well as 'outside'-leaning dates - he seemed like the one pianist who really best represented all of what Blue Note was all about during it's prime years.

See also: http://www.hitsongscience.com/, and especially also the FAQ Posted on Sat, May. 24, 2003 Hit Song Science just may be the future of popular music By JOAN ANDERMAN The Boston Globe A new company is trying to take some of the guesswork out of finding 'hit' music, with help from science and supercomputers. Already Hit Song Science is generating controversy, with some artists and record-label insiders saying it only highlights the desperation of a struggling music industry. Hit Song Science is a high-tech music analysis system that compares new songs to a massive database of chart-topping singles and predicts hit potential based on shared attributes. All five of the major record companies -- BMG, EMI, Sony, Universal and Warner Bros. -- are using the service founded last year by Barcelona-based Polyphonic HMI. A modified online version, geared toward songwriters, was launched recently at http://www.hitsongscience.com/. "Our technology is to music what X-rays are to medicine," says Polyphonic HMI CEO Mike McCready. "We help the record industry see their market and their music in a way they were previously unable to do." Hit Song Science technology isolates sonic patterns in a song, ranging from tempo and chord progressions to melody, harmony and pitch, and then predicts that song's success by comparing it to "hit clusters" gleaned from its database of 31/2 million songs. Ironically, HSS arrives at a moment when those in the music business face criticism that popular music is increasingly derivative and homogeneous. "This is just another reason why the music industry is going down the tubes," says singer/songwriter Ellis Paul. "We need to think on the edges, not down the middle." But McCready says his company isn't trying to encourage cookie-cutter music. "We hope we can help labels look at music that doesn't sound formulaic but will still return on their investment," he says. "For example, we predicted the success of Norah Jones' (Grammy winning) `Don't Know Why.' Nothing in our database actually sounded like it. Rather it was the combinations of patterns and properties that indicated hit potential." But Jesse Harris, the New York songwriter who composed "Don't Know Why," is skeptical. "It sounds like a coincidence to me," Harris says. "If they tell the label it's got hit potential and then the label puts lots of money into it, maybe that's why the song's a success." In addition to using HSS to choose album singles, labels are also utilizing the technology to help screen music submissions from unsigned artists and short-list those identified by HSS as worthy of a closer look. "It's a fascinating tool, and smart companies will use this as ancillary information," counters Jeff Fenster, senior vice president of A&R for Island/Def Jam Records. "But don't live by it," he warns. "There's more involved in how music connects than what can be read in lines on a graph."

There is really only one store in Kansas City with prices decent enough to purchase from, but only because I have access to a sort of "employee discount", even though I don't work there. Yeah, it isn't "fair", but I figure they get more of my money that way, than they would if I were getting all my music on-line. Actually, my buying habits have shrunk to almost nothing recently (since late last year), due to external circumstances. During that time, the one store in Kanas City (part of a regional chain) was bought up by another regional chain (back east). They're jazz selection is now controled out of some central office in New Jersey. Although they do get some new jazz releases in, it's hit or miss from week to week. None of the recent round of BN Rare Groove titles came in, for instance. And very few (if any) ECM's. Sure, I could order things through them, but why bother. I'm not buying at the moment, but I'm sure when my financial situation improves, I'll start getting most of my music on-line, since that's really the only way to go. I'll never pay Barnes & Noble or Borders prices, that's for sure!!!

Yeah, several years ago (mid-90's) I remember going to a few afternoon jam sessions here in Kansas City, almost always at the insisting of a couple friends who somehow seemed to love that sort of thing. Yikes, it was like pulling teeth to hear anything more than about the same 25 tunes, and even those were butchered - to put it mildly. Every piano player also sang, in seemed, which only made it worse. By comparison, even some national "smooth-jazz" acts are almost listenable, at least in the sense that they at least have some command of their instruments, on some level. The sad thing is the vast number of people for whom the weekend-afternoon jam session is what jazz is all about. That's pretty much what they think jazz is. Then again, for most of these people, the afternoon jam session is more of a social scene too.

I only mentioned Jackie cuz way back when, on the BNBB, I very politely and respectfully asked if anyone happened to know what McLean's ethnic background was --- and I got jumped all over quick, at least by a few people there. Something about the timing of my question, relative to some of Aric's typically "sensitive" talk about Race and Jazz. (I think it was only my 2nd week on the board, and I had no idea what can of worms I had opened.) Hence the 'winkie' thing.

Or Jackie McLean??

I cannot wait to hear this set!!! Jack Johnson (specifically "Right Off", and "Go Ahead John") are two of my favorite electric Miles recordings. Can't tell you how exited I am about the amount of unreleased material in this set. If I could rank the sets, specifically in terms of my interest in hearing unreleased material, I would have to rank the "65-68 quintet" box first, with the "Jack Johnson" box being a very close second. (Then probably the "IaSW" box third, and the "Miles & Gil" box fourth. "Bitches Brew" box fifth. Then a toss up between "Miles and Trane" and "The Middle Years - 60-65".) Again, that's my ranking based on my interest in hearing previously unreleased material. "Jack Johnson" is some baaad stuff, man, you dig!!

I'm also a big fan of architecture, early 20th Century, mid-Century, modern - you name it. Had to vote for the Larry Young for that reason. One of my favorites. I even like the all-blue version from Spain!!!