BruceH

Hmmm...played piano w/Lester Young, arranged for Marvin Gaye, wrote "A Taste Of Honey"...maybe not "heavy" in any one thing, but anybody with that wide a range, not just of skills but of demonstrated more-than-mere-competency is certainly no "lightweight"... I meant in the sense of actual physical mass...or in the sense of the song, which means....um....what now?

I'd probably lean toward the DG box, but I like all the Richter I've heard.

...and not heavy at all.

Does this help your appreciation any? I don't know why but I have grown to love that song over the years, I don't know many people that like it though, even the other Beatles hated it. It might have something to do with "Abbey Road" becoming a firm favorite of these re-masters. It's just sooooooooo Beatle-y. I know you're joking but that will actually happen. I really am looking forward to the mono versions of the earlier albums. I've been listening to a lot of Beatles lately, and I think they reached their highpoint with Revolver, and after that, I see a decline in the songwriting, with the production overwhelming the music at times. I know that goes counter to what the vast majority of Beatles fans feel, but there is something so attractive to the Beatles up to Revolver, that it fully holds my attention. For me, something gets lost after Revolver, and what that "something" is, I cannot put my finger on, but their music looses some of its attraction for me. Actually, a lot of critics would agree with you. I'd personally put the creative peak at "Penny Lane"/"Strawberry Fields Forever" (which in a way seem like the culmination of the Revolver period or approach, though they were done in the Pepper sessions.) The rest of Pepper marked, for me, the beginning of the decline you mention, though with quite a few high spots scattered throughout the rest of their career.

Not much seemed to happen in last night's new episode.

...shudder... I think Diamond may have recorded it, but Bobby Scott is the composer. Never liked the tune until I heard Scott's version. Don't know if I've ever heard Scott's version. Probably not, as I've always loathed that tune.

Didn't the guy in front become a politician? I think I saw him on Colbert.

Yesterday a Collectables 2-fer arrived in the mail: Yeah/We Paid Our Dues---Charlie Rouse, Seldon Powell. Thanks to Mikelz777 for the tip!

Oh, never mind...the bastards of the world already united under a banner of course; the GOP.

I like the drum machines in Guinean music a lot. But one's mileage very definitely varies on that - Mike Weil HATES them in Guinean music. And I can see why. I just don't agree. MG Must admit, I have nothing against the drum machine on the first Fountains of Wayne album...just sounds like normal drumming to me.

That big black one...y'know, with the b&w photo on the front?

I'm with Dan on this one. We are the world. I would have sat thru the white bearded guy too. Count me in on this. Bastards of the world, unite!

Same here. A friend tried to get me into them around 1980-81 but it didn't take. After The Limey I briefly looked for a decent singles comp of theirs, but somehow dropped the notion.

I'm not sure too many people actually consider this a "scandal" - aside from the conservatives who are bitter over Letterman's anti-Palin (and pro-Obama) stance during the elections. The only "crime" on Dave's part is possibly opening himself and his company up to sexual harassment suits do to his workplace dalliances. His wife, of course, may or may not choose to hit him upside the head for it. Actually, in most of the accounts I've read, the media has been contrasting Letterman's incessant needling of Bill Clinton over the Monica Lewinsky affair. It might seem ironic, but that is literally his job (or part of it.) If he didn't make fun of politicians for their screwups, he wouldn't be doing his job as late-night comedian.

"Next Iron Chef" marathon.

Ah, yes, I forgot to mention the great Teddy Wilson. Love his stuff. I'm sure there's a lot of names I left out.

When hipsters drop in for perusing and listening, I hope they don't spot my copy of this -- for fear of the moldy-fig appellation. It was Sauter-Finegan's 10th and last LP for RCA -- and the only one to get the glorious 'Living Stereo' treatment. This is ironic because the album is actually a throwback to the dance band era which was anathema to Sauter and Finegan when they merged arranging forces in 1952. Six years later, they rode out to the sunset with Bill Finegan warming-up his earlier charts for Glenn Miller (he obviously spent time on these) and Ed Sauter dusting-off swing charts he'd done for Goodman. Each arranger got one side of this LP and, let's just say that Sauter (who'd already taken a radio bandleader position in Germany) may have done little more than 'mail it in'. The Bill Finegan side is definately more imaginative and ear-opening. Sorry to learn that; I always liked Sauter.

I, for one, love Duke Pearson.

See you keep over-egging the pudding. I can easily imagine nearly all Beatles albums without Ringo's vocal contributions, and I vastly prefer them that way. If I am close enough to the player, I skip over Ringo's features with only a couple of exceptions. To each his own. I couldn't imagine skipping a single track on ANY Beatles album (or on any album at all, for that matter. But then again, I read all of the comics in the paper every day, including the ones I hate like "Mark Trail," "Ziggy," and "Family Circus"). I must admit to skipping over "Maxwell's Silver Hammer" on any number of occasions.

Al Haig is an "oldie"??

Count me in as a fan. An amazing talent. I don't think it's going too far to call him a genius.

I think they were comparing more the style of harmony used rather than the vocal timbre or technical aplomb.

Pretty creepy. And then there's the attempted extortion. That's creepy too. (Sorry.)

Yeah, I really like that song a lot.

I've been noticing them again lately, as they had a song on that Merseybeat comp. I bought recently. Didn't they use a song of theirs in The Limey, "King Midas In Reverse" or some such, or was that someone else?