JSngry

No it doesn't. Soliciting for a production run is not anything like an auction of a pre-existing item, even one with a reserve. If the reserve is not met, odds are good the item goes up for re-auction at some point. But past that, auctions are for items that already exist, period. Maybe there's some parallel in the world of financial products, but not one I can think of, not really. Yes, losing goodwill, but still, if this was something I really wanted, I'd go all Madame Defarge and stay silent while also taking notes....

Yeah, it was either an unhealthy obsession or an inside joke, that practice. Hard to imagine it being anything other, right? Oh, fwiw, Pete Fountain's real "easy listening" records were done alongside with something that could at least resemble "real jazz". Fountain could play, although his records usually betray to one extent or another his first broad exposure as a Lawrence Welk featured attraction. I got Pete Fountain's New Orleans for a Christmas present one year, and liked it well enough. Jack Sperling on drums iirc, and a nifty intro on "The Saints". But the only reason I have it still is because I'm superstitious about disposing of gifts from family.

No, that doesn't make sense to me, and further enforces my perception of this resembling a ransom note. Intentional or not, if you need a number, give a number. Otherwise it's like trying to have somebody else's cake while you're eating yours, or whatever that expression is, I'm a pie guy myself, so don't ask me.

Colortune? Never heard of it! Over here, Vocallion became the "budget" label for all things Decca-related.

And this is another place where the "Booker Ervin didn't influence anybody" line fails.

Another thing about Decca, albeit through Brunswick - DAKAR records ended up under that umbrella in time for them to catch the Tyrone Davis & Hamilton Bohannon wave. Ok, here's something I didn't know - Brunswick got out from under Decca as early as 1960. There were legal actions that didn't get resolved until 1969. But all those Brunswick soul and jazz records from 1960 on had nothing to do with Decca. That would definitely include Dakar then. https://en.wikipedia.org/wiki/Brunswick_Records I'm a little surprised because the two labels both had "art" departments that sort of functioned the same way, especially on the back covers. Go figure.

This show was a big hit in our house, watched it every week. I liked it too, always did like Johnny Cash, he had the first top 40 hit (that I know of) with a bleep!

Another way to look at Decca is that they didn't really get aggressive about post-British Invasion music. That was when they really began to get out of sync. Although - they had the American Who albums (although in the UK, the Rolling Stones were on Decca, but in the US they were on London, still not sure how that all fir together), the Jesus Christ Superstar album, which was HUGE, and Loretta Lynn, one of the biggest, if not the biggest, female country act of the day. So they had their big players in some pretty big markets, they just didn't go deep into any of them except Country. And they always had their easy-listeners to ride to the end. Plus the back catalogue. I think Milt Gabler held some ongoing position at the company, so maybe that explains the lack of interest in post-1964 rock. But I he got this one over the transom:

Decca sold a lot of records, and you yourself should have more than one Earl Grant, surely? Bert Kaemfert, Pete Fountain for the easy-listeners, people bought those records.Brenda Lee and a lot of others in Country. Loretta Lynn for cryin' out loud! These were in any record store that had a good jazz selection. Brunswick/Vocalion originally. Look at these Decca Original Cast albums: https://www.bing.com/images/search?q=decca%20records%20original%20cast%20&qs=n&form=QBIR&sp=-1&pq=decca%20records%20original%20cast%20&sc=0-28&sk=&cvid=825FFF7D05DF4BD3B2A156B9918154D5 OSTs, not so much. Although in the 1950s they had both the Glenn Miller and Benny Goodman OSTs. More Duke on Decca (real Decca this time) Brubeck on Decca! Decca sold plenty of records and still had hits, more than enough. However, the one thing that struck me about them as being, not just lagging, but actually perverse, was the their "art" department. Even if the front covers looked "ok", the back covers would so many times be, uh....under-developed. Oh, yeah, Lenny Dee, they had buttloads of Lenny Dee records!

That’s how I have come to take it, yes.

They do, and no doubt they are, but they also sound like the type of difficult that becomes easy (enough) once you finally get them right, like, you just keep digging deeper until you strike the gold. I love shit like that, both as listener and as player, because on some things, the gold is just not there. It's easy to get complacent and figure, eh, this is some more obtuse bullshit and not give too much a fuck about any of it. But that's a disservice to humanity, that kind of attitude is, not just in music, but in life.Some shit is just right, no matter how difficult or abstract or otherwise initially baffling it is. And some is not. But hell, better to find out for sure than just assume, right?

What about Pierrot Lunaire? I've yet to hear a recording that really finds a groove, but I heard it live and it knocked me out. like, Far-Outsville, baby.

I think MCA had a fine idea of what Decca was doing - draining the last remaining dollars out of a few particular niches. And once in a while, they got lucky from that. But at some point they just figured, correctly, that nobody cared about those labels any more and that "MCA" sounded more like the times.

Musically, I'm not so sure that a post-Roulette Basie Verve set wouldn't be at least as strong an attraction as this Herman one would. But then again, that's where the Basie band REALLY turned into a "machine",and more than 2-3 tracks in a row numbs me (and not in a good way). But this Woody set is going to have plenty of vocals and other things aimed at the charts, I dunno... In either case, I don't think the ransom note approach to a set of "non-essential" material is going to convince people like me, the eventual purchaser rather than the immediate, to pull the trigger. If anything, it will have the opposite effect. In this case, it already has.

Decca became part of MCA before impulse! did, in 1962! With them came Coral & Brunswick. They didn't form Uni until 1966, and didn't buy Kapp until 1967. None of these labels continued real relevancy into the 70s, but MCA sure did. They were still selling Pete Fountain & Brenda Lee & Burt Kaempfret & Earl Grant records to that particular niche market right up until the end of the 1960s. After that, they were the American label for The Who for up to and including Quadrophenia, after which they were released on MCA. MCA seemed to leverage the Deccaback-catalog into always available collections of one kind or another. And Big at Christmas - ALWAYS available. None were particularly "comprehensive", but who amongst us of a certain age doesn't have a Duke Ellington record on Decca? Decca also had the original cast album for Jesus Christ Superstar. They made them the money, Decca did. As for RCA, they moved into the post-50s rock/pop era pretty well, with Jefferson Airplane/Starship, John Denver, Henry Mancini. who else? The Guess Who, David Bowie. They also had the OC of Hair, which was a really good seller. Sinatra spent less than a decade at Capitol. It was an amazing less-than-a-decade to be sure, but that's all it was. The Beach Boys were gone by 1969.

Believe me, the tool of metricization has fallen into the hands of the enemy and they are running like hell with it.

Is J.G. Watson well known? Maybe not like N.K. Cole, but within certain communities, his legacy is still alive a lot more more than many of his generation(s)

Really, being a Klansman - as opposed to "simply" being a racist/bigot...that's a whole other mindset, I think... I'm not proud of knowing them, but where I grew up and when I met them, it was somewhat inevitable, really. And, lessons learned about how people end up there, specifically, rather than somewhere else with that mentality. The Klan is really a gang and/or lodge, members seem to have convinced themselves both that they're serving community and fighting mortal enemies. There's no doubt a few of them that "race gene" in them, there's no other way to explain it, but most of them seem to be people who have been culturally zombie-fies, and there really does seem to be some fundamental dissonance in them about what they're consciously thinking and what they unconsciously know. As for Spike, I like his movies as much as I like anybody's. He's got his thing and so be it. If nothing else, he deal with subjects that need to be dealt with in one way or another. Who else is going to do it, really? What kind of a Malcolm X dio would "Hollywood" have come up with? Would anybody else have done School Daze or Jungle Fever? Or most anything he's done? Never mine who "could" do it (up to the point of who knows?), who WOULD d it? He's far from a perfect filmmaker, but he does tell stories, always. I'll take it.

Have you know any Klan members in real life? I have, and they are curious creatures. Even the ones who manage to be "normal" enough can't help but trip on something somewhere. I think it's their baggage of trying to be something other than they are for other people. The really ovet ones...they are what they are, and they make no bones about it. But the ones who lead some sort of weird double-psychology...creepy people. Well, they're all creepy. But the ones who try to be respectable so they can have access to be evil...if people need to see that, then let them see it.

Yeah, this. I am into some Woody Herman, but overall the material in this set is not such that I feel compelled to pre-order at this time. I'll be happy to wait, or to do without.

Better than helping pay the bill for my grandaughter's new puppy having to go in to the emergency clinic yesterday because he contracted some Parvo in the shelter and the vaccine is not fully effective until he completes the whole series of boosters and he's not old enough to have gotten there yet? Hardly! Apart from that, I said it then, and nothing has changed - this is an amateur move in every way. Especially since they apparently have a "shortfall" but give us no idea of how short they are. If this is to be the model they plan on following going forth, then there should be clear, definite goals up front, and clear, accurate totaling along the way. This is not that, this is just some nebulous cry for help that doesn't give any idea how much help is really needed, nor how much more is needed after the initial response. I'm sure they're all super nice guys who mean well, but this is not looking like a business that is positioned to really survive over the long haul, this is looking more like a perpetual damsel in distress.

Gee Baby could pass for Johnny Guitar under a very casual microscope, but I'm not convinced.

There's one still left that looks like if might still be active, so I have altered your link. Nothing personal.

I'd replace the BIOS battery first. Like Kevin says, it's an easy fix. But if that doesn't fix it, or if you're unsure about the type of battery you need, yeah, time for outside help.

I agree that "someplace else" is ultimately inside ourselves, but if it's someplace to "go to", that to me says that it's still someplace else, a place that we dont't usually have at our immediate rational/logical disposal, at least without some practice towards accessing it. and even then, once we know where "it" is, there's always the risk of imitating being there than actually being there. Peter Drucker is not my friend, if only because he's not speaking to individuals about personal discipline and responsibilities, he's speaking to the would-be next-gen slaveholders. "Measuring" has no room for the in-between. Real life most certainly does.