JSngry

My phone has a micro USB output, and i surely can do a micro USB/USB connect to the PC and the phone's directory most certainly does show up on the PC, so I most certainly do get my grandaughter's pictures of the phone and onto the computer by this exact means. The phone screen shows no change though, it's all done on the PC end.

Wall Of Sound, not Ocean Of Sound. It's not supposed to let you through.

That's been proposed several times over the years. Management has not shown an apetit for it. But feel free to lobby for it going forth.

Which reminds me...did he do Round Trip before or after moving? That's enough of a a shitsuck (albeit it a somewhat exquisite shitsuck in the calssic Verve MOR bag) to make even George M. Cohan consider repatriating. Nothing against Johnny Pate, but, you know, if the guy was already dark about America and/or Jazz, I can see how that might have pushed him over the edge. Irony being, that, after he came back, records like this - "special settings for the artistry of..." were applauded when he made them, and you know, that probably just made the darkness get that much darker. Where are the happy people in this? Note the Exit sign, I think that syas it all. Great band, fine charts, but dude, the guy went to Paris and afaik did nothing even remotely like this the whole time he was there, and he easily could have. Then he came back, tried to keep going and got a resound NO GIGS FOR YOU! I mean, yeah, the guy was an old-school soldier, trained to read and double and just play any fucking gig the way it should be played and keep your feeling to yourself, at least during the gig, but like many soldiers, he had some itches that needed to be scratched, and, it's just my guess, that he gave up trying to scratch them when people started asking him why he was playing with himself, and really, all it was was that it itched, and if you don't scratch an itch, it fucks you up one way or another. So he went with another.

Not the same record (had to look it up to be sure). That one's by The European Rhythm Machine, 1970, but is not the 1972 "Pierre Cardin" record mentioned by Clunky although it is on the same label. I think so, anyway, see if it is: https://www.discogs.com/Phil-Woods-Chromatic-Banana/release/3012769 I like that band, always have. The Testament band pretty much takes up where this one leaves off, with a lot, a LOT, of electronics, including Woods himself. This was Pete Robinson't wheelhouse (and afaik, nobody's yet to come with a coherent logical look at all the things that were going on around the Don Ellis orb of the late 60s/early 70s, thee sure seems to be a story there jsut waiting to be told), and coming home from the ERM to a band like that was a totally logical next step, and believe me, I love that the guy went there with that. But it...just didn't work out the way i guess he had hoped it would, maybe his Pet Sounds or The Secret Life Of Plants, one of those projects where the sting of public indifference (at best...) leaves a sting that never really subsides.

I'm not really a "mono guy" either, but things like a Phil Spector or Brian Wilson production sound "better" to me in mono just because that was the intent of the record. It's the same reason I have a thing for some 45s, it's not just mono, it goes into the whole notion of mastering hot, and tweaking them for AM radio and jukeboxes. They just sound different, and on purpose. Having heard isome of them all different kind of ways, I can say with a personal conviction that the One True Way to hear a Ronettes record is on a Philles 45. Anything, EVERYTHING else is an approximatiopn. Trust me on this one. But hell, you take something that was intended to be in stereo (or quad, or multi channel, or whatever else), if they got it the way they wanted it the forst time, that's the way I want to hear it. I think you could buy Bitches Brew in mono back in the day(?), but...seriously? Why? For that mater, if you got high enough, why would you ever want to listen to it through anything other than headphones? The thing about those Beatles records in mono is that there are a few things, actual parts/instruments/whatever on the mono mix that are literally not there in stereo. Nothing really significant, mind you, just some stray horns, tambourine, what not. And just in a few places on a few songs. But if you've heard those records one way for essentially as long as they've existed, you notice when something new shows up, it's like you're kissing your wife and she's got a mole like Miss Kitty, and you're like, damn baby, where did THIS come from after all these years, and she's like, oh, I'm just letting you kiss my mono mix, and then you're like, well, ok, now I know, when can we go back to stereo, and she's like, are you sure you want to, and you're like, yeah, probably, definitely...but let's do this just a little while longer before we do. And then that's that!

If you find yourself wanting to do this in bulk, buy a connector that's whatever your phone is on one end and USB on the other, then plug them into each other. The phone should then show up as a drive/device and you can then transfer files with ease. If that's what you've already tried...I don't know. Probably some setting to not allow external devices?

The Testament record is really interesting. I think the band is more organic to the music than the leader, but I love it because he was trying, he wanted to go there, the whole electric/out thing. But it also sounds like his reach was exceeding his grasp, is that the expression? But hey - Pete Robinson, Henry Franklin, and Bryan Moffatt, this was not a band of coasters, these guys dealt. And I think that's what Woods wanted, cats who dealt. No matter, it's excellent Blindfold Test material, becuase until Woods start playing, you'd never guess it was him, and even then, you might not be too sure about that.

Because they are each their own thread. There is no separate sub-forum dedicated to all album cover threads.

Oh, I bought the mono box just for reasons like this. Glad I did. When people say "there are differences", they're right, and for Pepper & TWA, they're actually things that are in one and not in the other. Plus, the earlier stuff just kicks better in mono, imo.

I thought I knew the White Album down to every last detail until I heard it in mono...come to find out, I did know the stereo version to that degree, but just the stereo version. Bitches Brew, though, I lived with the LP for a long time before CDs were born, and Belden's re-do worked for me as "something different", but really...the Teo mixes for all these things should be the "reference versions", imo.

Put me in that camp, although my "turn date" is somewhere after he came back to the US, maybe with Musique Du Bois (the band excels, almost enough to obliterate the impending....whatever) and then the RCA and beyond stuff. Before that, hey, I'm usually in for him as a soloist, and always as a lead player. That European Rhythm Machine band was no bullshit! I gotta think that the "failed" period in L.A. where he had that crazy electric group with Pete Robinson turned him into some point-of-no-return sour. The Testament album has his commentary in the liner notes, and it is not "warm and fuzzy", focusing almost entirely on how poorly received the band was by the critics, Leonard Feather in particular. It seems to have left wounds, and I do find that most of the rest of his career, he continued to play at the same high level technically, but it just seemed...peeved at live in general. I could say bitter, maybe? Helluva a player, a consummate craftsman, and who really cared? otoh, the Testament album (which really should be heard by anybody who might have even half an interest) kinda sounds like Woods is getting passed by, "fashion"-wise, and knows it. He's electrified as hell, but Pete Robinson is playing the electronics, and Woods is still playing the same thing he played acoustically. I give him credit for going for the burn, but between the "popular reception" and at some point asking himself wtf he was trying to do with his life and his music, what was he going to do going forward, and I think he just kind of burnt up and then out. That was when he started playing all the "bells and whistles" that Larry referenced. I get that not everybody sensed the unpleasantness of the difference, but I sure did, and strongly. He went from somebody I was usually happy to hear to somebody I tried to avoid whenever possible.

Yeah, I went to hear Jimmy Heath with the NT crew not too long ago, and...I think their heart was in the right place?

Never that much of a "fan" myself, but I have come to appreciate his multi-faceted skills and contributions. RIP. The one facet of his work that I appreciated immediately (and before I knew anything about else who he was) was his contributions to Spanky & Our Gang. The album with the bright yellow cover that was packaged like a 45 is a particularly good record.

You're lucky it was a beer can and not an oxygen tank...timing is everything!

That's a :Lenny Bruce bit, right?

Pretty darn good, actually. Freddie kept good bands back then, and Hadley Caliman is an extra plus. And fear not popophobes, the program here is very "straight ahead". A solid A-/B+ date and if you don't have either this or Gleam, get one or both, unless, you know...

Not the original cover. But Doctor Jazz wasn't all that long-lived, soon became a part of sony...Portrait, I think, and that was the cover they gave it then.

Apparently you are/were not alone.