JSngry

It flows better when Dionne sings it, can't find a video of it though, but...damn...this stuff just comes out of nowhere, and the lyrics are what grounds it as a song, I think. Without those words, it's "just" a clever combination of melodic events (yeah, "just"...as if...) "Now here I am, the last one to be loved"...DAMN, that's some strong stuff...you can't get there by just notes alone, not there. I miss the days when a 45 could just make your world change in about 3:00, more or less. Thy were like little guerrilla raids masquerading as disposable commercial product...I guess they were both, but the notion that somebody would dare to put a song like this out for public consumption speaks to a collective courage and defiant optimism that has all but been sucked out of our world...or whatever. Whatever, yeah, whatever. But this did happen, this off-the-wall popular music, and it was good. And Hal David was one of the ones who did it.

Here's another one where the melody goes off on some tangents out of nowhere, and they lyrics are right there...I wonder what their practice was, who led who, or was it a 50/50...it was definitely Magic calling on Craft, and Craft had Mad Skills to answer the call, for sure.

Find a Dionne cut called "How Can I Hurt You" it's one of the more bizarre Bacharach-David songs, mostly on Bacharach's part, this shit is really weird. but geez, who else could've kept up lyrically?

wow...

One of the definers of 20th Century American Pop Music, to be sure. From the sublime http://www.youtube.com/watch?v=75WRBvFyh8s To the scary-as-hell..."Walk Little Dolly" (if you can find it somewhere...) To...whatever this is...hated it as a kid, love it now. I get it. Sure, it was Bacharach-David, and Bacharach's production/arranging was genius unto itself, but one could well make the case that without those lyrics, those would never be POP songs, especially not successful ones. And one could also make the case that not until or after Elvis Costello did Bacharach ever work with a lyricist who got the best out of him. Carole Bayer-Sager? Uh....no. RIP Hal David, and thank you, sir. You served us well.

That would be a tasty snack, indeed!

http://www.youtube.com/watch?v=2Kbb5VjJRgI&feature=related

EIEIO http://www.eieio-inc.com/ Eeyore Eefers http://www.youtube.com/watch?v=75qIdhCO2DQ

Why is the Wess/Coles date so much more expensive than the GG? Will there be snacks?

I'm tempted to offer the perspective that if one does not care to go too far at all into the Zappa catalog that it might be worth it to look for good vinyl copies of the original LPs that are of interest.

The New Zoo Review The Ike & Tina Turner Revue Robert B. Silvers, editor of The New York Review Of Books

One must wonder if the admiration is reciprocated:

Big Joan http://www.youtube.com/watch?v=7JCWjyAtxUI Big Nick Big Dick

Galaxie 500 L.T.D. The Fabulous Thunderbirds

Big Wally Big George Wally George

My mom and dad were at that game. I wasn't born yet.

I don't follow football that much these days...but how does this thing work? Maybe I can get my son to make my picks for me. He's been pretty good at that over the years.

The most popular music sells the most. And the music that sells the most is the most popular. Go figure that.

I mean, what kind of world would it be if popular music wasn't popular? That'd be some kind of demonmath or something.

Perhaps that's why that music is Top 40.

Tony Scott - Boomerang Tony Scott playing with a Czech Trad band in 1977 (yes, there's banjo, and yes, the "swing" is more often than not indeed "swing", although sincerity of intent is never an issue). There's more than a few moments where Scott channels the spirit of Lester Young in his phrasing unlike I've ever heard anybody else do it...eerie. Then there's times when he applies his more extreme clarinet techniques to the tenor and sounds not too unlike Albert Ayler taking over the body of Bud Freeman...equally eerie. All in all, it's a curiosity, albeit a weirdly fun one. I got mine for forty-nine cents, and would gladly have paid 10x that for it.

A Trenier-ish piano/bass trio with Al Harewood on drums, whose presence answers the question,"how DO jazz musicians make a living?" A family remembrance from the daughter son of Mr. Chiles can be found here: http://mybrownbaby.b...ny-rollins.html Those who get pissed off about historical inaccuracies daring to be served up in family remembrnces, just...stay away. But it's kinda nice to find out what happened to at least one half of this duo, just because, ya' know, there's a lot of people go into the factory, and more often than not, you never hear how they end up, or even if they make it out.

Gene Ammons - Got My Own Could there be a more accurately titled Gene Ammons album?

I'm kinda wondering what we'd do with the answer if we found it.

I'm pretty sure this is the Kenny Rogers who was a member of Frank Foster's Loud Minority when it recorded for mainstream. But would that be the same Kenny Rogers who recorded with Hank? It would be cool if it was! Yep. I saw that guy, sat directly in front of the bandstand, in fact, with a Tito Puente latin-jazz group. I have never heard cowbell played with such authority in my life. All the "MORE COWBELL" jokes out there would come to a dead halt if everybody could hear it played like that. Not for the weak-willed, or faint-of-heart, or unsound-of-time.