JSngry

That's a little too conceptual...

DAMN! Same thing only different, longer, & weirder: http://www.youtube.com/watch?v=1CoxNzOOoQU...feature=related JB, MJ, & JB undercuts Michael w/that tempo change, & then Prince goes mental and fucks everybody up by actin' a signifyin' fool!

Talk about a wasted opportunity... http://www.youtube.com/watch?v=1tgTjyJfxbw

http://www.youtube.com/watch?v=oQ5bwgnfBw4

Apart from the hype and scandal, Jackson was of the most purely gifted entertainers of our lifetime. Perhaps he is among the last to have come up in a time when the old-school entertainment work ethic was in full-force. Even though he came up in it as a child, he obviously picked up the skill set and work ethic. The man had huge problems but he also had huge skills. Neither should be either overlooked nor denied. I heard "Billie Jean" on the radio last night for the first time in...probably...10 years. A Perfect Pop Record if ever there was one, and far from the only one the man made. Still and yet once again, if it were that easy, it would all be at that level. Obviously it's not. I was never a "fan" in the pop culture sense of the word, but both Thriller & Off The Wall are definitive statements that anybody with even half an interest in either the musical or social evolution of Popular America will find fundamental to any sort of understanding. And this: is one of the hippest things I've bought in the last 5 years.

No meal for me, thanks, but the sandwich itself is a darn user-friendly (in every sense, including "taste") item if one want/needs/chooses to scarf while driving.

I had a nice conversation w/Dave Liebman about this back in the late 70s, and I stand by what I've said about Miles meaning it. What needs to be understood is just what "it" is...it's more than just "music"...it's also about "place in society", which is a lot deeper than simple "money" & "materialism". Miles Davis ended up a universally recognized Cultural Icon. Stanley Crouch is recognized as a Jazz Critic & Social Commentator. Miles aimed higher, Miles got higher (no pun intended...).

Definitely true, but there's also something to be said for a composer communicating intent in an atleast somewhat less than obfuscatory manner. I mean, I'm good with it either way, but at this point, if I bother to make something and not care who, if anybody, "gets" it, then I'm not going to sweat if anybody even gets the chance to. And if I want somebody to "get" it, then it's up to me to communicate, not just send out signals into a void, not unless I'm willing to live with the possibility that they might not get picked up... I mean, I'm totally sympathetic & empathetic to the need, the real need for self-expression. But self-expression and communication only sometimes intersect, and imo, it behooves one to be fully aware of that beforehand, and to proceed accordingly, whichever way one feels compelled to go.

So if you ever come across their two volumes of Sonny Rollins in Denmark - STEAL THEM!!!

Ren & Stimpy Stubby Kaye Stuffy Turkey

Do you intend/attempt for your defecation to be art? If you do, then you got every right to call it like you see it. Just as I have every right to not be at all interested in checking it out. But if you can find an audience, capre, or should I say crape diem!

I ate a meal today and didn't spill any on the floor! I encourage all to applaud that too! Or else we can get over celebrating the obvious and talk about other things. But here's a hug for anybody who really needs one!

Yeah, those three qualities are not mutually exclusive, at least not for some people. But he meant it. Hell yeah he meant it. There's too much Miles in that music for him no to have meant it. Miles Davis was a very proud man, remember. The arguments of Crouch and others remind me of a lover who gets jilted when their partner decides they'd rather fuck somebody else. GOTTA be for the money. GOTTA be for the career, GOTTA be for the trophy. GOTTA be for ANYTHING besides they found somebody who they simply enjoyed fucking more than you. When you make music that is ALIVE, it's like fucking. It connects you to the eternal and nothing feels better. The opposite happens when you play music that is not alive. Ching-Chinga-Ching & RappadappaWHOOOOOSHaleedada refused to accept that Miles felt better fucking Wocka-Wocka-Wocka-Wocka than he did them. And Crouch and all them others REFUSE to accept that theirs is not the best there is to be had. But there's always gonna be somebody who does it DIFFERENT than you, and sometimes different IS better, if you get different enough that gets you where you're living (of want to live). Then different DOES become better. He meant it. Hell yeah he meant it.

I too have experienced the slowness.

Somebody should make a list of all the titles not delivered and place an order of just them.

Speaker of the House King of the Road Star of the Show

I was living in the "music student's dorm" when Hissing came out, and it was so funny...you'd walk down the halls & from rooms where you usually heard jazz or classical of one type or another, you'd hear Joni Mitchell. Before that, a few people were into Court & Spark for the reason I mentioned above, and there were always a few chicks into the earlier stuff (no sexism intended, that's just how it was, and if "chicks" offends anybody today, sorry, but this was a musician's dorm and "chicks" was universally accepted/condoned parlance, and its starting to piss me off that I even feel the need to explain this...), and putting "Twisted" at the end of the album was a nifty "wow" factor for people who couldn't believe that a "folk singer" had all of a sudden started wading off into these....deep waters with nary a trace of stumbling and a fairly large dose of mastery. This one got a lot of people's attention. Not as many as it pissed off, but them's the breaks, eh?

I ordered the Jones because I had none of the music & wnted to hear it. I ordered the Weston because I had pretty much all the music but wanted to be nice to Mosaic.

That's a great record too, imo, but it's generally considered to be The Record That Ruined Joni Mitchell's Career, her Pet Sounds, if you will...but hey...she got a new, if significantly smaller, audience out of that one. Yeah, that, and for me, the whole thing doesn't hold together conceptually as an album as well as did its predecessor. Great parts though!

And a what-was-then cutting edge production style, what with all the LA session players who were only a few years ago "jazz players" making pop music wholly unlike the generation of like-labeled players before them. You get that on Miles Of Aisles as well, and maybe a day or two before Steely Dan started going deep into the same territory.