JSngry

Pretty sure it was only released as part of the Japanese LP set. I bought the American one new back in the day & it didn' thave a 45, nor was it supposed to.

I'll wholeheartedly second that & add that you are in essence providing many of us with a "virtual museum" of the music that we would be able to access in no other way. By all means continue!

Jean Toussaint is indeed a fine player whose work I've long enjoyed, but this is not his bag, his "native tongue" if you will, and he does not speak it fluently. Nor do any of the other players, especially the guitarist, who sounds as if he is reading from a book rather than speaking from the heart. Much the same for the drummer. Why it all works is because BJP is providing the bottom, and this is a music built entirely from the bottom up.

They say some people long ago were searching for a different tune, one that they could croon as only they can. They only had the rhythm, so they started swaying to and fro. They didn't know just what to use, but things eventually came together, as they are wont to do. Among other things, they heard the breeze in the trees, singing weird melodies and they made that the start of the blues. Then, from a jail came the wail of a down-hearted frail and they played that as a part of the blues as well. Going out into the world of nature, from a whippoorwill way upon a hill they took a new note, pushed it through a horn until it was worn into a "blue note", after which they nursed it, rehearsed it, and then sent out that news that the Southland had give birth to the blues. From there, things pretty much took care of themselves.

Gohdamhm, BJP is up there with 4 no-swingin' mofos who sound like they're taking an exam or something, this guy's outnumbered 4-1 not just in quantity but quality, and the shit still swings like a big dog! That's mojo, bay-bee, & BJP be haddin' it!

aka "Shine and the Great Titanic" Text: http://www.dolemite.com/original_rhymes.php?r_id=4 Video: http://www.youtube.com/watch?v=eS9BMfEfd28

Not that I'm aware of, but I'm coming to this stuff waaaaay late, so maybe there is & I just haven't found out about it yet. If not, there needs to be. This stuff is every bit as worthy of research as Pet Sounds, etc,, I think.

Yeah, I know. I've been doing some casual thinking about how different musics are in essence either "performances" or "works" & I find it interesting how much "pop" actually falls in the latter category (and how much "rock" into the former). The Warwick/Bacharach/David collaborations definitely fall into the "works" category afaic. Edit to add that the one song I cite, "In Between The Heartaches" is so full of sudden dynamic & emotional shifts that doing a straight take vocal might well have been counterproductive, that recording it in segments might actually have given a better, truer final result. I don't know how much, if any, of this was actually done, but if Dionne did in fact sing it all, or even most of it, in one take, then she deserves a helluva lot of credit (and even if she did it in segments, hey, great job), because that song & that arrangement follow no rules or no logic other than their own. To deal with that, you gotta be ready to just "go there" without any sort of fallback, jump off a cliff into the unknown and know you're going to fly. That's one helluva thing for anybody to do, a "pop singer" in particular.

I heard her in person in the late 70s or early '80s twice -- once she was horrendous, once she was great. My impression was that the bad time she was really stoned. [Added in edit: IIRC she was literally staggering around the stage at times.] FWIW, the gist of this thread was intended to be a look at the music as found on record, since there is a "conceptual" thrust to so much of it, a specificity of "presentation" to a degree that live performance of this material in this form would be musically redundant at best, unnecessary and/or anti-climatic at worst. This is a distinctly different aesthetic that that of the "recording as document" school, and one may or may not find it valid to whatever degree, but it is a reality nevertheless. Now, having said that, I'll go ahead and say this again - "In Between The Heartaches" is a perfect piece of jaw-droppingly original music in every regard, and that originality grows, not decreases, in my estimation with each listen. Hearing it in person may be a painful experience or an ecstatic one, depending on any number of variables, but my point is that that is not a particularly relevant point when one is evaluating the record. For stuff like this, 99% of the time, the record is the point of it all.

Recording & its evolutions has created a reality of music, including great music, for which live performance is by no means a relevant criteria of the work itself. Just as cinema is not theater, a record is not a concert. Oh well!

So many of his bits were folkloric things that he packaged and put his own spin on. So when you hear him, remember that what you are hearing isn't just one man's lavishly lewd creations, but is instead a repository of a culture's most ribald humor. That Johnny Otis Snatch and the Poontangs album is another such thing. Besides, some of those bits, like the one about Shine, the brother on the Titanic, are just too damn cool, period.

I come here today to tell all who will listen that "In Between The Heartaches" is a perfect piece of jaw-droppingly original music in every regard, & that when I say "perfect", I mean perfect, and when I say"music", I mean music. That it's taken me about 43 years to discover it for myself suggests that greatness is never destroyed, it's sometimes just hidden really well, as well as that maybe what I think I know is more like what I know I think.

Dude, if you're out there, I finally got to hear Willis Jackson's Bar Wars, and all I can say is DAMN!!!

Sorry for the loss, of course, but I really don't know her work at all. What are the highlights?

The mouthpiece would be Rollins' not Land's. Land played metal, iirc.

Zappa, ca. 1975-76 (Roy Estrada & Napoleon Murphy Brock were both in the band if that pins it down) at the old Dallas cConvention Center. I had 12th row seats or something and lost my high-end for about a week afterward. Fine show, great playing, but just too damn loud.

Nathan East Sid Nathan King Kolax

Tommy John Elton John Little Willie John

I see "loose" Mosaic sets - both recent sets and some long oop - in the used stores all the time. No surprise that these are up for sale. "Loose" meaning, what? He knows somebody who knows somebody kind of thing? Sets w/no box or booklet.

Joe Adcock Roy McMillan Eddie Matthews

Adding another post to the count to say HAPPY BIRTHDAY!!!

Saw the Tops live in downtown(?) Detroit at a free concert, 4th of July, 1981. Memorable, to put it mildly. Played with them in the backing band of a Temps/Tops show in Albuquerque, a year or two later. Equally memorable. Levi had the kind of thing you just can't fake - or destroy. You can dress it up, bury it, divert it, whatever, but no matter what, it is going to be there, just because reality inevitably trumps pretend, sooner or later, one way or the other. RIP, & if anybody's cut a better record about the urgency of getting with somebody who ain't with you yet but damn well needs to be than "Bernadette", I've yet to hear it.

Same here, a feeling that only deepened as I got older & she got older & she started giving intervies as her older self & her real personality started coming through & it became apparent that this was not just a "dame" , this was a smart, fun-loving woman who had her shit together in every way. How does that not attract you?

Such a FINE commercial!