JSngry

They didn't know what to do once Wayne started digging in. Dude - that was Wayne's rhythm section. From the Phantom Navigator period.

SNES. Still. I've still got mine in my bedroom and working perfectly. Alot of the battery packs on the cartridges have lost their ability to save games, which makes some games like Final Fantasy II and Actraiser difficult to play, but its still fun as hell. Still fun as hell indeed. Great gameplay on so many of those games, and if 16 bit graphics don't make anybody pee their panties these days, oh well. I'll take great gameplay any day, and the legacy of the SNES in that regard is pretty damn formidable if you ask me (and my son, who's probably deeper into this shit than you and me and 98% of America. Seriously.)

You know what's really unfortunate about McCartney? His eyebrows. Those arches that could have been used as the model for the one in St. Louis. Great for teen-idol "Hold Me Tight" shit, but already undermining by the time of "Yesterday" (see the Sullivan video). I betcha that with different eyebrows, McCartney would have gotten a better critical shake.

I can't come down on Hamilton too hard (if at all) these days (put me down in the camp the feels that, "unoriginal" as he is, he's still developed into a player with an integrity of its own sort), simply because it really does seem to me that he's playing what he enjoys playing, that he enjoys playing what he plays, and that he has not fallen into the trap of blatant/creepy xeroxed-to-the-most-intimate-detail imitiation. Simply put, I get the feeling that he's playing for the sheer fun of it, nothing more, and nothing less. There certainly have been (and still are) far worse "mindsets" for a player to be in. And, as much as I myself enjoy (and overall prefer) hearing/playing/being around players who are "looking for more" both in the music technically and in themself personally, the older I get and the more I see people who have done so at the expense of being able to simply have fun with their music and their life (and keep in mind that that this is by no means a majority of such players), the less derision I feel for a player like Hamilton, for whom having fun might be all they have to offer both us and themself, but hey, oh well, and all that. Life's too short to spend it attempting to defang the fangless, if you know what I mean. Still curious as to how Tabackin came in after Wayne. And I still think that Monday and Wayne should collaborate. As for Scott Hamilton, hey, play on man, play on. Just don't be offended if I still laugh my ass off when I see you and Wayne together, ok?

It's not just the Lucky material that they do this with either. I get the impression of somebody not really knowing the GM catalog just making a "blanket deal" with somebody who maybe did or didn't. But oh well... BTW - That Buddy Rich Last Blues Album is a personal fave of mine. Jacquet plays his azzoff, and you get George Freeman, Jimmy McGriff, Kenny Barron, & Bob Cranshaw all together in the same place at the same time along with him.

HEY! Just use that list for a reference. Order throgh an O-Link whenever possible, ok?

SNES. Still.

Well, yeah, but that's not what cracks me up about it. I mean, Scott Hamilton plays very well and speaks eloquently in his own voice (such as it is). There's really noithing "wrong" with his playing here at all. And frankly, yeah, Wayne "Plugged Nickled" him. But 30-40 years after the fact, big deal. Wayne's got that shit down to an "act" that he can pull out of his pocket, which is pretty much what I think he was doing here. It's just that Wayne is coming from some place completely different. We all have our "preferences" and all that, but really, it's just freakin' hilarious to me to see Wayne follow Hamilton like this, and to compare where the tune ends with where it was when it began. Pretty much a seismic shift, eh? The real bummer is that Tabackin got cut out. I'd love to see/hear how he came back in and moved it somewheres else, wherever that place might be. That would be entertainment!

"Alcohol problems"? Does this mean that he's gravely ill as a result of prolonged over-consumption or that he's crossed over to the dark side where your demons finally take over all the way? I love the stuff w/Ponty btw.

Honestly, that's the only emotion I could muster.

But Bob's had a thicker head.

http://www.dustygroove.com/browse.php?labe...&format=all

http://www.youtube.com/watch?v=1cYH4WnP5EQ Apologies if this has been posted elsewhere...

Jan Hammer with Elvin is nothing to shy away from.

Is that K.D. Lang?

Quite possibly so.

I'm not in any way a violent man, but I'd like to smack that sillyass motherfucker upside his head more than just a few times.

Far be it from me to assert any mantle of Pop Presidentiality here or otherwise, but yeah, I always thought the guy had pop skills/chops/whatever in abundance, to the point, in fact, that I wish he had spent more time producing pop records for others and less making prog-rock ones for himself.

Lifetime was one of those things that was so much of its time that it was actually ahead of it. I don't know exactly how "influential" it ended up being in terms of style, but I think that most of the people who heard it in its time heard it hard and that it set a lot of "conceptual" wheels in motion for them. I can tell you this though - from where I stood at the time (early 70s American teen already into "jazz rock" & rapidly discovering "real jazz"), pre-Mahavisnu Orchestra John McLaughlin was sort of a "cult figure", one of several whom people were watching with interest to see "what's going to come of all this". Lifetime was certainly a part of this equation, but the records, especially Emergency were not exactly well-produced or recorded, and, in America anyway, well-distributed & promoted. I had certainly heard of those records long before I actually got to hear them. By the time that the first Mahavisnu Orchestra album, well recorded, well-produced, well distributed & promoted, was released, Emergency, if not out of print, was anything but a readily avaiable item, and even at that, Volume 1 was a helluva lot easier to find than Vol 2 (forget about the original double LP). I don't claim to know too much about ProgRockMetalEtc, not at all a fan overall, but looking at the chronology & musical orientations of the people involved, I'd have to think that Emergency was something that they at some, probably earlier than later, point heard & were "stimulated" by. How that translates to "influence" is probably a question of personal interpretive semantics.

Not as I recall. Pretty sure it was released before Let It Be.

Not an insect at all!

Not sure I see the connection? Just heard, entirely coincidentally, something called "The Season" by Beanfield on a podcast. Really nice, and even if I had no idea who the band was, that voice was immediately identifiable. What a distinctive timbre! And even more distinctive as a speaking voice. Did find a picture. Looks like she's into that Insect Look.

This would be funny if it wasn't so damn true. Hell, it's funny anyway. I'm all for moving forward into the digital age and all that, but there seems to be a lot of "it's over" before it's over coming from people who think it's over just because they don't know how. A bunch of freakin' morons on both ends of this rope, it seems to me. Here's hoping that Russ Solomon continues to not be one of them.