JSngry

But first there's on both ends. YUCK!

No, that was William Morris.

Yuck. Damn. Yuck. And damn again. 48 hours of hell.

Hey no problem. My head is constantly being gone over, so I can relate.

Geez, if we could make that "A Chamingly Gooey Treat" I could go on sale at 7-11s worldwide...

5/21/99: http://www.amazon.com/gp/product/customer-...eviews.start=91 Maybe I need a new hobby...

Me in 2001, drunk, high, or possible both: http://www.amazon.com/gp/product/customer-...174&s=music

Yeah, I know, St. Clair Pinkney and all that, but it was too easy to morph it into a wing joke after the comment about the wing store.

Dude, there was a little bit of tongue in cheek going on. I mean, I love how wynton "justifies" his quasi-rapping by saying that it was a part of his growing up in New Orleans... Looks like the storyline of the second half of this cat's life is going to be that of a man trying to get back in touch with shit he tried to kill for the first half of it. Only now, it's "legitimate" because he says so, and because he's going to use it to move ahead. Well, ok, how do you move "the music" ahead when it's already light years ahead of you? It reminds me of a man being dragged by a galloping horse thinking that the reason the horse is moving so fast is because it's being pushed by the man being dragged, not because the poor horse is trying to shed that dead weight in as expedient a way as possible. Pitiful.

Y'all can keep the eyes...

Glad to hear that whatever rumblings there were of Ms. Mercer's possible "bimbo-ness" appear to have been greatly exaggerated, if not in fact totally unfounded!

If you wanna believe Fred Wesley's book (recommended, btw), every one of JBs musical directors (including Wesley himself) faced the task of translating a set of half-articulated vocal sounds and body movements into an actual groovesong. Those were the specifics, and that's why I think the progression of JBs music can be traced by changes in MDs. OTOH... Although Wesley doesn't give JB any "real credit" for this, he does point out how the music would transform itself immediately when Brown would step in front of the band, if only to listen. He had a palpable kineticism to him that I can vouch for from the one time I saw him live, in 1981 at probably the low point of his career, palying in a loca club for no more than a few hundred, at most, people. He still kicked ass and left no room for doubt. He just projected this....thing, and you knew what it was, where it was, and that you damn well better get there or else be left in the dust. That thing is something that neither Nat, nor Pee Wee, nor Fred, nor anybody else could make JB music without first getting to (I'll give Jimmy Nolan a pass, just because...good god, JIMMY NOLAN!), and that's why all those names, "important" as they are, don't mean shit unless considered as translators of something bigger than any of them, including, eventually, Brown himself. Although, let me risk apostasy here and suggest that this is not at all a bad album: as well as that Brown was still capable of getting there himself damn near any time he wanted to. It's just that things change when you beat the woman bloody just for grins just because you can one too many times and she still sticks with you anyway. It's still love, but it ain't no ways "pure" anymore. And yeah, I'm talking music. Bet on it.

Animate that mofo!

Pank, gimme some WANG!

The one that really fucked me up was "I Got The Feelin' " Still does. Especially how on the bridge how the guitar takes the horn riff for what, two notes, and then gives it right back to 'em. "Insiders" credit Pee Wee Ellis w/putting the specifics of JB's funk into place, and I've got no problem w/that, but then again, no JB, no specifics to be bothered with in the first place. so... Linear-/literal-oriented white folk (of which I am one by birth, if not by destiny) have a problem with that "concept", but this so ain't about all that, nor none of all that, if you wish. Now, when you talk Alvin Robinson, you're talking New Orleans, even if by inference, and that's a whole 'nother type of funk, although deinitely familial. Somewhere deep in the bowels of Lost History there's probably a geo-/personal- "missing link" thing going on, but so far, I'm not aware of it. But The South IS The South, even now, and shit gets around more than the headlines lead you to believe that you have believed.

(but you need the back cover to get the full story line...)

"top edge of okay" certainly works for me if the goods are worthy, and that's a subjective call for each of us, to be sure! The cynic/old-enough-to-remember/bitter-cuss in me wonders if "top edge of okay" is going to be where all this ends, or if eventually they're going to be asking us to pony up $17.95 for an album download in whatever format they deem acceptable, and if we want a "deluxe" CD (you know, one with a protective case and some artwork...), well, that'll only be $22.95 (plus postage & handling). Or $2.95 at BestBuy... You'd think not, but this is an industry that seems to be able to plan ahead about as good as General Custer, so...

...so here's a friendly "heads up" for those so inclined. http://www.dustygroove.com/item.php?id=yjd...p;ref=index.php I've long had a scratchy LP of this one, and I think that "historically interesting" is a fair description for it. Definitely not a mindfuck or anything, but not an "inside the box thinking" thing either. Credit is indeed due, if not a particularly big lot of love or affection. Your mileage will undoubtedly vary (either way), especially at this price, but at least you know it's there if you want it.

I've got a few downloaded albums/EPs/etc. in mp3 form (bit rate uncertain) that I've burned to regular CD. I can hear a little bit of quality loss, but not enough to ruin my day, if you know what I mean. Since these were "freebies" (hard to come by Monday Michiru Japan-only things found on the NetherNet ), I'm content for now. If I'd have had to pay for them, though, I'm afraid that the price/quality issue might become a factor in my determing whether or not it was indeed a good day. That good day could definitely still be had, but not at too steep a price. And I'm still looking for real .wav/CD copies of most all of those items (having found two already), which I think says it all in the end. Here's my question - is $10 for a downloaded album, regardless of file format, a bargain (or even a "fair" price) in "real" terms, or does it just seem like one in relation to retail CD prices? This is not meant as a "provactive" question either.

Here's hoping that the music matches the rhetoric...

When you have music after it's downloaded, it's gone, in the air. You can never buy or sell it again.

Clever!

In chewy's defense, his statement is not w/o merit if you want to consider the impact that JB had on Civil Rights Era & beyond African-American culture. Brown's impact was much more than just musical, it extended to self-image as well, and that was/is hugely important to that whole area of examination. Those of us who were around while it was happening should know this, and know it well. To bust chewy's chops, his statement was phrased in such a way that one might think that he only knows about "black people" from watching Entertainment Tonight or some such.

Damn.