JSngry

But not with Elvis? Pity.

They both made movies w/Elvis?

HA! Two separate ideas, both from "the streets". Both used in banter when teasing about the size (or lack thereof) of a peer's girlfriend. Hardly Shakespeare! Both, though, are significantly more eloquent than "more cushion for the pushin' "....

Thanks MG, that's the kind of deep background I was looking for. Your memory of Phillips/Mercury is no doubt accurate. I was born in 1955, so my first-hand memory of 1963 is limited to that of an 8 year old. But I've done enough "homework" to somewhat safely say that I'm not aware of a noticeable market for African popular music in the US then, other than (probably) that of a few highly urbanized areas. There was no "fad" or even a sub-fad that I'm aware of. Makeba was beginning to get released (on RCA, iirc), but her only even semi-crossover success was w/"Pata Pata", and that was, I think, 1967 or 68. The only possible "connecting" data on the album is that all songs were published by Felsted Publishing. Another "odd" thing is that the album specifically uses the term "South African Soul". Now, "soul" as a marketing term in "crossover" popular music didn't really come into play over here until a few years later, 65-66. So maybe this was intended to be aimed at an African-American market. Maybe they were aiming at the Olantunji market, but this is so different from that... I don't know, the whole thing just seems sort of out of left field, if you know what I mean.

Even though the sweetest meat lies closest to the bone, nobody likes a bone but a dog. Those adolescent aphorisms never go out of style!

Well, they used to be...

Barbara Bel Geddes Larry Hagman Barbara Eden

Yep - a magnificent performance, Shorter and Williams in particular. They sound like they have been let off the leash after months of confinement. It's a great gig, though not obviously superior (except in terms of the setlist) to any of the others on that tour. Guy Karlsruhe is significantly more visceral than Oslo (which is, of course, not necessarily "superior"). It's rougher from the git-go. The staging is nowhere near as austere as in Oslo (the lighting in particular is really wack - one minute it's full house, then it drops down to spot-llit, then it's back up to full house, back & forth, with no real rhyme or reason), and the way that everybody kinda stumbles outta the wings is really (or ). Wayne & Herbie both have facial expression & body language that leads me to wonder if maybe they might not have had a few before right before the set, and Tony's constantly having to hassle w/his hi-hat, trying to keep it from sliding away. Hell, you can even see Ron Carter tuning up during the first number. When was the last time you ever saw Ron Carter tune up? No, Oslo's more hit it and quit it, whereas Karlsruhe's more hit it and keep hittin' it. Both excellent, but one definitely less "cool" than the other. And the look on Miles' face (from the wings) after Wayne finishes on "Walkin'" is priceless. As is Wayne's solo.

Hey Paul, where'd y'all get the charts?

Ok, that's what I was thinking, that this was a really odd choice for an album at that time. MG, what was "in the air" in '63 that might have made somebody think that there was a market for this type stuff? Mercury being a part of Phillips and all by then, and this being on a Wire list, I'm thinking that maybe the album was first & foremost aimed at the Euro-market, and the US release was secondary. No production/coordination credits, but the artists included areSoweto Stokvel Septette, Mr. Dube, Jabulani Quads, S.D.V. Swing Band, Cassius the Great,, T.V. Sisters, & Mr. Bull (it's he who made the record that Masakela later "appropriated"). Any of those names ring a bell, MG?

Yeah, I'm trying to give an album that only a few people have heard of a reputation so I can put it up on eBay, sell it for $350,000.00 and the use that money to buy the Velvet Underground acetate. Then I'm going to resell that one and buy me a Honus Wagner card and burn it on national TV. Then I'll have a reputation, and I can go back to my high school reunion and finally have the respect I deserve.

My son's into them.

Yo, that Karlsruhe shit is off the freakin' hook. Gotta be a story there...

He probably does, but I've always been too wrapped up in the music to notice. So, maybe he doesn't! Dude - it's Dewey. Screw Keith's moanings (if there are any).

In arranging style, yes. The live date is probably a bit more open for solos (it's really a blowing date with the arrangements as frams, that one is), but that'll vary from session to session. And some of the studio stuff is more "involved" writing-wise. Stuff gets pretty "dense" sometimes. But I think it's safe to say that however you feel about the L.A. thing that you'll feel likewise towards the Mosaic material. It's all Oliver, it's just a question of degree.

Didn't Victoria Jackson do it like that on SNL beofre Madonna's record? Or was it the other way around?

Is that thing still legal?

Dorothy Toto Roseanna

http://www.cowboylyrics.com/lyrics/cash-jo...-left-2223.html

I dunno, man, Brenda Lee's cool w/me, in measured & regulated doses. Anyway, 3-5 times a season is the most I can handle even the best of these things (10 or so for "Christmas (Baby Please Come Home)" by Darlene Love & a few others from the Spector thing, more than 10 - but less than 20 - for anything off the Bing Crosby Christmas album I've heard all my life). I just don't listen to them unless I want to. Otherwise, it's The Cone Of Silence for me. Practice has made perfect!

No, you can be excused (this time ) because most of Neville's reputation outside of the "deep" fans has come in the last 15-20 years or so, and it's been through (mostly) cheesey material & productions. But the cat's got a deep history, and a deep legacy. The compilation pictured above is a good enough sampling of the prime early stuff (Allan Toussaint's all over it, and that's usually a good thing, at least back then), but there's others. Nothing comprehensive yet that I know of, but it's mostly all good - mid-late 60s New Orleans R&B of the finest variety. If Lee Dorsey was Tousaint's Mustang, always ready toi hit the streets and rumble, then Neville was his pimped out Lincoln, plush on the surface but deadly when needed. For something later, check out two of the Neville Brothers A&M sides Yellow Moon & Brother's Keeper. Neitehr are consistently great, but they are often enough. Oh yeah, he had a solo album with that insipid hit cover version of "Everybody Plays The Fool", but it also had a killer version of John Hiatt's "It Feels like Rain" and an ethereal-out-the-ass reading of "Ave Maria". The "yodel" thing is in there, so be forewarned. But dude, Aaron Neville has paid some dues and reeks of soul when he's not making records that just reek, period.

Lord have mercy YES!!! If I have to hear Amy Grant sing that song ONE MORE TIME..... Amy Grant did that one? Oh lord help us all... I do like Brenda Lee's version though. Just not 150 times a day. Same label, same era, roughly - Bobby Helms "Jingle Bell Rock". Now that's one that gives me the willies...

I was just wondering if this album's become some sort of "underground classic" among fans of this type thing or not. Seems like a really unusual thing to release in America in 1963, but damned if it's not still a treat to listen to.

That's from The Wire, right? How much "currency" does that list have?