JSngry

That would be....wrong:

Ruff Snoopy Sandy

Hope Lange Jim Lange Jessica Lange

Y'all can spend all your hard-earned wagesess on all those fancy-schmancy new-fangled sissy-boy tweakerisms, but I've yet to find a better, cleaner power supply than this one:

Baby Dodds Buddy Holly Friend & Lover

http://www.dustygroove.com/item.php?id=5gs...p;ref=index.php Haven't heard it yet, but will soon!

Wow, the poll's over? Guess my Crusaders vote came in late...

Oh, I know that the word was being used before then. I'm referring to its use as a "crossover" marketing term. I don't recall the term being pushed to white, rockish kids over hear until later in the 1960s, around the time that Otis, Aretha, & JB began to make real penetration into that market, which actually would have been around 67 or so, although Stax in general began really getting big a year or two earlier. I can't count Motown, because although they did even have a label called "Soul", that wasn't the real focus of thier whole trip.

The Reefer Man Jack Teagarden Linda Mugleston

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.