JSngry

Tom Tomorrow Tom Terrific Manfred the Wonder Dog

Just got the EW&F remixes. Very interesting...

Virgil Jones pops up on a lot of Bob Porter-produced Prestige dates from the late-60s/early-70s.

Well, maybe Andrew has been a bit of a "head case" in terms of how he's presented himself over the years. Big whoop. Cat's still a genuine heavyweight. One of the heaviest, in fact. Noting/alluding to the possibility that he's not above playing mind games is something that doesn't alter that, but it might be worth noting for the "objective historical record".

And Fogerty, of course... It's common knowledge that Fogarty has retroactively changed the spelling of his name in order to invalidate his previous contacts. Well, the knowledge might not be so common as you suggest - there's nothing about it in wikipedia or on AMG (for what that's worth...), or even on Fogerty's website. I think that's because Jim was taking his clumsy fingers and making a joke, and that is not the approach that Fogerty took in his lengthy court battles. You naled, it Dan.

:Chances", that'a a song touched by god. No other explanation.

Control Freak Super Freak Grace Jones

her you me

Charles Barkley Gnarls Barkley Danger Mouse

Yeah, the freshness of these things is what is (still!) getting me. I've heard so many pop "remixes" that amount to little more than stretching out a song with empty filler and "tricks" like that that the term "remix" is one that I've come to greet with a big "fuck that". But this stuff more often than not is a wholesale reworking of the songs themeleves. New arrangements, rephrasings of vocals, damn near everything. Damn creative, and most importantly, musical work by all concerned! Can't say that I plan on diving headfirst into remixology, but I will say that it's a treat to hear something that's so technology-based that comes out a winner on the music. Definitely interested in hearing more things that do that!

Polly Bergen C. Sharpe Rider, Red

Especially if Foaghearty signs a deal with Concord to do an album of standards!

Phil Nimmons Bobby Timmons Abe Lemmons

Poppa, who loves mambo Momma, who no doubt also loves mambo Perry Como, who probably never met either one of them

Frank, I recommend taking a deep whiff of WD-40 and then taking a bath in Goo-Gone.

You left out impotent...

Take 6 My Wife Pleis, Bill

And with Fantasy, he still might be working a bar tonight.

This is not an issue if you download all your music, or get free burns from friends. No good deed goes unpunished, eh?

And Fogerty, of course... It's common knowledge that Fogarty has retroactively changed the spelling of his name in order to invalidate his previous contacts.

Yeah, the whole thing reads a lot differently than did that opening paragraph. I still think that the guy's writing froma "Feed Me" type fan perspective, but to his credit, he seems to have good taste in what it is that he wants to be fed.

Were the rappers not good, or do you just not like rappers? I ask because I've heard some SC stuff w/rappers that totally kills me, and some that leaves me cold.

Grin & barron.

I doubt it. Hey - "tension" & "release" are all relative to what the each individual perceives/feels/can handle/etc. Ain't nuthin' I can (or should try to) do about individual percpetions of life's forces. All I can say is that I'm fairly certain that a lot of the music of the 1960s that grooves us today was really intense in its own time, much moreso than we perceive it today, decades after the fact of the music and the facts of the various "tensions" that fueled it. If we today in 2006 think that Trane at the Half Note is intense-on-the-edge-of-your-seat listening (and it definitely is), imagine how much moreso it was in 1065. Same for Miles @ Plugged Nickel, or anything like that. I think it's a not unreasonable question for any of us to ask of ourself if we could have handled that stuff then, in it's moment. That may or may not be relative to how we do or not not respond to an intense music of today such as Steve Coleman's, there's other factors at play besides it's sheer intensity, but I still think it's a question we owe it to ourself to ask. There's still an undeniable danger in the older music, but there's also an undeniable safety in it as well. We kid ourselves if we think otherwise.

John Fogarty?