JSngry

Is it only happening at night?

I have that one - very nice album, very well recorded! Forgot it originally was a PM production - Perla had good taste as a producer! Probably a labor of love from one bass player to two others!

Anybody ever seen the Ready Steady Go show with Eric Burdon sharing the bill w/Otis Redding (along with some totally stiff dork with bad teeth whose name I forget)? They get together for the finale ("Shake", I believe it is), & Burdon is checking out Otis like a burglar casing a joint. Classic!

Something happening here, what it is ain't exactly clear.

Ain't too many folks these days what can be bothered with the ol' historical perspective bizness. It's a 20th century concept.

Enjoy!

http://www.icebergradio.com/artist/30662/w...rd_robison.html

Willard Robison & Dedette Lee Hill. 1938 http://sc.millersville.edu/manuscripts/manus/scoreO.htm

That lime's a lemmon!

And if a valet's not handy, just leave the keys on the dashboard, with the car unlocked. Somebody will be along shortly to move it to the proper spot.

So, you're into menage a Triage?

Yeah, it definitely seems like we've returned to pop as a primarily singles medium. People who criticize today's pop for it's vapidity are usually correct, but they're also missing the point of what the object of the game is - it's not to create a memorable album, it's to create a single that will stick in the ear and empty the wallet. Albums are besides the point (or should be!) for many of these acts. It's ear candy, pure and simple. I do think, though, that the producers of singles "back in the day" put as much thought, effort, and consideration into the crafting of a single as today's producers/artists do into an album. That's why so many of those "golden oldies" still shine - they're perfectly crafted miniatures. Plus, if you've had the "pleasure" of buying any singles-era rock/pop albums, you'll see that the albums, more often than not, consisted of the single(s) and a bunch of auxillary filler. The singles were generally well-crafted songs and productions, and the filler, uh.... wasn't. It's funny how stuff like this comes full circle. 20th century American opular music was always based on individual songs, from the days of sheet music to the advent of 78s, on into the era of 45s. Rock (as well as Country) was very late in adopting albums as a serious medium relative to other musics, probably because the mindset of the artists and the industry both was still in "song" mode - you sold the song, pure and simple. The album thing is something else entirely, even when there's hit singles involved. Different mindset, different set of creative skills, etc. Relative to the "big picture", the album era might well be percieved as an abberation rather than the norm. Now, with the concept of "music on the go", the i-Pod has become many peoples' personal jukebox, and we're right back to the 78 era, only in digital form. And the beat goes on...

The LRC Benny Golson side is really worthy of investigation. It's got that disgusting early-digital-recording emptiness to it, but there's some serious playing going on. Later released on Laserlight as with this cover:

It wasn't a Laserlight, at least not originally. It was LRC.

There's probably a whole sociological study just waiting to be done on the differences between those who grew up with rock as a singles medium and those who grew up with rock as an album medium, to say nothing of those like myself who had it both ways. Truthfully, as much as I dig the album thing, there's a certain "perfection" to a really great single that you can't duplicate any other way.

The whole Solid State/EMI/LRC thing continues to perplex me. However - LRC/Laserlight have also released items from the Groove Merchant catalog, and a few of those items are worthy of investigation. Also, LRC went on an apparently "legit" recording bingette for a quick minute, releasin a McCoy date that's not bad and a Benny Golson date that's even moreso. One LRC/Laserlight "grey" item that might be of interest to many here is the Slide Hampton thing: Two different live dates on one CD. Collectively, you's got yer Martial Solal, yer Hampton Hawes, yer Nathan Davis, yer Daniel Humair, yer Dave Pike, and yer Henri Texier. Very good late-60s "advanced hard bop".

Now THAT I can read!

And now, Jim? I can see it, I just can't read it. I think I gots old-man eyes.

Nice, but I can't read it.

Brownie, the album to which you refer is indeed a stone classic, but the album referenced in the opening post is something else entirely - most (not all!) of MINGUS DYNASTY with the title cut thrown in. It's a compilation that makes no sense whatsoever.

Pretty sure that they're selected Broadcasting majors and that it's a class for them. Ever heard of Count Bassey?

A wack compilation best left alone. Get the full albums.

Just got around to picking this one up, and it's another winner. Might lag a little on the last few tunes, but what comes before is killer, and the very last tune is too, so it's all good like that.

It's been listed at Dussygoov fairly recently.

Did he NOT get the quartet?