JSngry

The pisser about the Applause covers is that they are cheap, pared-down versions of the original covers. It was an insult, it cheapened both memories and realities. Maybe you had to be there to realize just how disrespectful, cheap, and esthetically genocidal the whole Applause thing was. But as somebody who was there, yes, if there was a Nuremberg trial for crimes against music packaging, these would be the number one defendant, and they would be sentenced to the fullest extent of the law. Even the label name - Applause - was an act of attempted brainwashing, like ok, here is a plate of shit, only be happy you're getting fed anything, BE HAPPY FOR THIS PLATE OF SHIT. These kids today, they just don't know...

that one's not bad, but try Lighthouse '68. That one's got a really good vibe to it.

The live stuff is more of the same, maybe, but they send out a strong vibe and the audience sends it back, So if that matters to you, yeah, check it out. If not, hold whatah got. That band was never not going to play for an audience, if you know what I mean. It was a Texas band, so they will play for the people. The two Lighthouse albums on PJ would be where I'd start, if you're going to start at all.

https://www.allmusic.com/album/sandy-graham-mw0000612784 per the omnipresent Scott Yanow: Sandy Graham has such a confident maturity in her delivery that it is difficult to believe that this Muse set was her recording debut as a leader. The singer's confidence extends to her choice of material which is highlighted by "You," "But Beautiful," a tantalizingly slow rendition of "Whisper Not," "Hey John" and "Don't Explain." Without scatting or wandering far from the melodies, Graham gives each song an individual approach. Assisted by a supportive rhythm section and the tenor, flute and baritone of Herman Riley, Sandy Graham leads an easily recommended set of swinging jazz. and https://www.allmusic.com/artist/sandy-graham-mn0000832907/biography Sandy Graham is an excellent straight-ahead, bop, ballad, and blues singer who is based in Los Angeles. She has a very expressive and at times conversational style that is both soulful and swinging. Born and raised in Santa Barbara, she grew up surrounded by music. Graham sang in her Baptist church as a child and grew up loving jazz. She started out imitating and learning from the recordings of Sarah Vaughan, Billie Holiday, and Carmen McRae. Graham sat in at jam sessions and at 19 was a professional singer for the first time, performing at the Sapphire Room in West Los Angeles. Her life since then has been wide-ranging and includes time spent working as a model and an actress. Among the highlights of her singing career are performing with Jimmy Rowles in 1973, recording with the Colorado Springs Air Force Band in 1975, performing on a fairly regularly basis with the Nat Pierce/Frank Capp Juggernaut since 1979, working with Bill Berry's L.A. Big Band and the Gerald Wilson Orchestra, performing on several different occasions in Japan, touring Europe with the Duke Ellington All-Stars in the 1990s, and working with pianist Gerald Wiggins. Sandy Graham performs regularly in the Los Angeles area but thus far has surprisingly recorded only three CDs as a leader, one for the defunct Muse label and two more recent efforts (Comes Love and By Request) for Jazz Link. Here's another one: https://www.amazon.com/Comes-Love-Sandy-Graham/dp/B0007XYRUO/ref=sr_1_4?qid=1637068923&refinements=p_32%3A+Sandy%5CcGraham&s=music&sr=1-4 and one more (dude needs to present clean fingernails when it's the international internet, I say): Tabscott? Seems like she has enough money to not play the struggle game, so kudos for being there, Now...how does she sing?

Missed opportunity, dude.

Mel Torme played a lot of game shows too, but he still makes me cringe, even just hearing the name, hell SEEING the name, right here, right now. Not so Jack Jones. Mel Torme always had a look to go with everything he said. Not so Jack Jones. Jack Jones just spoke naturally and the point was made. You can learn a lot from TV game shows.

Saw her on Super Password and she said she was a singer. So I looked her up and she's both alive and pretty highly regarded. She's also made three records, the first of which was on Muse and has Kenny Burrell, Gerald Wiggins, and Herman Riley on it. So - Super Password Champion/Muse Recording Artist, there can be only one of those, right? Anybody heard of her?

Jump Up. He tried to make a brand out of it, but...the first time felt natural. After that, it felt like trying. But, you know, when Sheila E broke with "The Glamorous Life", the LP version, it was kinda like, oh really? Maybe this is gaining traction? But no. Still, you couldn't tell that until it didn't!

Nope. Not really. Shepp was making up in traditional skills that Trane had already exploded. People were talking that strings and harp and maybe voices and a populist/spiritual bent, and seriously...I don't know that being on the other side and this side at the same time is really do-able for any meaningful public duration.

Yes, my very first impression of it was how pretty some of it was. I'm not sure if that bode well for the whole "what if he had lived" thing, to be honest. Maybe?

Remember those two Jump Up records he did on Gramavsion? I liked the first one every bit as much as I did not like the second.

One of the 70s Phil Spector bios looks at those records as predecessors for the Spector concept, and actually goes into a bit of detail about how they were made. I believe the description was something to do with sounding like they were recorded outdoors, on a runway with planes taking off and landing, and pressed on asphalt. As usual, the effect was born of a combination of high imagination and low resources. It was a tiny studio, and they double tracked the voices by having the coming back into the studio in real time. So you got actual, real-time slap-back effects. Then they compressed the already shitting sound of the studio to make it a advantage, not a limitation. And then, yes, they used shitty pressings, because that's what they could afford. If you ever get an OG Legrand, the noise starts the secong the stylus drops, and it's not the noise of wear and tear, it's the noise of the crappiest viny imaginable. As with damn near all 45s, if you hear these records in digital and/or FM form, you're really not hearing those records.

I got called into a spirited debate between two lab-band-clowns to give my opinion on whether or not that was Alice or McCoy on this record because "Alice couldn't possibly play like that. Trane had had enough of her incompetence and called McCoy back for this record." Seriously. In some circles, Alice Coltrane is the jazz-villain equivalent of Yoko Ono. You want to know what that's about, well, if you have to ask....

Trusting sales figures to be accurately reported in real time by the labels that will need to pay out more $$ the more a record sells is not something to which I am naturally inclined.

Ralph Lauren Lauren Bacall Slim

Ok, I see now, it's the shadow of the tenor neck. Didn't see that right away, though, it looked like some really weird bathing cap or something crazy like that. Was Bud Freeman a swimming man at all?

what the hell is that on his head?

Just finished watching Jack Jones on two episodes of Password Plus where his celebrity opponent was Audrey Landers, whom it must be said played the game exquisitely except for one brain fart that cost a poor lady $5,000.00. BUT - The next round, the same lady was with Jack, and he got her that 5K, and with plenty time to spare. So yeah, Jack Jones, winning that bread!

Didn't he serve in some capacity on The Glenn Miller Story?

AM radio. And not just those singers, Kind Of Blue, Time Out, Ah Um, all them records had that Columbia reverb that sounded like a massive central air unit was always running. Ray Coniff, Percy Faith, Kirby Stone, for crying out loud! The Firestone Christmas records! Robert Goulet! AM radio was often noisy. Reverb would lift the music out of that noise and put into a swirling noise all its own. Phil Spector just took it to the next level or five Solid State, Thad-Mel, remember how they removed all the reverb for the Mosaic? NOW those records were ready for the FM! Before that, AM.

Bob & The Barkers - Spray, Neuter, and Sneeze!!! Oh yes they did!

Four pieces, four "sides", like a double LP. Uninterrupted pieces

https://www.dustygroove.com/item/993156

https://www.youtube.com/watch?v=XbBlsPk9Grs

I used to play Christmas music in July, to go along with the sales. But then summer got too damn hot for that to be fun. However, best Spring car music when leaving for a gig in the sunny early afternoon - Sly & The Family Stone's Greatest Hits.