JSngry

The present day record business refuses to die!!!!

Has "the industry" adjusted their royalty rates paid out from streaming income, or is it like, oh good, more people are listening to the radio now and they're not buying records? Oh wait, they are buying records, hipster records, a whopping $419,000,000 worth. Wow, that's a lot of money for musicians and writers, everybody's on the road to wealth again!

That song's by "J. Levine" aka Joey Levine: https://en.wikipedia.org/wiki/Joey_Levine Arranged by Allen Stanton:https://www.discogs.com/artist/270579-Allen-Stanton?page=1 Joannie Sommers could/can sing for real. It's a trip, and ultimately chills (not in a good way) that you have this potentially wonderful aspirational soar going on, and then you get to the bridge, and it's just some chick pouring it all out for pay in service of - again, for pay - what grownass men think that young girls want to hear about what these men think are there dreams for their future. And yet, still a delightful piece of second-tier ear candy. At the same time it's some fucked up, probably totally unintentional misogynistic poison. The earlier the mindfuck takes hold, the less there will be to worry about. Until the game gets figured out #metoolongbeforetoday. It's poison, it's candy...IT'S CERTS!!!! Groovy. Truly groovy.

Never throw your dreams away. and what are your dreams? to get that boy. THAT boy! Never throw your dreams away.

Interesting life, nothing wasted as far as I can tell. RIP.

13 years? Like, thru 2032?

Yeah, he would. Not highly offensive, though, at least not by my standards. Then again, my standards are pretty low in that regard.

Wow, I had totally forgotten that "Aybee Sea" was solo piano. It's been too long since I checked out side 1 of that record, I usually got straight for "Little House..." on side 2. Thanks for the reminder!

Correct me if I'm wrong, but the vamp with the guitar solo was banded as "Aybee Sea" on the BWS LP?

Charanga is always refreshing after a prolong absence. And Barretto was making it modern with the changes even while being wholly trad with the format itself. Some more cool stuff from the man who was always all-in with the big glasses.

Yeah, maybe. Sometimes. Depends on how familiar you had gotten with it before you stopped listening the last time. Results vary widely to put it mildly. Some of it, I just have to stop, I'm like yeahyeahyeahyeah, STOP, next. But sometimes, it's familiar and still big fun, like the next one in/on the silver boxed garden of digital delights: Those Barretto Fania albums from the 70s are almost always strong!

finding a lot of cool stuff on the iPod. Kind of a drag that it's all older/familiar, but hey, it's an iPod that's been stored away for 5+ years, whaddya' expect?

Yeah, but if they have good records and comfortable furniture, hey....

I've not seen the movie either, but isn't the movie NOT about Don Shirley, but about the white guy who worked for Don Shirley? Just in case anybody wants to learn about the book itself, quite apart from the movie: https://en.wikipedia.org/wiki/The_Negro_Motorist_Green_Book

It's out there somewhere in the wild somewhere, gotsta be. Looks like (the B&W label) it might have been one of those things made for DJs to see how it would fare before going any further. The bigger labels did that a lot back in the day, make a single or two, see if anything took, and then....whatever. It is a delightful little record though, and without that DaveGrusin sound, not at all like Brasil 66/67.

Grudges get tiresome. Insightful criticism does not. The more time passes, the easier it becomes to tell which is which. Time's funny like that!

Alas, no. I found the 45 on a blog somewhere ago, so it's probably still misting around somewhere in the cyberether. I ws reminded of it yesterday, it was on my iPod, which I have broken out again for reasons unknown. The other side is "The Telephone Song" (Alloh!). I find both sides of the platter to be deliciously spintastic. This version of "All My Loving" is more "bossa" than the later Mendesian makeovers of the Beatles. It totally lacks the whole jet-set crossover vibe. There's a flautist (who might well be Hubert Laws?), and some really neat displacements of the melody and an opening up of some of the harmonies. At the end of the day, it remains a 2:00 45 with a flip side that is just about as good (and as short) that remains almost invisible to the ages. Oh well. But if you come across it anywhere, hey, carpe diem.

Yeah, that's definitely one of the maths. I mean, Lor Crane, pop A& R producer at Columbia Records, if that doesn't give you chills (not in a good way), your humanity is in a bad place. Like I said, for specialized tastes only.

https://www.dustygroove.com/item/899764?sf=Ranny+Sinclair&incl_oos=1&incl_cs=1&kwfilter=Ranny+Sinclair&sort_order=artist Not the kind of thing to experiment with, you're either all in on the concept or else just walk away now, don't look back, no regrets. But I'm in, and this is marvelous, often not for the music, but all these women, only a few of which you're likely to recognize now, they made records for Columbia. How did all that happen? God only knows, the imagination reels with possibilities, all kinds of possibilities. It's like the crate-diggers and their Funky 45s on on the other side of the tracks, the tracks that lead to making a 45 or two for Columbia. You do that math. Some of the records are ok, actually, and this one is really, uh...groovy! Produced by Teo Macero, arranged by Dick Hyman, song by Floyd Huddleston and "D. Williams", did they have ANY idea what a pot record this was? and then you get John Simon & Bonnie Herman! etc etc etc. These maths, should you choose to engage them, are just nuts. People got to this point and then did this, and then what happened? Too late to ask that, the records live!

Yes, and/but I give him credit, a lot of credit, for paying attention when he was there, and for listening to what was said around him. I've never heard accusations about him misquoting or mis-contextualizing or outright fabricating anything, which puts him in a distinct upper percentile of people who put their name on stuff.

The article is 22 years old. The notion of ranking and pitting "one against the other" is older than that (at least as old as Leonard Feather!), and is perhaps eternal (on both ends). It should never be encouraged, although it's impossible to not step in it every so often.

Again, totally cogent. I am in more (but nowhere near complete) agreement about Kenton than about Ornette, but again, they guy makes his point in such a way that all you can do is say, ok, I get why you feel that, can't argue with that. I have always enjoyed reading Stanley Dance because you know what he means and why he says it, agree or not, he's consistent within himself. And btw, he gave ALL kinds of props to the Harlem organ groups back in the day and was totally drug with Gene Lees for his "middle class" orientations. He was a trip, Stanley Dance was, ignore his perspectives at your own peril, there is real learning to be had.

From that rather silly list, I would like to point out Stanley Dance's rationales, which are at once infuriating and concisely incisive. He's the one guy who will piss off anybody who enjoys anything "modern" of any era, but when he says that Ornette Coleman is overrated by saying (and I hope my memory is getting it right) that "the language invented by Louis Armstrong did not need Ebonics", geez, that tells me that he GETS Ornette & Ebonics both in an organic way that many "approvers" of each do not, but he approves of neither, for whatever reasons he has. Fair enough. I don't mind some guy being wrong if he can make his case like that. Of course, he's still wrong.

I'd like to think that music exists everywhere but there's been a brain-engineering coup that has made it inaudible to all who don't know what it sounds like. That's what I'd like to think, anyway...