Teasing the Korean

I tolerate Weather Channel music only when trying to determine how to dress on a particular day. But thanks anyway!

I understand that, but the Weather Channel guitar sound is not conducive to the album's overall stylistic bag, staged or not. If others like the sound, that is great, but I don't plan on spinning it again.

I'm trolling for pointing out what I feel is a grossly inappropriate guitar sound on a straight-ahead jazz album?

I certainly don't like the lyrics on their own terms, but I think the tune works in context with the sequence I created. Just my opinion.

Chronological SUCKS, which is why TTK does not support Mosaic. There is an art to sequencing an album. But I appreciate your reading my post! And I agree, they are no longer the Byrds after the first five albums - six, if you count Preflyte. After that, they become sweaty hippies using the name The Byrds.

Given my proclivity for refined mid-century cocktail stylings, some of you may be surprised to learn that your beloved TTK on occasion turns on and tunes in to the moods, feelings, and vibrations of today. And some of the most exciting "rock" sounds of today are coming from a Los Angeles combo who call themselves The Byrds. I love their psych masterpiece The Notorious Byrd Brothers, but two things about the album always bugged me: First, the fact that two David Crosby songs that should have been included were omitted; and second, the sequence always seemed a little off, in particular, putting "Goin' Back" where it is in the sequence. For a long time, I tried to figure out a different sequence, and how to work the two Crosby tunes within the sequence. After thinking about the individual songs and their lyrics, it seems you can make a case that songs could be grouped into categories of "innocence, "transition," and "experience." And what is more interesting is that I realized, with only a single swap ("Tribal Gathering" and "Goin' Back") the songs fall into, more or less, a reverse sequence of experience, transition, and innocence. And, the two Crosby songs placed correctly reinforce this structure. Before I get into the order, let me say that I realize that "Triad" is a very polarizing track. However, I think my placement of the tune helps it to work in the larger context. Here is the track listing. 13 tracks, with 2 sides that work out to 17+ minutes each: Side 1: 1. Artificial Energy 2. Tribal Gathering 3. Triad 4. Natural Harmony 5. Draft Morning 6. Wasn’t Born to Follow 7. Get to You Side 2: 1. Lady Friend 2. Change is Now 3. Old John Robertson 4. Dolphins Smile 5. Goin’ Back 6. Space Odyssey So you wind up with four songs about hippie/counterculture delirium madness, dashed by "Draft Morning," and then four songs dealing with change or transition, and then three songs with a child-like perspective. Ending with "Space Odyssey" reinforces the backward glance from experience to innocence. I used the remastered CDs of Notorious and Younger to assemble this. If you attempt to do something similar, you will have to perform some minor surgery with Audacity to tighten up fade-ins or fade-outs on a few tunes, but it will take little time. Well, there you have it, by brethren in jazz. An improved Notorious Byrd Brothers, with Crosby reinstated into the group!

I have more albums than I have time to play them. I don't have the room in my life for 1980s Weather Channel smooth jazz guitar sounds. At least when I hear it on the Weather Channel, I know how to dress that day.

I have four Paul Bley albums, including Introducing Paul Bley, and also an album from 1970 in which he looks like a real hipster, with his sunglasses and cigarette smoke. It was my first Paul Bley album, and the photo sealed the deal for me.

You should hang out at Sam Ash Music. You can hear him 24 hours a day!

I was listening to a 1990s-era album by Joe Henderson called So Near, So Far: Musings on Miles. It is a quartet album with guitar, bass, drums, and Joe. It may have been an otherwise OK album, but the guitarist, a guy named John Scofield, is using the most horribly dated and stylistically inappropriate guitar sound, straight out of a 1980s Weather Channel smooth jazz bumper. He sounds like a precocious 18-year-old at Sam Ash playing his Charlie Parker Omnibook licks on a budget-line Ibanez guitar through some sort of a stereo splitter with phase shifting. Anyway, it is completely inappropriate for the music, and I really wonder how Joe Henderson or the producer let this fly. I would have fired the guy on the spot. Back to the Goodwill you go, Joe!

Poor Steve Allen. He goes from working with Jack Kerouac to complaining about today's kids listening to demoralizing rap music.

I may not be Ira Sullivan, but anytime you want to talk about trains, I'm here for you, Chuck. We model railroaders need to stick together.

The hour draws nigh!

So sorry to hear this. We had some good conversations here. RIP.

I am familiar with the title, but have never stumbled across one in the wild.

It ultimately worked out well for both Barry and Norman. Barry got the gig, and Norman got a cut of every subsequent film, because elements of the James Bond Theme were always quoted. Those other Barry stories you referenced do not surprise me in the least.

Good to know, thanks!

Thank you! I believe it is the first one. I had a promo copy with no sleeve. Many thanks!

Interesting! I probably don't have anything by Sonny Rollins past the early- to mid-70s, so that would explain why I don't know the name.

I'm trying to find an album that I've either lost or misplaced. I think the artist was Gary Smulyan. It was with either an orchestra or string section. I think it may have been released sometime in the early 2000s, maybe as late as 2007 or 08? Anyone know the album I'm talking about?

Somehow, I ended up with a CD-R of an album called Landmarks (1996) by a trombonist named Clifton Anderson. I listened to part of it at work today, but I was distracted. He seems like a solid player, but I can't really speak to the music overall without a closer listen.

My copy of the 2009 P-Vine CD sounds like it was sourced from an OK vinyl copy with an OK stylus. I was mad at myself for not digitizing the LP that I sold, because it sounded so much better.

Despite my profile pic, I would not characterize myself as a John Barry fan. I do like his Bond scores through Diamonds are Forever, and I also like The Ipcress File and The Knack (and How to Get It). That's about the extent of it. I admire Barry as the primary architect of the 60s spy sound, which I adore, but I think that others such as Lalo Schifrin, Jerry Goldsmith, Laurie Johnson, and Edwin Astley did much more with the same ingredients.