Teasing the Korean

The producer should be shot for letting him get anyplace near a mic without his axe. IMO.

You never know which Brian you are going to get. I read an interview in which the writer said something like, "Despite all I'd read and all the research I'd done, nothing prepared me for what I encountered." He must have caught him on a really bad day.

In the 1990s, when I started snapping up all of these library albums, I was amazed at how many of the tunes I remembered from TV shows or commercials from my childhood. First up is "Sleepy Shores" by Johnny Pearson. I think this was used on a Geritol commercial in the US. Next up is "The Free Life" by James Clarke, which was also released as "Little Racer" by Horst Jankowski. The change in titles and artists must have been a legal dodge. I remember this from commercials, but I'm not sure which. Here is "Holiday Commercial" by Alan Hawkshaw. In the US, this was used on a commercial for either a bathroom cleaner or floor wax, IIRC. And another from Alan Hawkshaw, "Picadilly Night Ride," that I also remember from commercials, but I'm not sure which.

The creepiest fade is "When a Man Needs a Woman," with that scary Eraserhead roller rink organ. Another creepy fade is "Be With Me," where you hear Dennis scream, and then you just hear the strings playing by themselves. You have to turn it up loud to hear them. Capitol screwed up a lot of the early stereo fades by having the instruments disappear first. This was because the mixing board had to be rigged for stereo mixing. The mono fades were much better.

If he didn't, I'm sure his accountant did.

If The Beach Boys meet your definition of "rock," I have been listening to the Feel Flows box set. Keep in mind that TTK's pad is generally a rock-free zone.

I have been on a Sly kick recently. Listen to the coda of "Everybody is a Star," from about the two-minute point on. It sounds like the fade from a tune on Wild Honey, between the sustained brass and the a cappella harmonies.

Of course. Love You is one of my favorite Beach Boys albums and IMO their last really great album, although I do love the song "Good Timin'" that they released a few years later. This is from someone how has all their albums from the beginning through Love You.

I have long had the impression - correctly or incorrectly - that Brian was pretty out there in the early- to mid-70s, and that he eventually kind of got it together by the late 1980s, through a combination of prescription meds and because of, or despite, therapy. But check out this 1976 interview. Brian is certainly quirky - he always was - but he is lucid, articulate, and self-aware here. Compare this to interviews from more recent decades, and I think you will see what I mean. It makes you wonder if prescription drugs are as bad as if not worse than some of the recreational drugs.

Of course, I was just kidding.

Oh, yes, that has that sound indeed! It makes me want to misbehave and uncork a bottle of wine, something that I shouldn't do tonight, as I've come down with something. (Not COVID, thankfully; I got tested and the results came back negative.) And the Walter Raim albums on MTA have a black label, like that of Pulsar!!!

So she is fairly well-known in the UK? In the US, she is very much an underground, cult figure.

What's the issue? When you buy one, back it up with a program like XLD. You'll always have another.

It all came together for Aftermath, which is the only Stones album I care about, and which is the only "rock" album I occasionally return to anymore. I can't say the same for any Beatles album. I much prefer to hear "rock" interpreted with the civility, gentility, and politeness that we associate with jazz.

The early Stones had beefier guitars, plus Ian Stewart on keys. It was a much fuller sound than the Beatles or any other British rock group had back then, with the possible exception of the Yardbirds. The instruments on Stones records were for the most part better recorded than on Beatles records; there is more definition in all of the instruments. And the Stones' guitar arrangements and interplay were far more interesting than what the Beatles were doing at that time. IMO.

Both of those albums I posted are worth seeking out. VS&T is on Qobuz as a lossless download, if you can't find a CD or LP.

Yes, she is credited as composer and arranger on that track. Early on in that interview clip I posted above, she discusses her first studio experience as an arranger/conductor, and how the male orchestra was not prepared for this. It's a cool story.

Did you read that lengthy article that was posted several years back about how Sun Ra's archivist, who was also a WFMU DJ, held on to all of Sun's masters, at least the ones that were on Saturn? These were the tapes that Irwin Chusid used for all these remasters. The article is in the Jazz in Print sub-forum. The reason the remasters sound so good is they are from this collection of tapes, which were in the guy's closet during the whole time that Evidence was releasing CDs in the 1990s. https://believermag.com/logger/angels-and-demons-at-play/

A confusing thing about those library records is that sometimes the tracks were commercially released with different titles, probably as a way to avoid detection.

Vocal Shades and Tones was a library album, so it was not commercially available. A lot of library albums and composers were rediscovered through a combination of DJ culture and the "lounge" revival. Several tracks, such as "Hot Heels," appeared on comps, and the entire album was released at some point. Voices in Latin was a commercially available album. I have the CD reissue. Moore did lots of behind-the-scenes stuff also.

Arranger/composer/vocalist Barbara Moore has died. Her DeWolfe album Vocal Shades and Tones is a library classic.

Feel Flows.

I developed a latent interest in girls, so at the time, I just thought it was a dumb cop show.

I dunno, Shelly had kind of a Lauren Bacall thing going on.