Scott Dolan

What...in the fuck...are you talking about... Ligeti stated, "To be clear - I was a paid subscriber of Spotify for a month. I found it changed how I digested music. With a entire catalog to pull from, I became less discerning." And then later: "If we talk about music - I have thousands of discs. This week so far I've received 6 new ones I've bought, and I'm waiting on another 2. So my question is - how do you guys find time to listen to the music you buy, and to listen to music on a streaming service?" Now, unless I was reading his first comment incorrectly, he was essentially bemoaning the fact that Spotify/streaming services has essentially turned music into a fast food of sorts. On that, we actually agree. Which is why I have no use for it myself. But, the second comment had him receiving 8 albums this week, and that strikes me as no less fast food than streaming. So, I responded by wondering: "And how that is different than using a streaming service is beyond me." Why do I keep putting everyone down for their music buying habits with such blatant ad hominem outbursts?! Noting that I simply don't see a difference in those two things! Honestly, Steve. THAT'S putting someone down?! Oh, and one last thing, the whole "cutting edge rebel" remark was in response to his I don't do Facebook/Twitter/television/radio/smartphones blather. Because what he was doing was patting himself on the back for eschewing all the evil things in this society that the rest of us unintelligent schlubs are too weak to resist. Thereby propping himself up as a superior being of sorts. And in case you don't believe that was his intent, he went ahead and confirmed it for you in his following post where he said: "It's easy to get sucked into trends without ever making a truly conscious decision to do so."

Absolutely hilarious coming from the person who previously stated: "...you sound a little frustrated to me. Maybe you could get a second job so you can buy more for yourself." Got hypocrisy? I have plenty of money, and I buy all of the music I want. My current wish list is 0. Yours is 2500. Who needs that second job more? And my stated intent? That was made perfectly clear in post #189.

Shame on me for buying into this nonsense. You had me going for a minute there. Monk was an avid sailor... But, your rudely facetious indictment of Buckley was the final straw. May God have mercy on your soul...

Ligeti, who is lecturing anyone here? I'm glad you have taken on this musical journey, and I hope you gain nothing but pleasure from it. And I wasn't attempting to put you down. Just wondered how buying the amount of music you do is somehow different than streaming? Mostly concerning the intellectual consumption of it. Grow some thicker skin, son.

Wish You Were Here - Pink Floyd Appetite For Destruction - Guns N Roses New Moonshine - James Taylor

I count myself as one of the bigger Monk fans here, so why didn't I receive this memo?! Hearing this second hand is quite distressing, to say the least (which is my specialty). But if true, which I'm still suspicious of (considering the questionable source), then I need to find a fifth pianist. Is Eric Reed acceptable? Yeah, he played with Wynton. But, he was exceptional, AND he's had a decent enough solo career. Ah, yes. The rub! Hmmmm... I guess if we call all other positions a wash, it comes down to a Shorter vs. Coltrane/Adderley death match. That won't end well...

I'd say if he's averaging that 6-8 albums a week (which is how he's making it sound), and he works a full-time job, he can'e be spending a substantial amount of time on one album before having to move on to the next. Unless he just has hundreds of unopened/unplayed discs laying around. And again, I would question the overall point. Though, perhaps if he's single and does nothing but listen to music while not at work... I work full-time, and have a wife and son. My time has to be divided, and outside of the car on the way to and from work, I may not listen to anything for several days at a time unless it's simply playing in the background while we're doing something else (which is actually the case almost nightly in our house). But that's no way to truly consume music, IMO, especially considering how much we talk to each other.

All fair points, Jim. Though, I guess that makes Monk extremely problematic what with all the getting up and dancing every five minutes.

I don't use a streaming service. I've used the free Spotify app to preview albums I was interested in, but even that has happened less than 8-10 times. Furthermore, I never buy 6 albums at a time. I buy one, and listen to it over and over until I'm satisfied. I like to thoroughly "consume" albums, rather than listen to one and immediately move on to another. Which it sounds as though that is exactly what you're doing. And how that is different than using a streaming service is beyond me.

Yes, I'm fully aware of the polarization Jarrett creates, but he's still a fave of mine. Though, in the case of Bley, I will have to admit that I just haven't heard enough of him. And Cooper-Moore is most definitely post-Cecil, so no need to narrow your scope.

I'm not sure where I'd rank Evans in the Jazz pantheon. My personal top five would be Monk, Tyner, Jarrett, Hancock, and Cooper-Moore.

Well, now. You are obviously a cutting edge rebel who is simply above the rest of us.

They might be stuck in traffic, Shawn, but they ain't looking at billboards. They're busy tweeting their current fate and checking their Facebook page.

Not to mention it's harder to get people to look up these days.

Other than fucking up otherwise beautiful views, I've never seen the sense in billboards to begin with.

That's an interesting statement considering they had been playing together for about a year or two by the time the Vanguard dates were performed.

I feel like it's akin to comparing the Miles Davis Sextet to the Miles Davis Quintet. Sure, the latter was far more adventurous and exciting, but does that mean the former low-key and boring? I have the Vanguard box set and enjoy it quite a bit. But, even I have to admit that I often find myself completely entranced by what LaFaro is doing that the other two kind of get lost in the shuffle at times. Still a damn fine trio and outing. *edit* I see Larry posted while I was composing my post. I pretty much agree with everything he stated.

The once mighty horticultural tattooing industry is also hanging by a thread. There is a definitive parallel there.

One of these days I'll make Scott D happy and listened to Radio KAOS, but Pros & Cons of Hitch-hiking is a serious contender for the worst album I have ever heard. Huh? I'm not a fan of Radio KAOS. Amused To Death is the only Waters solo album I like. And it's the best "post-Floyd" album there is. But I don't care for any of his other solo albums.

What a douche...

Fair enough, brother.

So much to respond to here, so forgive me foe what is about to be an absurdly convoluted post: While I'm a fan of both AMLOR and The Division Bell, I have to agree with what you've said here. This album, for all the bad advanced press it received (and for obvious reasons, I'll admit), may just be right up there with Animals. It is certainly the best post-Waters album, IMO. And the way masters Gilmour and Mason chose to highlight the keyboards does indeed strike me as a most humble and respectful send off. Not to mention that the music simply stomps fucking ass! Agreed 100%. As I mentioned before, The Division Bell found Gilmour & Co. trying to regain that fire that drove them back in the 70's. They came thisclose, but still something seemed to be missing. All the right sounds were sampled, but the results were almost kinda cheesy in retrospect. The opening voice snippets seem a bit forced, I agree. Still trying to catch up with the exceptional voice snippets from Water's Amused to Death album. And the lyric from the final tune were groan-worthy. But, at the end of the day, it is actually an excellent tune. So, we've got that, I suppose. Again, agreed. I wish they could have reconciled, but Water's ego just never allowed that to happen. Goddamn, brother! Can you imagine how fucking cool it would have been to see all of them tour together once more, even as far back as 1994? IIRC, most of us Floyd fans here are quite respectful of The Final Cut. But, I will tell you this: The Post War Dream through Paranoid Eyes may be the best "side 1" of any album I've ever heard. And that sinister synth line that underscored the second verse of "The Hero's Return" was more Rick Wright than whoever actually played it. "...and no one kills the children anymore..."

Hopefully no train tracks, highways or airports are nearby, all the acoustical treatment in the world won't stop vibrations getting into the recording. This is a pointless argument, I think nothing beats a professional recording studio, you think any room (even an outhouse!) can be used for recording. I'm not going to budge on my opinion, you most likely won't either. So this is a useless exercise. Point being, any room can be calibrated to be acoustically neutral. Look, are you going to get the exact same results as a professional studio? No, but for a multitude of reasons. Hell, you aren't going to get the same exact results from any two professional studios! Either way, it's possible, especially for richer artists, to build a home studio that can rival the big boys. The Barn and Astoria bears that out. On top of that, if most artists retained the rights to their album sales they could easily afford studio rental fees along with marketing and distribution (the former would essentially be bandwidth for their website), and still make a pretty handsome profit in most cases. Lastly, yes it is a pointless argument. And no, neither of us will budge. But, let me make it perfectly clear that while I don't agree, I DO completely respect your opinion on the subject. Not only are you a valued and respected member here, but you've never given me a reason to believe that you're simply talking out of your ass just to be heard. Now, to address the final paragraph in Ligeti's (outstanding username, BTW!) post. Yes, piracy is a major concern. Now more than ever, I'm afraid, since a simple mouse click and Dropbox (not to mention p2p) have made it almost too simple. The Tim Berne example is problematic only because he's a "marginal artist". Smaller audience, smaller results. But, let's not even begin to fool ourselves that a recording contract with a major label somehow shields any of these artists from piracy. Or, we can state the question this way: which artist has, in the grand scheme, suffered more from piracy? U2, or Tim Berne?

Gilmour's tone is unrivaled, IMO. And you're absolutely right concerning the bonus tracks. Haven't listened through the cans yet, but I'm definitely looking forward to it!

Any room can be acoustically treated, and professionally calibrated. Any room.