Brandon Burke

Hey folks. I have a question that one or many of you might be able to answer. My iPod has decided against charging up when I plug it in. When I plug it into the wall it doesn't recognize that...well...it's plugged into the wall. And when I plug it into my computer it does everything it's supposed to do as a quasi-hard drive--i.e. it loads up as a directory in iTunes and shows up as an icon on my desktop--but it doesn't charge up. I understand that when batteries get low on cell phones they still charge but they die pretty quickly. (I should know because my phone is doing this right now.) The situation with the iPod I don't get at all, though. Even more baffling is the fact that I have two altogether different cords with which to plug in/charge the iPod and I have the same problem with both of them. In both cases, they function as a hard drive cable but the iPod itself doesn't get juiced. My guess is it's not the battery because I just bought the darned thing in May. Granted, I've used it a LOT but c'mon... Any ideas? -- Brandon

Man, you have to be kidding.... Are you honestly saying that your support for a reissue program dedicated to lesser-marketable BN titles has dwindled because Blue Note/EMI decided that they had more important things to do than manage a bulletin board that--by the end there especially--had very little to do with their product? Not sure what to make of this. Are you joking or do you expect a reply. I'm not so sure that artists whose new releases I'm purchasing now would agree. B-) Listen Ed...I'm not trying to start a beef or anything. My argument is about whether or not you are basing your BN reissue purchases on the demise of the BNBB. Hell, I was there too... The financial reasons for not making Conn purchases I completely understand. They're very expensive. That's a different story. I know all about that. Believe me. Holding a grudge because of the closing of the BNBB, on the other hand, is completely ridiculous. It was just damned website for christsakes. Let it go.... We've got Organissimo now and it's even better. Besides, EMI/BN has considerably more important things to do than manage a bulletin board. -- Brandon

Man, you have to be kidding.... Are you honestly saying that your support for a reissue program dedicated to lesser-marketable BN titles has dwindled because Blue Note/EMI decided that they had more important things to do than manage a bulletin board that--by the end there especially--had very little to do with their product? That's ridiculous. You need to be supporting these artists, man. Similarly, purchasing these reissues helps fund a program that's making this music available to a younger generation.

Surprised that there has been so little talk about Song Cycle in this thread. Maybe I missed it earlier. I dunno. Anyways, when I was just getting into the Wilson/Parks collabo, however many years ago, I read something about Song Cycle, perhaps in the book Clem mentioned, and subsequently picked up a used LP copy at my local shop. My girlfriend at the time--who was remarkably tolerant of my free/psychedelic leanings--was also a big fan of the Beach Boys. Especially Freinds, etc. I remember plain as day coming home from the shop and slapping Song Cycle on the turntable. The first piece was a little folky number that made perfect sense. And then...well...it began to make considerably less sense. I loved it right away but could tell that it was one of *those* records. I wasn't going to be able to listen to it all the time. To this day, nothing that I have ever heard--and yes I've heard quite a bit of 60's/70's psych--sounds as acid-drenched as Song Cycle. It's almost flat-out creepy in this regard. More recently, two records by some modern practitioners of this style have made comparable music--Mercury Rev's Boces from 1993 and this year's absolutely stunning Sung Tongs by the Animal Collective. The Animal Colelctive record in particular is a treat as anything approaching creepiness is eschewed in favor of a peaceful, campfire vibe. (Album of the Year in my book, for those who are counting.) Still, Song Cycle takes the cake for sizzlingly acidic psych. I mean there's very little that even comes close. I actually put Song Cycle on at work back when I was a bartender in Lawrence. We had a turntable behind the bar. (B-)) The reactions were ammusing to say the least. Keep in mind that this was/is a relatively hip place so folks were mostly digging on Parks but there were a few who were visibly uncomfortable. I probably took it of rather quickly and put on Jorge Ben or something like that.

Somebody at work gave me a promo copy of the Boxholder reissue of Joe McPhee's Sackville date, Visitation. Nice session. I'm really enjoying it. My question is about track #3 ("Home at Last"). Has anyone else noticed a pitch error on this track? I don't know how they transfered this material. From the master reels? Perhap from disk? Either way, the pitch wavers back and forth at about the rate of a second hand on a stop watch. At first I thought this effect was the result of some tricky playing on the part of McPhee and Smith. ("How do they do that," I remember asking myself.) Later, as the final cymbal crash that ends the piece wavered in this same way, I realized that it was an issue with the transfer and not the musicians themselves. Anyone else notice this? Is it on the original LP as well?

This recipie ends up costing me about 45-50 bucks every time I make it so I tend to save it for special occasions--usually an important KU basketball game. * ground turkey * hot italian sausage * black beans * chili beans * two large boiled potatos * stewed tomatos * fresh cilantro * fresh parsley * fresh basil * green onion (sauteed in olive oil) * red onion * yellow onion * green chilis * red bell pepper (sauteed in olive oil) * yellow bell pepper (sauteed in olive oil) * green bell pepper (sauteed in olive oil) * jalapeno pepper * habanero pepper * garlic (sauteed in olive oil) * cumin * chili powder * paprika * celery seed * celery salt * black pepper * white pepper * cayenne pepper * Pickapeppa (the black stuff, not the hot sauce) * worstershire sauce * Tabasco hot sauce (green) * Cholula hot sauce * one bottle of very dark beer (porter, stout, etc.) Line your bowl with a tortilla, have some grated cheeses ready, and go to town.

The Al Shorter is worth it if for no other reason than to hear Gary Windo go completely ape shit. Actually, I like that record--and many in this series--for other reasons too.

There's a thread going back and forth on the Association for Recorded Sound Collections listserv. Here's the link to the September posts. The ARSClist archive gets updated daily. Also, you're going to want to scroll down to the "Gold CDs" thread.

Wow... Not sure "prude" is the term I'd use. In fact, most of his solo matarial reveals him to be either a swaggering, Serge Gainsbourg-like ball of sex or a terribly bitter and scorned lover. Dig... ********************************************* Some Velvet Morning (w/Nancy Sinatra): "Some velvet morning when I'm straight. I'm gonna open up your gate. And maybe tell you 'bout Phaedra and how she gave me life and how she made it in. Some velvet morning when I'm straight." ********************************************* In the Beginning/Glad I Never..: "You could have been Yeah, you could have been good. So how come you're so god damn mean. But before you I never had any fun. Good thing I never Yeah, good thing I never Good thing I never owned a gun." ********************************************* I wish I had some of those records on me. I'd do a quick listen for better examples. These I had to draw from memory. As for the censorship of the Megadeth cover, I could be wrong but my guess is that the record label had everything to do with that. Not Lee. And, not to beat a dead horse or anything but, you've got to be kidding me when you say that Megadeth covering "These Boots are Made for Walking" is anything other than ironic. C'mon...

Yeah, the PODS website doesn't offer much. Unfortunately, I've been putting in such long days at work that I haven't been able to call around. There's also the Door-to-Door company and their estimate was $1500 for everything: box rental, delivery, storage in SF for the first couple weeks, etc. (The LPs are a different matter entirely.) As for the fright train...I wouldn't even know where to begin researching that one. Who should I begin asking about rates, etc? Who would the official carrier be (i.e. who should I call)? How will I know that they will be stored in climate controlled cars? Believe me, this is information I'd absolutely love to have because I'm less than thrilled about driving from Austin to SF by myself, just to take some damned records. I mean I'd love to see that part of the country and all but...c'mon. Again, any ideas or leads--and I'd appreciate some more info about the train option--would be much appreciated. -- Brandon Thanks to those who've responded, by the way!

I am in complete agreement with Jim. Especially Cowboy in Sweden, Requiem for an Almost Lady, and the stuff he did with Sanford Clark. As for Megadeth: When will people finally realize that ironic covers aren't funny? They're just dumb.

Hey folks, I've been away for about two months or so without regular Internet access and lots to do at work. So I'm moving from Austin to San Francisco in the next couple/few weeks. I accepted a position at Stanford, setting up an audio preservation lab. Got tired of waiting for Library of Congress human reseources to figure out who they wanted to hire for their preservation spot so I said "the hell with it" and commited to Stanford. Should be fun. I was wondering if anyone had used either the PODS or Door-to-Door companies. The only reason I'm asking is that I will need to take advantage of their stotage option, since I won't have a place to live for a few days--maybe a week--after I get there. In a perfect world I'd be able to just have a moving company do the whole thing but I've got about 15-16 boxes of LPs that can't go in the back of a moving truck. (Especially through New Mexico/Arizona/southern CA.) So I submit to you these inquiries: 1) How good/bad is the PODS thing supposed to be? Any stories? 2) How much does it service cost? It's a real pain in the ass to get an estimate and I'm at work right now. 3) Any ideas as to how to move my records, short of simply renting a van and hitting the road? Thanks as always, Brandon

Vice and a couple of journals (Society of Amercian Archivists, Association for Recorded Sound Collections).

Yeah, but you don't like Kubrick. So...

The trailer is up....

I hear what you're saying, believe me, but I don't think this is entirely accurate. In reality, the "impact" of high school and college freshman talent is only felt on draft day. Only in exceptional cases do we hear from them later...

Interesting that you say this Jim because, while watching Warne, I was amazed that his tone didn't waver more than it did--however intentionally. By this I mean that, if I weren't already familiar with Warne's music and the sound was off on the television, I might have assumed that he'd have a wide Ayler-esque vibratto, given that he had such an *active* embouchure. KnowwhatImean...?

Yep. That'a the one alright. I was wondering the same thing myself, actually...

I think Jamie Foxx will surprise some folks in the next year or two with his ability to play dramtic roles.

This is somewhat off-topic but at LC today I watched an episode of The Subject is Jazz from the late-50's. It was apparently the 'cool jazz' episode and included in-house performances with a band led by Billy Taylor and featuring Warne and Lee Konitz. I can't remember every tune they played but about ten seconds after I asked "Do they do 'Subconscious-Lee'?" they played it. It was pretty funny. Great footage of Warne and Lee togehther.

I saw this a few months ago. It was pretty good. I liked hearing about the jazz and early R&B sessions but couldn't have cared less about "Slowhand" Clapton and the Allman Bros.

At LC today I ran across two 1/4" reels of the Mingus score to Shadows. They were recently purchased from Sue, along with some other stuff. Has this music ever been available on it's own (i.e. separated from the film)?

Welcome to the forum, Geraldyne. Pleasure to have you here.

Jackie McLean - New Soil (immaculate Liberty pressing) - $12 Jack Wilson - Something Personal (same as above) - $12

Listening to the advance sampler again as I type. Man, is this good stuff.... Can't speak for how the full set will open but the pre-release CD begins with a performance of "Truth is Marching In" (Germany 1966) and it's nothing short of life-affirming. Wow!