ghost of miles

Disc 4 of the new Woody Herman Mosaic, end of the Carnegie Hall concert.

As true today and every day... happy birthday, Bill! 🎉 🎈 🎊

Don’t Lose Control from this set:

Astros sign-stealing setup may have been revealed in their 2017 World Series documentary Oh, and Sean Doolittle’s wife already shot down one Astros fan’s claims about what’s in that image from the World Series documentary.

Final season of Man In The High Castle, which dropped this past Friday on Amazon Prime. About halfway through episode 5.

We re-aired After Brubeck: Paul Desmond In The 1970s this past week, and it remains archived for online listening.

Haven’t listened to the 1999 CD issue of the 1946 Carnegie Hall concert in many years and have just reached it on disc 3 of the new Herman Mosaic. Sound is even better than I recall of the 1999 release—and Flip Phillips on “Sweet And Lovely,” oh my goodness.

Sources: Another change coming for the IL (Injured List). position players will still have a 10-day IL, but pitchers will not. Instead they'll have a 15-day IL to try to prevent teams from manipulating their rosters (which, of course, still won’t be easy) — Jon Heyman (@JonHeyman) November 15, 2019

>>(Other GMs) want the Astros to pay a fortune in penalties, being fined a record amount of money, forfeiting draft picks, international signing bonuses, and two even told USA TODAY Sports they wish MLB would force them to vacate the 2017 World Series title.<< "This tarnishes everything": Astros cheating allegations have baseball world demanding punishment

Happiness isn’t a thing called Joe. It’s a Saturday at home with a new Mosaic set:

Had any of the material on discs 1-2 been reissued on CD before? I’ve listened only to disc 1 so far, but it’s all new to me. What a wealth of Ben Webster, Johnny Bothwell, and Francis Wayne! Not to mention the advent of Ralph Burns.

I still think Manfred’s too much of a wuss to really bring the hammer down on the Astros, but who knows? This story’s not going away anytime soon: >>The penalties for illegal activity are determined by commissioner Rob Manfred, though if the league can prove wrongdoing, the severity could be unlike anything seen in the sport's recent history, sources said.<< MLB sign-stealing investigation expands More video evidence from 2017: Bangs during Beltran AB

It's in the same location/building as the 1950s club.

Starting disc 1!

The Herman set just landed in my mailbox here at work.

I badgered the clerks at the Lyric Record Shop in 1977 on a number of occasions to order me a 45 of "Sheena Is A Punk Rocker" (this was a couple of months before Rocket To Russia came out, which included it), but they were never able to get it in for me. Record stores 1977, yeah, most of the clerks were in CSN & Y land still, but there was a cool guy who worked at the Listening Booth in Washington Square who liked the Ramones too and would talk with me about them. Karma Records, which was part records, part head shop, actually carried the Ramones' LPs and some of the other punk records as well. I'm working on a novel set a couple years later and have tried to reinhabit that era in my head--by 1979/80, it was actually a very interesting musical landscape, IMO. But I was still listening to Led Zeppelin, the Beatles, Pink Floyd, Bob Dylan etc as well. My friends and I were sometimes dragged that we'd missed out on The Sixties (TM).

The Ramones! The first album of theirs I bought was Leave Home in 1977, when I was 11 years old. Rocket To Russia came out that fall and I snapped that up too, along with the debut LP. God, I loved them! Still listen to them sometimes... they were my Beach Boys, or Chuck Berry, or some such. Fuck it, they were simply my Ramones. (Probably going to pass on the humongous It's Alive box set that just came out, though, and stick with the original CD. I mean, at a certain point there aren't going to be any more revelations, and with the Ramones that point arrived pretty early. But what a revelation!) Interestingly enough, Linklater and Wiley Wiggins (who plays Mitch in D & C) were talking at one point in the early 2000s about doing a sequel that would depict several of the main characters in dead-end adulthood, as "hungry ghosts" of their former selves. But it never came to pass, in part because Linklater didn't bother to change the names of some of the people from his Huntsville, TX days that served as inspirations for the characters in the film, and they threatened to sue if any sequel project went forward. I don't think D & C is a particularly happy or unhappy movie--it's just Linklater's attempt to create as honest a portrait of what his adolescence was like in Texas circa 1976. And hell, that's obviously a time and culture that you know and that I don't, though I can tell you that much of the film reminded me of the culture at my high school when I was a freshman in Indiana in 1979. (Indiana always lags behind the rest of the country, ya know... ... bu that opening scene of the GTO cruising the school parking lot in the morning is primal, direct link to my own memories.) It's just an account of where these kids all are in their lives on one day in 1976. There's some brutal stuff in there--the hazing of the incoming freshmen, the macho jackass that fucks with the nerdy journalist student--all straight-up reminiscent to me of my own experiences. But mostly it's everybody at a point where the road is still wide open and undefined. I love that ending shot (them driving to get Aerosmith tickets in the morning) precisely because it seems so in a moment of having faith IN the moment, if that makes any sense, because everything is so in-the-moment when you're that young. And yet that endless road is gonna become a road to nowhere for those characters, pretty much. I don't think Linklater's sugarcoating anything, but there's definitely something compellingly sweet and real about the film that's kept a number of people coming back to it over and over throughout the years.

Not sure why, but my phone didn’t save the edit I added to my post right after I wrote it—here’s the quote from Slash that I had added to substantiate my opinion: "I was in seventh grade and just going through the whole 1978 music thing that was happening for kids – which was like Cheap Trick and the Cars. Anyway, there was this chick that I was going after that was considerably older than me… I'd been trying to be cool enough to take her out and have my way with her… Finally, I sort of weaseled my way into her apartment. So we're hanging out and she put Rocks by Aerosmith on, and I was mesmerised by it. It was like the be-all-and-end-all, best-attitude, fuckin' hard rock record… I'd grown up with music, but this was like my record. I must have listened to it about half a dozen times, completely ignored her, and then got on my bike and rode. I was totally in there. I was at least gonna get a decent French kiss out of it, and I completely dropped the ball for Aerosmith, and that was that. It's probably one of the records that sums up my taste in hard rock bands to this day. Meanwhile, she's out there somewhere and I missed it. But it was worth it." –Slash, “The Record That Changed Your Life,” Q Magazine, June 1995 Not to contest the notion that punk influenced G ‘n R too. But Aerosmith was certainly seminal for Slash.

No 1970s Aerosmith, no late 1980s Guns ‘n Roses (I’m sure some would say that’d be no tragic loss. But late-80s G ‘n R was a hell of a rock band). "I was in seventh grade and just going through the whole 1978 music thing that was happening for kids – which was like Cheap Trick and the Cars. Anyway, there was this chick that I was going after that was considerably older than me… I'd been trying to be cool enough to take her out and have my way with her… Finally, I sort of weaseled my way into her apartment. So we're hanging out and she put Rocks by Aerosmith on, and I was mesmerised by it. It was like the be-all-and-end-all, best-attitude, fuckin' hard rock record… I'd grown up with music, but this was like my record. I must have listened to it about half a dozen times, completely ignored her, and then got on my bike and rode. I was totally in there. I was at least gonna get a decent French kiss out of it, and I completely dropped the ball for Aerosmith, and that was that. It's probably one of the records that sums up my taste in hard rock bands to this day. Meanwhile, she's out there somewhere and I missed it. But it was worth it." –Slash, “The Record That Changed Your Life,” Q Magazine, June 1995

“Sweet Emotion” is a badass 1970s rock anthem, though why anybody would want it played at a wedding party is beyond me. Like Captain Howdy said, groovy bass intro, plus great riffs and vocal delivery from Tyler. I’m sure it resonates more with those like me and Richard Linklater (Dazed and Confused director, born 1961–went to high school in Texas, where Dazed And Confused is set) who were kids listening to the radio in the mid-1970s than it might with others; groove to whatever moves ya! Linklater originally wanted to use Zeppelin’s “Rock And Roll” as the movie’s outro song, and Page and Jones agreed to it, but Plant cast a veto, which is too bad—Linklater ended up using Foghat’s “Slow Ride” instead, which works well too, but somebody on Reddit put up the ending with the originally intended Zeppelin track as the soundtrack: Dazed And Confused ending with originally intended music

Hmmm, simply didn't feel the need to start a 1970s Aerosmith appreciation thread when the topic had seemed to come up in this already-existing conversation--so why not pull out this particular toy in the attic? Last night I was watching some clips from one of my favorite all-time movies, Dazed And Confused, which kicks off with "Sweet Emotion" and certainly evokes vibes of the era in question for me: Of course not "everybody" everywhere was into Aerosmith, just as not "everybody" everywhere was into the Beatles in the mid-1960s. I think Bresna simply meant the social circles in which he ran. The band was certainly popular here in Indiana. I dunno, not prepared to overthink this or see any necessity thereof... to me good rock 'n roll carries a visceral charge, whether it's the Stones in the 1960s, Aerosmith in the 1970s, the Replacements in the 1980s, or whatever floats yer boat in your specific listening preferences, points of origin, etc.

Right on! Revisiting Live Bootleg last night and today, what a kickass rock 'n roll record. 1970s Aerosmith was awesome.

I don't think that's the one I have an extra copy of, but I'll check tomorrow to be sure.