Roland Kirk plays wildly, and Mingus (this time sitting at the piano) encourage him to go for more. Amazing album.
@Erik B.: You've got the same Sony 5-CD changer that I had for years. Unfortunately, I wore mine out some years back. I bought it in '91 or so and it only lasted until about 2004. Here's to yours lasting forever.
Did everyone have this same cd player at some point in their life? I said nearly the same thing to Erik last week (the difference being that I believe I still have mine and it was still working, although sometimes the CD changer got stuck and didn't rotate, from what I remember).
It's wooden music on LP for me tonight: John Renbourn - Sir John a lot Of Merrie Englandes Musyk Thyng & Ye Grene Knyghte Leo Kottke - Guitar Music
You did. Sometimes the cd player doesn't recognize a cd or one of the tray stops working. Then again .. . $15 pawn shop pick up
bought it in about December 2015. Who knows how many miles it had on it before. Starting to misbehave.
...and finally... Jorma Jorma Kaukonen with Tom Hobson - Quah 2o14 Brookvale reissue on yellow wax #1604/2500
Cor Fuhler/Gert-Jan Prins: The Flirts on erstwhile records I've got a few "out-there" improv recordings but this one has always escaped all synapses on every level until today. All electronic abstract grinding flying seemingly all unrelated to each other and each moment and yet I was all in this A I give credit to the Good Ol' Grateful Dead
Almost Famous ----- movie sound track......One of the best pop/rock sound tracks ever......Every song is excellent....I own maybe 4 movie tracks, this one always sounds good....the residual pay out for this one must have cost a bit....Zep lets no one use their music for free. That would be my guess any way. It also has some YES on it, which is the only YES in my music library.
What's the deal with this song that everybody's mentioning everywhere?It must be a groundbreaking composition, I'm sure
The real problem with seeing King Crimson: the Starless and Road to Red box sets are still available through Amazon for $140 each. Given the amount of live 1973/1974 music in them, that's a deal. So tempting...
Pull the trigger, at least for Starless. It's an amazing box set (better than Road to Red, in my opinion).
That is the one I'm more tempted by. Some of the audio sources on Road to Red look a little dubious. The multitracks and "blue tapes" for Starless have me less concerned about overall quality.
Road To Red (except for the multitrack shows) is sonically inferior. Starless provides excellent sound quality throughout the whole box, the reel cuts being the only problem. But sonics aside, I find the performances in Starless more interesting and the set lists less repetitive.
As much as I do not want to have anything to compare in a poor way to the classic 72-74 Crimson, I'm very tempted to buy a prime close up ticket for 7/10 to see them in Red Bank, NJ. I am nowhere near the Crimson fan I was many many years ago (they were easily my favorite music in the world probably from 1979 through maybe 1985 or so), but something tells me to go see Robert Fripp for the second time and the last time since 1981/82 when I saw the band in what I thought was a shell of the great Wetton/Bruford band. Sure Bruford was there but his playing had little of the explosive power we hear on the live recordings from the classic era. The comments regarding the recent shows/set-lists have me considering paying whatever it takes to get up close on July 10th. It seems no tickets are available at all for the Sunday July 9th show.
I think Bruford's playing was perfect for the "prog new wave" Crimson. But, listening to him playing "Larks' II" on electronic pads is not a very pleasing experience when one remembers those amazing 73-74 live versions. The problem was not Bill, but the kit iteself. You simply can't play those rolls on an electronic pad without sounding messy and artificial! Regarding the new line-up, I have listened and watched to the latest live cd/bluray release and, even with three drummers, they can't get the intensity of the glorious days. It bothers me, for instance that, instead of taking the opportunity to create a sonic chaos at the very end of "The Talking Drum" (you know, those guitar shrieks before "Larks' II"), a sample from the studio version is played on stage. Very, very cold and mechanic, if you ask me (except for Mel Collins, who brings some fresh air to the band's sound). But they're still great, anyway.
