jmjk

Mick sure did with She's the Boss. I love Jeff Beck's playing on that album. And Bill Wyman sure did with "Je Suis un Rock Star". I seem to remember a tune on Undercover... called "Too Much Blood" that sounded a bit UnStones-like. There's one! How 'bout Beck? He came out with his album called Flash in 1985. Mostly dancefloor numbers with Beck widdlin' away on his orange Charvel/Jackson (shit, he even swithced to an 80s guitar!), and he attempts some vocals! It also includes a reunion with Rod the Mod on "People Get Ready". Awful as it is, that record has a soft spot in my heart.

Personally, I think Bird is happy 'cause it's dinner time. Myself, I could be sitting at a meal with Satan, and still have a smile on my face if the eats are on the table.

Naw. Al, do you mean Hugh, like, the Dr. of music who can't fix a hi-fi? Edit: I just picked up Got a Good Thing Goin' recently, in preparation for the Patton Mosaic which arrived this week. I have to say that John Patton was relatively under-represented in my collection until this point (I had The Way I Feel and some of his sideman work), and I'm really lovin' this record. It hasn't sunk in yet completely, but it's on its way!

Ah! How could I forget about Joe Jackson? Although I love music from all of his periods, his Night and Day album in 1982 was a high point for me. That album oooozes finesse, without catering to trends of the day.

Rooster, did you change the sub-heading for this thread? If so, my posts are tangential (they may be regardless )

Clem brought up some tasty treats. Prefab Sprout--brilliant! Dexy's - Not brilliant, but their cover of "Jackie Wilson Said" is very entertaining The Birthday Party - never been a band like 'em since. Somewhat rooted in the 1970s, but repulsive enough to remain modern!

Ooh-- almost forgot-- the post punk thing. Bands like Joy Division, The Cure, Gang of Four, New Order (Joy Division after Ian Curtis roped himself, and more dance-oriented as time progressed), Psychedelic Furs, Bauhaus all seemed to either sit on the cusp of the late 70s-early 80s, or were influenced by a punk/glam/Pistols/Bowie/Roxy thing, and shook all that up and forged ahead with something new.

Oh my--there's SO much to talk about here. I loved Rush's material from the 1980s. Moving Pictures to Hold Your Fire was a very interesting period for them, though the transition actually began with Permanent Waves. Alex Lifeson's guitar playing relied less on Jimmy Page-ish licks and Steve Howe-ish atmospheres, and seemed to embrace some of Andy Summers' minimalism and space, and Robert Fripp's atonality and angular approaches. Rooster--starting off with Permanent Waves, as you point out, may be a good idea. I really liked all the 1980s pop bands that were directly related to or were a result of the Ska revival of the late 1970s. Noj mentioned The Specials above. English Beat and Squeeze (to some extent), and other bands in the fisrt wave, and then General Public and Fine Young Cannibals later on. Haircut 100 was an incredible band that suffered because of their name. Lotsa shit happening underneath the reggae/ska rhythms and blue-eyed soul with them.

Even though I love Kenny's playing best overall, I had to go with Grant in an organ combo. Which reminds me--guitarist Jimmy Ponder on Patton's That Certain Feeling (courtesy of the Mosaic Select!) is a motherfucker! I love listening to that guy, and I want more! Has he appeared as a sideman elsewhere?

Looks tasty! I'm easier to please, however. I'd gladly accept a Rachael Ray cooking video under the tree! God, I love that woman!

Now there's an aspect to this we haven't discussed yet. I also shave at night before going to bed. I figure it's more important to have a close shave when I'm snugglin' up to Mrs. Moose than when I go to work... I can relate, Moose. Mrs. jmjk is always the first to say, "you need a shave!", while the folks at work don't care. My Anglo-Scots genes have given me the option of shaving every other day with little physical consequence, so unless I'm meeting a customer or teaching a new class, my appearance on the job is not a concern. Shaving at night is a win-win for all, even if it does grow a bit overnight!

How so?? (I mean "what do you mean?".) They all seem similar (in some ways), and unique in other ways. I think GregK may be referring to the metal binding? I haven't seen the new box yet. Is the spine made of metal?

Depends- For the quick, "I got 2 minutes to shave" situation, I always use down strokes. It may not be the closest shave, but it's gives a clean, even appearance. If I have some time, I'll follow the downstroke with new lather and a complete re-shave with upstrokes.

I'm Tryin' to Get Home was re-issued on cd in the TOCJ series from Japan, and could possibly be obtained through usual rare cd avenues. I don't really care much for this session, but it's still part of my collection.

Manual. Gillette Mach 3. 'Lectric razors make my face all raw. And of course, ever since I caught glimpse of the Zappa album cover for Weasels Ripped My Flesh, I will not go near an electric razor. B) There's something very satisfying about a nice close shave with a manual razor, steaming hot water, soap and a brush----a masculine ritual that will never go out of style!

Just received my Patton Select this morning. Can't wait to listen. I feel greasy just lookin' at the photos!

That's Power Station. Yeah, his work in the 1980s was overblown, but that's how I like it. I always thought he was a smooth personality---not as nerdy as Rolling Stone thought. And I loved his song "Every Kinda People" too. RIP, Robert.

One tactic that's helped me has been to take 15 or 20 cds I haven't played for a while, or ones I haven't really explored in depth, and burn a compilation or two of tunes from those albums. This way, I can put it on in the background or in the car, and kind of listen to songs instead of albums. Then after a week or so, I'll burn another comp or two. What ends up happening is that I become familiar with, like, half of an album because I've been listening to selected songs from it on the comps, and that will eventually earn the entire album more play as a whole. Sounds silly, but it works for me. I guess this works because of my relatively short attention span. I am able to absorb information best in small chunks, and usually only as a whole if I add the components together. Most often an entire new album contains too much information for me to absorb in one or two listenings, and I'm always eager to move on to something else quickly. My profession has also helped me! I am a corporate trainer, and I always have some jazz cassettes or cds in my classrooms to play during breaks or exercises. If I want to rediscover a few titles from my collection, or try out titles that I've NEVER really paid much attention to, I bring them to work to use in class. Most often, the class participants like the music, and often request it!

"Monk's Dream" was the first jazz record I ever heard, so I have a soft spot for it.

Hah! A little birdie!! The birdie at Mosaic told me she expects the stock of Pattons to arrive to them today. Hopefully the sets will be on the way by Friday!

Hi Pete- Hope everything is swell! I don't mean to hijack this thread, but I'd rather have an RVG of Blakey's A Night in Tunisia, with some kick-ass Mogie playing on it, than anything else Morgan released that hasn't been remastered.

I only have the Moncur Select, and as I wrote above it is not a good remastering, despite the 24bits. The earlier Connoisseur CDs of "Some other stuff" and "Destination out" sound much better. Don't focus on the number of bits, it's irrelevant compared to all the factors that make a successful remastering: availablitity of the original master tapes, accuracy of the transfer from the analog tape machine to the mastering console, decisions by the engineer on tonal balance and correction and stereo spread, use of noise reduction systems, etc Thanks, Claude. I'd love more education on all this stuff. Any good books or journals on digital mastering, and/or modern recording considerations?

Chuck, I know better than to take anything personally from you . As a fellow scotch drinker, I know we can vent on many things at a moments notice! It is not necessarily a deal breaker for me...until now, I hadn't gotten around to picking up any Selects. I pre-ordered the Patton, and I went for the Carmell yesterday, and I'm curious as to what the bit rate was. I feel that the sound on some of the 16 and 20 bit transfers in the Conn series suffered a little---to my ears, anyway. So, that the Selects are transferred in 24-bit makes me happy that the sound quality was addressed somewhat---I wouldn't want to have the Selects sound exactly like the old Collector's Choice issues, or the regular domestics from the 1980s. As to the points made about using ears instead of eyes---I usually agree with this! However, if I knew that I was getting an early 1990s digital mastering on a 2003 product, I'd be a little less excited about ordering it. And going into it blindly, I can't really order a Select, and then return it, saying, "Sorry guys, the sound sucks." Thanks for the input, y'all!

Doesn't Ben realize the monochrome shirt and tie thing is SOOOO 4 years ago?

Because if there ever was a loaf, somebody seems to have pinched it. Excuse me while I...