So, are we not doing the Tuesday thingy?

[Davey]

Me too. Hey, what are the chances of that?

You're kidding! Why, the odds must be astronomical! Just got your This Tainted Life crapilation and starting to give it a spin. Hey, this is kind of a cool sloshmix, my friend. Thanks. Not much new this time, but always an interesting mix of tunes and a nice listen. Did you make it for anyone in particular? Is that a new font you're using? Looks like it might be kinda like a recent spins type of thing. That BHP song that closes it is a good one...Three has a real nice sound. Nice touch with the Wilco track from that PBS concert. I was gonna see them down in Tucson at the end of the month, but guess that will probably be postponed now that Tweedy is in painkiller rehab. Hope they reschedule but I haven't heard anything yet about refunds or whatnot.

[Slosh]

Did you make it for anyone in particular?

Yes! Me!

Yeah, not much there you don't have but I think it's a pretty good listen so I figured why not? Just needed something different for my drive to work plus it gives you (and a few others) a chance to hear a bit of The Cansecos. Even cddb never heard of them

[ForeverAutumn]

Helix!

Gimme an R! (R!!)
O! (O!!)
C! (C!!)
K! (K!!)
Whatcha Got? (ROCK!!)
Wan Whatcha Gonna Do?? (ROCK YOU!!)

-jar

Toronto's National League Lacrosse team is called the Toronto Rock. This song is played after almost every Rock goal and lacrosse games usually end with scores in the teens. So, as you can imagine, this Helix song gets played A LOT at Rock games. (I hope they're getting royalties).

Well, a couple of games ago, there was a guy sitting a couple of rows behind us who was really into the game....yelling and cheering and yahooing, and just having a great time. As the game went on, he got more vocal (probably the beer kicking in). After a Rock goal, they played the Helix song. This guy was yelling "Gimme an R", "Gimme an O", at the top of his lungs. Then he got to "watcha got", but instead he yelled....

"What does that spell?"

We cracked up and it kept up going for the rest of the night. After that, every goal had us yelling "what does that spell?".

Yeah, like I said....you had to be there.

[nobody]

Have you heard Lift -- released later than their "golden era", but still quite good. Actually fits in more well with post-rock/neo-psychedelic path that recent The Church recordings have trodden. Quite good -- I revisited it again, recently, and was surprised how much I enjoyed it.

Don't know if I've heard that one or not. I'll keeo an eye out and give it a listen if I get a chance. Thanks for the head's up.

[bobsticks]

I think this one would go over well with alot of the hipsters here...good sq with some solid backwoods, bluesy, bluegrass, punky-at-times pop...



Product Description:

Holly Golightly & the Brokeoffs, the London-based duo now relocated to the backwoods of Georgia, will release their new album Medicine County (Transdreamer Records) on March 30, 2010.

Regarding the move to Georgia, Holly says, 'It resembles Texas enough to keep Dave's gun collection. Future plans for the farm include moonshining, recording studio, miniature animal ranching, illegal architecture, and founding the one true church.'

Their music is a lo-fi stew of blues, country and rockabilly, at once avant-garde and old-timey. Playboy.com says, 'Golightly s songs are so fresh and timeless they could have been recorded yesterday or 40 years ago.' Entertainment Weekly called her 'a truly appealing tunesmith.'

Holly Golightly kicked off her musical career in Thee Headcoatees, the legendary all-girl garage band, closely affiliated with U.K. cult legend Billy Childish. She spent eight years as a Headcoatee, and during those years released her first solo record, The Good Things, in 1995. She has appeared on multiple collaborative albums, including the title track for the Jim Jarmusch movie Broken Flowers with The Greenhornes. Together with Billy Childish, where the two celebrate One Chord, One Sound, One Song on the album In Blood. Holly also guested on The White Stripes (Well It's True That) We Love One Another from their platinum selling Elephant. Holly Golightly's discography is a cacophony of albums (studio and live), EPs, singles and 10-inch LPs and iTunes-only releases, and of course, the critically-acclaimed album Dirt Don't Hurt.

[3LB]

I been hittin the fusion pretty hard lately myself. One album of note is a rather recent effort by an indie band, The Power Triplets, (I believe their debut) Ta-Da!. Great rock instrumental with jazz leanings, this isn't a Zappa wannabe, nor is it shred in disguise. No big names involved or psuedo-guests, so no one player takes center stage for too long.

[Pat D]

That's what I always feel like here because my interests in music seem rather different from most here, although I know that Dusty Chalk and some others listen to some classical music, too.

In church, I perform all sorts of more recent compositions or supposedly folky things, with a few 'traditional' hymns. Very little of it offers me any vocal challenge, though there are interpretive challenges. But my listening is mostly classical--that is Medieval, Renaissance, Baroque, Classical, Romantic, and Modern. My wife's son has been ill and staying with us, so my listening is somewhat limited as they have different preferences. Some of the things I have played recently are:

Mozart, String Quintets, with the Quatuor Talich plus Karel Rehak, viola and Bohuslav Zahradnik, clarinet (in the Clarinet Quintet). Calliope CAL 3231.3, 3 CD set. These are very gracious and musical performances.

Franck, The Great Organ Works Vol. 1. Eric Lebrun, organ. Naxos 8.554697. Franck was one of the more original composers for organ, possibly second only to J. S. Bach. These are excellent performances, very well recorded.

Mussorgsky-Ravel, Pictures at an Exhibition; Prokofiev, Lt. Kije and Classical Symphony (his no. 1). Ernest Ansermet, Suisse Romande Orchestra. London Weekend Classics 421 019-2. This is my favorite Pictures, quite well recorded, and the other two are excellent performances as well.

Debussy, La mer, Nocturnes, Prelude to the Afternoon of a Faun. Ansermet, SRO. These are very good, and I like a lot of what Ansermet did. Somone brought up Ansermet on another forum so I got out some of his recordings and listened to them again before replying. This is not my favorite recording of La Mer (which is Reiner's), but it is very good; the strings are a bit bright on climaxes. Some think the Prelude is done too fast.

De Falla, The Three-cornered Hat*, interludio y danza from La Vida Breve, and El Amor Brujo**. Teresa Berganza, sop.* and Marina de Gabarain mezzo-sop.** Ansermet, SRO. London 289 466 991-2. These classic recordings were pretty good anyway, but this is the sonically refurbished Legends issue. Very atmospheric.

[Stone]

*Disclaimer: This is a woman I know and work with and we were both hammered. I (apparently - I don't remember) made a crude comment to someone else and got smacked.

Wow, this thread is a blast from the past.

I really wish I could remember the episode that is the subject of the disclaimer I posted back in 2004.

And hey Pat, how have you been?

[bobsticks]

That's what I always feel like here because my interests in music seem rather different from most here, although I know that Dusty Chalk and some others listen to some classical music, too.
Franck was one of the more original composers for organ, possibly second only to J. S. Bach. These are excellent performances, very well recorded.

Debussy, La mer, Nocturnes, Prelude to the Afternoon of a Faun. Ansermet, SRO. These are very good, and I like a lot of what Ansermet did. Somone brought up Ansermet on another forum so I got out some of his recordings and listened to them again before replying. This is not my favorite recording of La Mer (which is Reiner's), but it is very good; the strings are a bit bright on climaxes. Some think the Prelude is done too fast.

I have a Deutsche Grammophon disc with De l'aube a midi sur la mer, Jeux de vagues and Dialogue du vent et de la mer. It's Boulez in Cleveland, circa '95 or '96 I believe, and to these ears it sounded mighty good...

[Pat D]

I have a Deutsche Grammophon disc with De l'aube a midi sur la mer, Jeux de vagues and Dialogue du vent et de la mer. It's Boulez in Cleveland, circa '95 or '96 I believe, and to these ears it sounded mighty good...

I'm sure it is. After all, Boulez is a major conductor and the Cleveland Orchestra is world class. The reviews at Amazon.com are mostly stellar. Actually, if that recording is imprinted on your mind, it is quite likely to keep on sounding mighty good, and others may not sound quite right.

There are far more recordings that I have never heard than those I have heard, and this is one of them. I've been building my collection for many years and so many of my recordings are quite old. If I have recordings of a work that I really like, I don't usually look hard for others; instead, I tend to look for recordings of works I don't have.

[bobsticks]

I'm sure it is. After all, Boulez is a major conductor and the Cleveland Orchestra is world class. The reviews at Amazon.com are mostly stellar. Actually, if that recording is imprinted on your mind, it is quite likely to keep on sounding mighty good, and others may not sound quite right.

There are far more recordings that I have never heard than those I have heard, and this is one of them. I've been building my collection for many years and so many of my recordings are quite old. If I have recordings of a work that I really like, I don't usually look hard for others; instead, I tend to look for recordings of works I don't have.

That approach makes a lot of sense and is one I've been drifting toward. As a classical neophyte, I spent the first few years in this hobby comparing different versions of specific pieces. While fun in a clinical and comparative sense it becomes old after a while and I no longer feel the need to hear what the "well-heeled experts" discern.

[Pat D]

That approach makes a lot of sense and is one I've been drifting toward. As a classical neophyte, I spent the first few years in this hobby comparing different versions of specific pieces. While fun in a clinical and comparative sense it becomes old after a while and I no longer feel the need to hear what the "well-heeled experts" discern.

Ah yes! The "well-heeled experts," who probably get recordings sent to them in hopes of a review anyway . . . Never could quite afford that, myself, though I do have multiple recordings of some pieces, notably the Beethoven symphonies (sets by Ansermet, Karajan 1962, Leibowitz, and Suitner). In classical, there tends to be a lot of emphasis on the composer, though star performers like Paganini, Horowitz, Caruso, Nilsson, and Bernstein have long had a prominent place place, too.

Actually, my wife and I have been listening to a lot of radio drama on BBC7 lately. There are also a lot of old-time radio dramas available on the net, such as the Lux Radio Theatre hosted by Cecil B. DeMildew, as I believe a Bugs Bunny character called him. Here's a link to the BBC7 home page:

http://www.bbc.co.uk/radio7/

We rather like the dramatisations of detective stories about Agatha Christie's Hercule Poirot, Conan Doyle's Sherlock Holmes, and Dorothy Sayers' Lord Peter Wimsey.

http://www.bbc.co.uk/radio7/programm.../drama/current

[Feanor]

That approach makes a lot of sense and is one I've been drifting toward. As a classical neophyte, I spent the first few years in this hobby comparing different versions of specific pieces. While fun in a clinical and comparative sense it becomes old after a while and I no longer feel the need to hear what the "well-heeled experts" discern.

Hi, there, 'Sticks, Pat,

In the last day-and-half I listened through a bunch of "Violin Concert No.1"s ...

= Beethoven: D major, Op.61 ~ Perlman; Barenboim /Berlin Phil

= Brahms: in D, Op.77 ~ Mutter; Karajan /Berlin Phil

= Mendelssohn: E minor, Op.64 ~ Heifetz; Munch /Boston Sym

= Tchaikovsky: in D, Op.35 ~ Mullova; Ozawa /Boston Sym

= Bartok: No.1, Sz. 36, BB 48a ~ Sitkovetsky; Pesek /Philharmonia

= Prokofiev: No.1, D major, Op.19 ~ Josefowicz; Dutoit /O.S. de Montreal

= Shostakovich: No.1, A minor, Op.99 ~ Mordkovitch; N.Jarvi /Scottish National

= Moeran: Violin Concerto ~ Mordkovitch; Handley /Ulster

= Walton: Violin Concerto ~ Dong-Suk Kang; Daniel /English Northern Phil

= Barber: Op.14 ~ Takezawa; Slatkin /Saint Louis Sym

I enjoyed them all. But maybe the least the Moeran and Brahms -- as ever with Brahms, great engineering and polite but ultimately cloying sentimentality. Best probably the Shostakovitch -- none more sensitive and evocative than his No.1; the violin part in the third movement is exceedingly beautiful.

[bobsticks]

Ah yes! The "well-heeled experts," who probably get recordings sent to them in hopes of a review anyway . . . Never could quite afford that, myself, though I do have multiple recordings of some pieces, notably the Beethoven symphonies (sets by Ansermet, Karajan 1962, Leibowitz, and Suitner). In classical, there tends to be a lot of emphasis on the composer, though star performers like Paganini, Horowitz, Caruso, Nilsson, and Bernstein have long had a prominent place place, too.

Actually, my wife and I have been listening to a lot of radio drama on BBC7 lately. There are also a lot of old-time radio dramas available on the net, such as the Lux Radio Theatre hosted by Cecil B. DeMildew, as I believe a Bugs Bunny character called him. Here's a link to the BBC7 home page:

http://www.bbc.co.uk/radio7/

We rather like the dramatisations of detective stories about Agatha Christie's Hercule Poirot, Conan Doyle's Sherlock Holmes, and Dorothy Sayers' Lord Peter Wimsey.

http://www.bbc.co.uk/radio7/programm.../drama/current

It's funny (interesting not "ha-ha") that you would mention that. My first LP's were in fact not music but old time radio shows that my Grandfather bought me. I remember the old Shelock Holmes very well indeed...and a few others. Peter Lorre did something called "The Crimson Mask" that scared the beejeebas out of me when I was six.

And speaking of big name performers, Feanor, your list has quite a few. Names like Ozawa, Heifitz, Munch and certainly Mutter are almost autopicks. Jarvi used to be until that horrible Cinci disc that I have gratefully forgotten...

Edit: can't forget Dutoit in Montreal either...good stuff all around