Subscribe: Do You Hear What I Hear?
Added By: Feedage Forager Feedage Grade A rated
Language: English
album  band  buddy  enjoy  good  great  guitar  jazz  les mccann  les  mccann  music  new  pretty  side  time  vocals 
Rate this Feed
Rate this feedRate this feedRate this feedRate this feedRate this feed
Rate this feed 1 starRate this feed 2 starRate this feed 3 starRate this feed 4 starRate this feed 5 star

Comments (0)

Feed Details and Statistics Feed Statistics
Preview: Do You Hear What I Hear?

Do You Hear What I Hear?

Dedicated to music and the days it fills...

Updated: 2018-03-21T07:19:47.229-04:00




Celtic Comfort...

After a long hiatus I'm finally ready to post a new selection. Having just recently restored my old turntable and amp I decided to test drive my nearly forgotten process for recording from vinyl to digital. I selected this recent purchase from the talented couple, Philip and Pam Boulding, also known as "Magical Strings. It appears that this album is OOP so it seemed more than worthy of resuscitating here on DYHWIH. It is a truly beautiful work featuring lots of flowing hammered dulcimer and various gentle harps along with a fair share of whistles, flutes and other traditional instruments. Much of the music is presented in the familiar Celtic tradition of medley, with 2 or 3 different songs/jigs tied together in seamless fashion. These are largely of Irish, Welsh and Scottish origin with many references to Turlough O'Carolan, but they have included a few of their own compositions as well. It all goes together perfectly, some of which is of the lullaby variety. While this music is entirely engaging and impressively rendered, it is most often a very meditative listening. There are no vocals, just expertly crafted acoustic music that will excite as much as it could easily lull you into a dream state (and I mean that in a completely positive sense). This is the first I have known of this group but now that my $1 purchase has properly introduced me I will definitely be looking to hear more. Magical Strings is still active and has a website where you can hear and purchase their more recent recordings. Enjoy...


Magical Strings - Spring Tide (1982)

Side 1
1 - Aurora's Lullaby (Philip Boulding) - Corolan's Welcome (O'Carolan)  6:36
2 - The Mary Medley (Traditional Irish jigs)  4:51
3 - Merch Megan Medley (Traditional Welsh)  4:51
4 - When She Cam Ben (Scottish Air) with Carolan's variations - Miss MacMurray (O'Carolan) 4:15

Side 2
1 - General Wynne - Planxty Safaigh (O'Carolan)  5:11
2 - Evening's Bewilderment (Philip Boulding)  4:04
3 - Spring Tide Lullaby (Pam Boulding)  5:18
4 - Miss Murphy (Carolan) and the Hornpipes (Traditional Irish)  4:14
5 - James Betagh - Denis O'Conor (Carolan)  4:15

Philip Boulding: Nylon & wire harps, Celtic harp, whistles, harp & hammered dulcimer,
Pam Boulding: Hammered dulcimer & field organ
Stanley Greenthal: Bouzouki
Mark Minkler: Flute
Denny Hall: Bodran

Flying Fish: FF-282

Les Miserables? Non, Les Magnifique!


Yes, Les is once again, magnificent on this OOP recording from 1964. As can often be the case with Les McCann, his music and delivery can sneak up on you or appear far too comfortable/easy to make a quick impression. But once you've paid a little attention and think a bit beyond your head boppin', toe tappin', smilin' self, you realize that this guy is just so much fun and so sensitive to the emotions of music. Through his  piano and his voice (though he does no singing on this album) he connects as only the truest of soulful musicians can do. Since the album details, including the entire liner notes from the back cover, were available on line, I've included all the details below and I probably don't need to say much else here. But I will add a few thoughts on this generally scarce LP. Side one opens with a compelling "Could Be" that delivers a variety of moods nicely while "Stragler" & "Restin' In Jail" lead smoothly into an inspiring exercise to end the side with "Bailor the Wailer". This track impresses with Les' agile keyboard work and playful feel. Side two starts off with a tender tune, "Maleah", which includes a nice acoustic guitar solo/interlude from Dennis Budimir. Dennis is otherwise generally in the background on the album, to my disappointment, put this is his showcase for the date and you can hear him pop up momentarily here and there on a few other cuts. "Lot of Living To Do" is a Broadway tune (Bye Bye Birdie) which Les really puts his stamp on nicely, delivering a spirited bit of fun along with the album's only drum solo, a crisp complement to McCann's piano work, crafted by the accomplished Paul Humphrey. "Kathleen's Theme" is a pretty number that leads into a happy go lucky "Gus Gus". All in all, another keeper from the man McCann. The Gerald Wilson Orchestra certainly does a tasteful job, ably supporting Les' trio with tasteful strings and some great brass accents throughout. It's a very natural combination. This was released in 1965 and doesn't seem to be available, except in LP format on the used market. Unfortunately my copy is a bit used as well and you can expect to notice that you are indeed listening to vinyl. I apologize for that, did remove quite a bit of the clicking but wasn't happy with what "Click Repair" was doing, so I resorted to a manual treatment which leaves some artifacts. Someone else must have a cleaner copy out there but for now, this is certainly clean enough to enjoy. In fact, once you hear Les tickle those's Magnifique!!MagnificentLes McCann & The Gerald Wilson Orchestra - McCann / Wilson (1964)Released: 1965 on Pacific Jazz # PJ-91 / ST-91 (LP)Also: on Fontana # 688-150 [U.K.] (LP): The WailersSide 1 - 15:40        Could Be (Les McCann) - 6:06        Stragler (Les McCann) - 2:36        Restin' In Jail (Les McCann) - 3:53        Baylor The Wailer (Les McCann) - 3:05 Side 2 - 15:10        Maleah (Les McCann) - 4:00        Lot Of Living To Do (Charles Strouse/Lee Adams) - 4:58        Kathleen's Theme (Les McCann) - 2:58        Gus Gus (Les McCann) - 3:14 Total - 30:50Recorded: Late 1964 at Pacific Jazz Studios, Hollywood, CAMusicians:    Les McCann (piano)    Victor Gaskin (bass)    Paul Humphrey (drums)    The Gerald Wilson Orchestra, featuring:    Dennis Budimir (guitar)    Teddy Edwards (tenor sax)    Gerald Wilson (conductor)Credits:    Richard Bock (producer, audio)    Woody Woodward (album design, photography)    Thomas Knitch (cover artist)    Les Carter (liner notes)Liner Notes:    This collaboration between LES McCANN and GERALD WILSON is a natural one and I think thi[...]

This Bud's for you.......


Nothing like a little comment activity to get a sleepy blog to show some signs of life, and tonight I'm happy to toast visitors with a Bud to cool and refresh your pop jazz guitar cravings. This is, I believe, the last of the original Buddy Fite recordings that was missing from this blog and I'm sorry it took me this long to get around to it, but here it is. There's not a lot to say this time around. My other four Fite posts pretty well express my great admiration for Buddy's work and frankly this album doesn't exactly enthrall me the way "Changes" did when I first discovered the intriguing guitar sound of the 6 foot, six-inch giant of the guitar. As I've stated before, though giant in stature and sound, Buddy Fite never really got the full treatment that might have more clearly revealed his skill and one-of-a-kind sensibilities. Unfortunately his recorded legacy is not only sadly very limited in quantity, but often presents varying quality in presentation as is again the case with this, his first album, "Buddy Fite!" from 1969. It presents a mixed bag of pop jazz that can dive pretty deep into the schmaltzy side, as on "Glad Rag Doll" where the saccharin muzak female chorus nearly makes you break out in laughter. But thankfully there's a healthy dose of what Buddy can really do throughout with special note to "Here's That Rainy Day", "Watch What Happens" and the lively "For Once In My Life" among others. The way he snaps the notes and chords and makes his guitar ring with emotion according to the tune, is once again signature Buddy, despite some of the creepy elevator production ploys. Once again, I'm just glad to add more to the Fite collection here on "Do You Hear What I Hear?" and some of these are keepers that could fit in with the "Changes" album that he put out the following year (1970). There were no credits offered on the album cover and frankly I don't much care who the singers were or the orchestra and strings that accompany most of this work. The focus is Buddy's sound and feel. Buddy passed away back in 2001 so enjoy what we've got here and maybe we'll dig up some more recordings somewhere...till then, this Buds for you....


Buddy Fite - Buddy Fite! (1969)
Cyclone Records CY4100

Side 1
Fly Me To The Moon
When Sunny Gets Blue
They Can't Take That Away From Me
Here's That Rainy Day
What Kind Of Fool Am I
The Shadow Of Your Smile

Side 2
Glad Rag Doll
On The Street Where You Live
Watch What Happens
So Rare
For Once In My Life

Buddy Fite - guitar
No other personnel listed.
Updated 7/23/17

Those Happy Cobbles Are Some Friends of Mine...


Cobble Mountain Band was a country/bluegrass hybrid band that played in the late seventies and probably beyond. I believe they were based in New England but I'm sure they toured well beyond the region given their talents and entertaining stage presence. I had the good fortune to have enjoyed their performances on several occasions and always made a point to go see them when they were in the Danbury, Connecticut area where I grew up. I recall them appearing at a place called Stage III in Brookfield, Connecticut fairly often and I always looked forward to seeing them. They were a fun band to watch with slick guitar and fiddle work as well as some great piano work. Although this brand of music wasn't the sort of music you would expect to flourish at a popular night club located in a relatively small town area, they did get the young crowd going and they could rock pretty well despite the country focus. Well all these years later I couldn't stop wanting to find some recordings by this group. I knew they had at least one LP, the one posted here, which one of my buddies had purchased back in the day, but I was quite surprised that it was not available in digital format anywhere. I finally bit the bullet and purchased this vinyl recording off eBay, for next to nothing I might add. And now I'm very happy to share it here after a very long hiatus from the blog. Listening as I recorded each song from vinyl I was happy to confirm that my long quest was completely justified. While this recording, apparently Cobble Mountain's only LP, doesn't fully convey the somewhat more rowdy performances I recall at Stage III, it certainly does present some great country rock with bluegrass nuances that I thoroughly enjoy. I'm impressed with the production and musicianship and most of the songs are really good stuff if you're any kind of fan of the genre. "Bottle of Fire" is a smooth and energetic kick off to side one and from there, "Cotton Eyed Joe" (which I recall them cuttin' up at the live performances) keeps things lively. From there it moves effortlessly through a great assortment of up tempo instrumental work, fun vocals along with some slower, touching ballads like "Drinking and Hoping" and the closing number, "Factory Farewell" that are pretty effective by my tastes. Throughout I am probably most attracted to the impeccable country picking of both Pete Adams (pedal) and Glenn Ferrell (lead & rhythm guitars). "Fly Trouble" will remind you of "I Just Gotta Have Another Cigarette" but they do it very well here and it provides a nice complement to the rest of the selections. Overall I think you'll hear some Commander Cody, Jerry Jeff Walker and a bit of Asleep At The Wheel. Not bad company I'd say. So I hope you'll agree with me that this is a recording that shouldn't be collecting dust. Enjoy it, be a happy Cobble and a friend of mine...CobbledCobble Mountain Band - Cobble Mountain Bad (1979)Singlebrook Record Company CMB 1579 - RounderSide 1:Bottle of FireGlory BoundCotton Eyed JoeOld Time Rhythm Of LoveDrinking and HopingFootprints In The NightimeSide 2:Back On The High RoadCarol County BluesFly TroubleBeen Through That BeforeNew York CityOnly Daddy That'll Walk The LineFactory FarewellPete Adams - pedal stell guitar, lead vocals on "Fly Trouble"Ray Cuevas - drumsGlenn Ferrell - lead & rhythm guitarAmasa Miller - piano, fiddle, lead vocals on "Cotton Eyed Joe"Walter Palmer - lead vocalsRichard Thornburg - fiddle, lead vocals on "Old Time Rhythm Of Love"Chris Tuttle - bassGuest musicians;Arlo Guthrie, Terry A La Berry, Danny Velika, Carol Ide, Steve Ide, John Pilla, Steve Asetta, Peter McEachern, Fred Hellerman, Lee Kahn, Jesse Henderson, Jemima James, and Mary Ellen Tuttle.[...]

Bill last drink for old times sake


I haven't taken to posting YouTube stuff or any kind of videos and God knows that plenty of hugely important artists have come and gone during the few short years that this blog has been around. But a couple weeks ago I learned of the passing of Bill Morrissey, a song writer and singer that touched the folk music community and probably beyond, and one that has left more than a handful of what I will call breath taking moments. Poetry that hits home and tunes that drive into your deepest insides. Songs that will make you stop everything you're doing when you hear them. How sad to lose that artistry, that musical companion, so young (60 years old). Many people are quick to describe Bill's work as sad and depressing and although they usually mean it in a complimentary way, I don't think it quite does justice to how Bill Morrissey captured the elements of life, and when powerful words and feelings hit you just right, it's easy to say it's sad. For me, it's just right. It's what life is that flows through his lyrics and sounds. It's thoughtful, sensitive and full of irony and humor, the things that memories are made of, the things that freeze time, that take you back until you are no more, and you feel like the spirit rather than the vessel. So here I have posted a video someone has on YouTube, a song that is so Bill Morrissey and so much one of my go to songs when I need to get perspective. Somehow it always manages to leave me looking up and set for good things. I don't know how Bill does that but for me he does. And to do complete justice to this great song and the memory of the man who wrote it, I also offer the following lyrics that I deciphered on my own (so please let me know if you see any mistakes). I am very grateful for the legacy this man left behind and how he has enriched my life. Cold Fingers by Bill MorrisseyGina left town with the, first snow of the yearHe drove her to the airport in his Ford.And he, tried to propose as he ordered one more beer,But the P-A drowned his words, and it was time for her to board.So he walked her to the gate, he took his hat off as he kissed her,He needed one more drink to take the chill out of his soul.He said a quick goodbye, then spent two hours in the bar,Finally paid his tab and kept a dollar for the toll.(chorus) Everything slips, through these cold fingersLike trying to hold water, trying to hold sand,Close your eyes, make a wish, and listen to the singer,One more round bartender, pour a double if you can.It’s 4 o’clock, and the sun’s gone down the drain,It’s still late winter, but they say it’s early spring.Lewis reads the gas pumps, Rossi counts the oils,But me I’m done, so punch the clock and see you in the morning.There’s nothin’ back at home that ain’t gone greasy with the stove,I never laughed so hard as when that typewriter broke.Think I’ll stop along the River Road for a half pint and some beer,Well everything would be okay if these old dreams would disappear.(chorus) The dog can’t move no more, surprised he made it till the spring,His pain won’t go away, and the pills don’t do a thing.You’ve known that old hound longer, than you’ve known most of your friends,And no matter how you let him down, he’d always take you back againSo it’s one tall glass of whiskey, one last drink for old time’s sake,The dog just lays in bed, and watches every move you make.Wrap him in his blanket, hold him once more close to you,Lead him out behind the barn with a borrowed 22.(chorus) [...]

Singing When You're Stinking From Drinking


Here's a collection of songs from various artists from around the Danbury, Connecticut area. The theme you will see is...drinking, and the artists cover a wide range of genres. I had the pleasure of contributing the country tune here but all the tracks are great stuff, no matter what your musical preferences may be. Most of the performers can be found on Facebook or MySpace if not other sites, including i-tunes. Now pour yourself a cold one and let 'em rip!

Drinking Songs

Various Artists 
"Chowdahouse Inc. Presents DRINKING SONGS"

1 -   Chowdahouse Inc. - Coolest Motherfucker on the Planet
2 -   Not the Kid - Drinking Song
3 -   The Boardlords - I Told You
4 -   MC Sexscene & Homeblind - Give It To You Good
5 -   Brenton Vaughan - Carry Me Home
6 -   Dick Lexus - Hip Hop for the Middle Aged
7 -   Six7 - Deathstarz
8 -   Orangatwang - Fish n' Chips
9 -   Chowdahouse Inc. - Closing Time
10 - Sarianna & The Swell - Drink
11 - The Dalliance - Pain Has Gills
12 - The Reins - Give It Up
13 - Cash Fur Gold - Whiskey and Chex Mix
14 - Don Ryan - Down and Out
15 - Durge - Just An Old Cowboy Again
16 - Si Ombrellone - Moonshine
17 - Mittimus - Diamond Jim's Spirits and Rumours
18 - The Artimus Formerly Known As - Good Friday

Produced by Chowdahouse Inc. (Released July 2011)

If Anyone Can Sing, Les Mc Can


Since the inception of this sporadic blog of mine, I've advertized my desire to track down one of the early albums by Les McCann called simply, "Les McCann Sings". I believe my familiarity with this recording came from an old 8-track I had of it back in my college years in the 70's. Some of the beautifully rendered ballads on this album provided just the right sort of fodder for those heart broken moments of my early relationships. I can remember sitting in the stairwell of the Computer Center on the Storrs campus at UCONN just singing a couple of those songs inspired by Les McCann's easy vocals and gentle piano playing. I can still hear my voice echoing up that stairwell into the emptiness of late nights waiting for my computer programming cards to finish running in the busy room outside the stairwell. I'd listen for any signs of life so I could quickly shut up to avoid any embarrassment with passers by. McCann's timing is so true and real, his delivery so perfect yet relaxed and comforting. So I wanted to recapture these tracks, so long OOP except for a few cuts on the later collection called "More or Les McCann" released much later (and also OOP). And out of nowhere came Rick with a friendly offer to deliver the tracks in their entirety so I could enjoy them fully once again and share them with you here. This is the kind of thing that makes a blog like this of value to me. Making priceless music available to the discerning listener when it is otherwise dead to the commercial world. I'm very happy to be able to post this beautiful work that ranges from Les' soulful side to his most melancholy. Not entirely different from most of his usual fine work, but perhaps one of the more elemental examples of Les' rare talent that bridges so many feelings and colors. Never a show off, just a man to capture emotions and deliver them to your ears and to wherever you want them to go. I've said too much. Just enjoy it and remember to thank Rick!Les SingsLes McCann - "Les McCann Sings" (1961)Pacific Jazz # PJ-31 / ST-31 (LP) 1.  Wonder Why (Nicholas Brodsky/Sammy Cahn) 2:58  2.  It's Way Past Suppertime (Les McCann/Vicki Arnold) 3:06  3.  'Deed I Do (Walter Hirsch/Fred Rose) 2:54  4.  Since I Fell For You (Buddy Johnson) 3:37  5.  But Not For Me (Ira Gershwin/George Gershwin) 2:58  6.  I Cried For You (Gus Arnheim/Abe Lyman/Arthur Freed) 2:24(side 2) 7.  Sweet Georgia Brown (Kenneth Casey/Ben Bernie/Macio Pinkard) 2:27 8.  Please Send Me Someone To Love (Percy Mayfield) 2:32 9.  Next Spring (Marvin Jenkins) 3:21 10.Love Letters (Edward Heyman/Victor Young) 3:16 11.On The Street Where You Live (Alan Jay Lerner/Frederick Loewe) 3:10 12.Bye Bye Black Bird (Ray Henderson/Mort Dixon) 2:07Aug. 1961 at Pacific Jazz Studios, Hollywood, CA (except track 9)Mar. 1961 at Pacific Jazz Studios, Hollywood, CA (track 9)Les McCann (piano, vocals)Herbie Lewis (bass)Ron Jefferson (drums) Gerald Wilson (conductor, arranger) (tracks 1, 2, 4, 5, 6, 8 & 10)(tracks 1, 4, 6 & 8)Harold Land, Teddy Edwards, Buddy Collette, Jack Nimitz, Charles Lloyd (reeds) Jimmy Zito, John Audino, Ray Triscari, Charlie Meeks, Bob Edmondson, John Ewing, and Kenny Shroyer (brass)(tracks 2, 5 & 10)Dolo Coker (rhythm piano) Jerome Reisler, Dan Lube, Carl Kalash, Darrel Terwilliger, Myron Sandler, Bobby Bruce, Edger Lustgarden, George Poole, Charles Gates (strings) (track 9) Richard "Groove" Holmes (organ) Ben Webster (tenor sax) Lawrence "Tricky" Lofton (trombone)Richard Bock (producer, audio engineering)Woody Woodward (cover design, back photos)Chester Maydole (cover photo)Vicki Arnold (liner notes)[...]

Hits and Hurts


Yes, here is yet another Buddy Fite posting, a guitarist with very few recordings but a great sound. I've become a bit focused on collecting all of his meager number of LP's so I had to find this album, even though I knew that 6 of the 9 tracks were repeats of tracks from other albums. As noted earlier on this site, from what I can tell, Buddy only has six LP's as a leader, and of those, only one, "Buddy Fite & Friend", is free of any repeat tracks. So I went ahead and ripped the whole album here, even though only three tracks appear to be unique. Right off the bat I was shocked to hear a vocalist anchoring the first tune, "I Feel The Earth Move". I will say that the singer here does a nice job with earthy, David Clayton Thomas type vocals over a nice bluesy/jazz combo setting where Buddy takes a one minute solo in the middle. Nice enough and definitely different from anything I've heard on any of his other albums, but I have to say I was disappointed to hear something that didn't just feature Buddy throughout. With so few recordings to enjoy, I just want to hear the man play his guitar. Moving into the next few tracks on side one we get back to featuring Buddy, but this whole side is pretty different too in that it concentrates on the bluesy side of Buddy. Each of these three songs offers a different accompanist soloing on saxophone, flute and finally a nice organ over spirited scatting. All very nicely done, all very much in a combo setting, but unfortunately there is no mention of the personnel on the cover. In fact, the recording itself is noticeably of relative poor quality with inconsistencies in the integrity of the sound, volume variations at a few moments, etc. Not terrible, but I guess there's a reason why this seems to be the scarcest of the Fite LP's. Then again, as always, there really is some "tasty" guitar playing throughout. Side 2 opens with what made me completely satisfied that I sprung for a considerable sum to acquire this piece of vinyl. The tune is "Love's Been Good To Me" and Buddy's treatment is creative, unique and very pretty. Along with the opening song on side 1 and Satin Doll, this makes up the three unique tunes for this album. Satin Doll is also very nicely done in an up tempo mode. So for anyone else that has become enamored with Buddy's bright and masterful craft work, I hope you'll enjoy this small dose of new material.While each is indeed a hit with me to varying degrees, it just hurts that only three cuts are additive to the collection. But as hoped, the hits outweigh the hurts mightily...enjoy!


Buddy Fite - The Hits of Yesterday (1977)

CMI 1005

I Feel The Earth Move
Barney's Blues
Sneakin' One
No Particular Blues

Love's Been Good To Me
Summer of '42
Satin Doll
Willow Weep For Me
Angel Eyes

Buddy Fite - guitar
no other personnel listed

In Bob We Strut


Here's an early seventies album that seems to be generally MIA and upon my recent reintro-duction I'm all too happy to get it out there where it belongs. I know very little about Bobby Bryant. I see that at least one or two other LP's from Mr. Bryant are out there, but this one, which appears to be his last as a leader according to AllMusic, seems plenty worthy of joining the living. First I must say that of the seven tracks, I think the title track is perhaps the weakest. Enjoyable, somewhat funkified jazz with solid instrumentation, but not much feeling. Easy to dance to. But from there I think the rest is really solid to excellent with some impressive playing in a near big band sort of sound. "A Prayer For Peace" brings some prettier sounds and you start to hear Bobby's chops only to be followed by a beautiful interpretation of Horace Silver's "Peace". Side 2 is full of more great playing from Bobby and his supporting cast. Kriss Kross is pretty heavy stuff, and then a great surprise with "We've Only Just Begun". This Paul Williams/Carpenters tune wound up coming off beautifully with a sweet intro that breaks into a very happening workout including some clever soloing while keeping the tune intact. Another highlight of the album is John Klemmer's "The Beauty of Her Soul". This again features the sensitivity of the musicians to flow in and out of the light and airy butterfly sounds into the classic Klemmer thunder. The album closes with a more worthy "strut" in Bobby's own "Nite Crawler". Funky and full of big sounds including a long guitar workout from David T. Walker (I believe, although Arthur Adams is on board also). All in all I have to say that this is a very soulful album that successfully captures a variety of musical moods. While the "strut" is definitely in evidence, there is much more going on here. I like the mini-big band flavor and was impressed with the solo efforts coming out from all the players. Some of it borders on getting pretty loose while some captures more of a late sixties Blue Note sound. Either way it's really good, strut me...TrustBobby Bryant - Swahili Strut (1971)Cadet (CA 50011)Swahili Strut (Bobby Bryant)A Prayer For Peace (Herman Riley)Peace (Horace Silver)Kriss Kross (Red Holloway, Art Hillery)We've Only Just Begun (Paul Williams, Roger Nichols)The beauty of Her Soul (John Klemmer)Nite Crawlers (Bobby Bryant)Bobby Bryant (trumpet)Bob Norris (congas)Herman Riley & Charles Owens (tenor sax)Carl Lott (drums)Henry Cain (organ)David T. Walker & Arthur Adams (guitar)Willie Allen & Max Bennett (bass)Personnel on "The Beauty of Her Soul" & "A Prayer For Peace";Bobby Bryant, Buddy Childers, William Cat Anderson, Albert Arrons,         Oscar Brashear & Freddy Hill (trumpet)Bob Norris (congas)Herman Riley & Charles Owens (tenor sax)Delbert Hill (baritone sax) Carl Lott (drums)Henry Cain (organ)Dennis Budimir (guitar)Gordon Maron (electric violin) Willie Allen (bass)Joe Sample (piano)David Duke (French horn)Groven Mitchell, Lou Blackburn, Mike Wimberley &      George Bohannon (trombone)Tommy Johnson (tuba)"The Beauty of Her Soul" arranged & conducted by John Klemmer[...]

Don't You Love Her Bradley...


Want to meet her Dadley...okay, another real stretch at a pun...but if you did love her madly, this Harold Bradley album just might be an appropriate backdrop. I won't pull any punches here, this is music that many would simply tag as easy listening. I found this on eBay several years ago and had no idea what to expect other than the hope that there might be some masterful guitar playing to enjoy. Then, when I ripped it I was a bit disappointed at the unusually reserved playing and also had a lot of LP noise on my vinyl. So I never thought to post it and haven't listened to it again. That is until I just today broke down and got the "ClickRepair" software that has been touted so highly of late. And now, well, it's certainly cleaned up a lot, and now I kind of like this collection of pretty tunes. Yes, it includes beautiful voices and strings lusciously arranged and conducted by Bill McElhiney, and yes, Harold's playing is decidedly deliberate and at times almost painfully slow. But, as the title suggests, this is supposed to be romantic, mood music of sorts, and as such, it has its moments and generally provides some very nice guitar sounds for the intended mood. I know very little about Harold Bradley except that he was apparently a very successful guitarist during the 50's and 60's and beyond. According to the liner notes he was particularly busy as an accompanist to many pop-country artists like Brenda Lee, Connie Francis, Red Foley, Burl Ives, Patti Page, Anita Bryant and Ann Margret. He seems to have country roots but clearly understands the jazz sensibilities as he pretty much displays throughout this album of jazz-pop standards. He makes the guitar sound beautiful and every so often adds a nice run of single notes to bridge his pleasant "chordings". A few of the tunes are a bit weak, but I really think most of them have some worthwhile sounds to enjoy for even the more advanced jazz aficionado, much as I have enjoyed with the likes of Tony Mottola. Anyway, thanks to "ClickRepair", which now opens up a few more obscure LP's from my humble collection, I hope you'll enjoy this somewhat obscure old LP. Maybe you'll love you're walkin' out the Doors...........(ugggghhh)

Tell Me What You Say...

Harold Bradley - Guitar for Lovers Only (1966)
Columbia (CL 2456)

Autumn Leaves
Dear Heart
Theme From "Picnic"
Love Letters
Moon Mist

Fly Me To The Moon
Serenade In Blue
As Time Goes By
Days of Wine and Roses
Moon River

Harold Bradley - guitar
Voices & Strings arranged & conducted by Bill McElhiney

No man is a failure that has a Buddy...


I thought the Christmas oriented subject line (quoting loosely from Clarence's famous note at the end of "It's A Wonderful Life") was appropriate in this post holiday wash into 2011, especially considering that I just purchased this LP as a Christmas gift to myself. As noted in my earlier posts, I enjoy guitar playing probably more than any other instrument, especially in the jazz vein, and often especially in the interpretation of pop music as is the case with greats like Howard Roberts and even Grant Green among many others. Once again, I want to pay tribute here to one of my most unsung heroes, the painfully under-recorded, Buddy Fite. While some may dismiss it as more pop than jazz, I could care less, and happen to believe it's as creative as most anything when one listens to the finely crafted subtleties of Buddy's comfortable and bright rendering of this collection of mostly well known tunes. His tone is true, metallic, yet warm as he rings through each song like they were old friends. My only disappointment, as I'm just beginning to fully quantify the scant discography of Buddy Fite, is that half the tracks on this record are duplicated on other Fite albums. That is truly frustrating. I am so eager to collect more of his work and find out that apparently all but one of his records include tracks that are shared. None the less, I am grateful for any track that I can add to the collection and this one offers four unique ones; "Girl Talk", "Michelle", "Summer of 42" & "Sunny". The other six can be found on his "Changes" album (also posted on this blog) or "Buddy Fite!" or "The Hits of Yesterday". I included all the tracks here for your full appreciation of this long out of print LP. I can't really pick a favorite here, each is signature Buddy. And although we have to accept that these aren't all new tracks to those of us that already enjoy his other albums, let's just be glad to have even one new Buddy.

One New Buddy

Buddy Fite - Plays For Satin Dolls (1975)

Here's That Rainy Day
I Can't Get Started
Moonlight In Vermont
Willow Weep For Me
A Day in the Life of a Fool

Summer of 42
Angel Eyes
Girl Talk

Buddy Fite - guitar
Other personnel not listed

More or Les....One of my favorites...


Well Christmas is on its way out again and I've been remiss with inactivity. I may find a holiday oriented post to make before the New Year celebrations close the door on the season, but I'm more excited about the album at hand, Les McCann's, "More or Les McCann". When I was enjoying my four years at UCONN in Storrs, CT I had among my collection of 8-track jazz and blues, this very same recording. It was not something that was a natural draw to me at first. It's generally quite mainstream stuff, along the lines of Ramsey Lewis' piano trio work with the upbeat pop appeal liberally applied. But somewhere around 1975-76 I was prolifically dumped by my long standing girlfriend and woe and behold, I became pretty obsessed with all things sentimental, which not so surprisingly seemed to coincide with the beginnings of my now much longer standing friendship with all things beer. So during this pathetic period of mine I became unusually captivated by the likes of Bozz Scaggs & Elton John of the pop world (e.g. "Harbor Lights", "Your Song", etc.) and all the typical sentiment that kids my age tuned into on our radio dials in those days. But with my growing passion for jazz and blues I thankfully made friends with this beautiful recording by Les McCann. The entire album is what you might say is fairly typical McCann. Tremendously soulful piano with a perfectly tuned in battery. I always love the comfortable, natural feel of Les' playing. Relatively simple perhaps, but so effective, so satisfyingly easy and joyful. But this particular album caught me most with the few vocal offerings that fit my mood so well during that emotional time that brought with it so many personal changes. Three songs, "Since I Fell For You", "Please Send Me Someone To Love" and "It's Way Past Supper Time" are the three vocal tracks here and each really showcases McCann's indisputable talent and artistic splendor. The songs are of some renown, but they are as good as any other version I've heard in each case. Probably my own personal favorite rendition of each. Again, Les is supremely relaxed and delivers the song like someone just singing to himself. You feel like your just eavesdropping from the shadows and lucky enough to catch the feelings as they ease out of his fingers and mouth. The other element to this album is that there is an addition of orchestrations from Gerald Wilson. Now this album seems to be fairly obscure. Not impossible to find on vinyl, as I recently did, but information on this recording is a bit scant. The gatefold cover itself doesn't offer a reference date of any kind, nor does the vinyl or labels. I always find that to be odd. AllMusic puts the release date at 1967 but other references have it as 1969. It sounds a bit more like 1969 to me but then I also think this is essentially a remix of earlier recordings which had been reconstructed with the addition of Mr. Wilson's orchestra. I know that two of the vocals here were also on the album "Les McCann Sings" from 1961, although I'm not sure it offers the same exact Les tracks. So from the vague liner notes it seems that this album is just dressing up a collection of previous releases, and for the most part I like the results even though I'm not sure I've ever heard the leaner originals. Arguably there are spots where the "dressing" may be a little more than is necessary, but generally it comes off tastefully and serves to accentuate the feeling that Les captures on his piano and in his vocals. The album is a continuous flow of mellow and sweet that ebbs to groovin' and swinging soul. So after so many years of searching for this painfully overdue replacement for my long since unraveled 8-track version from the 70's, I'm so glad to be able to once again listen to this timeless recordin[...]

So Guitar, So Good...


(image) Well, it's been a tragically long hiatus but at least I'm happy to come back with this particular, long awaited post. This album is one that I've been searching for over the past couple of years since I first saw references to its curious cover art and its well respected, though under recorded, artist, one Lloyd Ellis. Most of us jazz guitar geeks are quite familiar with his other album that proclaims his prowess as the world's fastest guitarist! And so we are anxious for any other examples of his work. In the genre of the venerable Hank Garland and Chet Atkins and other fine country pickers who evolved into impeccable jazz musicians, I knew this other album existed and am glad to finally find it. The recording quality here is not so great but for the moment I will consider this much better than the former MIA status. After enjoying the 12 tunes on this album for the first time, I will say it doesn't disappoint. There isn't much to point out as off the charts, just a very solid, enjoyable listen to some jazz standards delivered with clear and spirited guitar mastery. Some of the tunes are perhaps not the most exciting, mostly brief and familiar. But Ellis brings a real sense of confidence and joy to the recording, and you do occasionally pick up on his country roots which is a nice nuance to me. Certainly you have to remark on his agility and clarity, ripping off some lively lines and licks that just ring without a doubt. Pretty impressive. But before you go, just take a good look at this album cover. His other, better known album, seems odd in that the cover proclaims this respectable jazz artist to be such a speedy rock star type champion of the guitar. That always seemed sort of out of place for a traditional jazz guitar rendering. Now you look at this album and it kind of goes the other way with this Minnesota-like lakefront scene contrasted with the "hip" album title, "So Tall, So Cool, So There". Who thought this up? It really added to the intrigue of tracking this recording down, and now I can remove it from the "Does anyone have this record" list. I think you will enjoy the discovery as well. I might dispute just how "tall" this album is, but it is clearly, so cool, and so there.

So Here

Lloyd Ellis - So Tall, So Cool, So There! - 1960
Trey Records: TLP 902
Produced by Lester Sill and Lee Hazlewood.

When Your Love Has Gone
Typsy Gypsy
Sonny Boy
Take The "A" Train
Boggs Blues

Mad Hatter
Skipping Along
Lover Come Back To Me

Lloyd Ellis - guitar
John Witt - bass
Dick Odette - drums

The Coulter Club


(image) Well, long time no see. Too busy seeing all the other great blogs out there to find time for my own. But this album struck me recently as due some exposure. This is the 1970 Soul/Jazz creation of Clifford Coulter. According to our friends at this album, "East Side San Jose", was Clifford's first recording as a leader though another followed in 1971 when both were apparently released. I vaguely recall when I first rescued this from a bargain bin of vinyl that I was a little disappointed with my first listen. I'm not sure I listened to it again in the 30-ish years since! I expect it was probably because I generally wanted little to do with anything in the jazz category that brought with it vocals unless it was Lady "Day" or Eddie Jefferson. Now, so many years wiser, I must say that this is a very enjoyable album for what it is. Cliff delivers some real nice vocals on the first song on each side of the record, "Do It Again" & "Sal Si Puedes". He also does a fine job bringing it on the keyboards throughout this session. All the cuts are at least solid if not excellent, mostly groovin' and funkified with some signature guitar work from one of my favorite jazz/blues men, Mel Brown. Mel offers some chicken pickin' and wah-wah magic that keeps this thing moving and finishing all too soon. The brass and rhythm sections are also tight and mix in perfectly with Cliff & Mel. I picked up a slight "phantom" background sound at times on this LP, sometimes sounds like an intended overdub, sometimes not so much, but if you're just going with the flow you don't even notice it, very faint. My copy has a little crackle here and there but it came out fine I think, you should enjoy it if you like a fun jam session of west coast soul oriented jazz, including some bluesy and expressive singing from Cliff. If you're like me, this should lead to your enrollment in the Coulter Club...


Clifford Coulter - East Side San Jose - 1970
Impulse/ABC AS-9197

Do It Again
East Side San Jose
Prayer Garden
Cliff's Place

Sal Si Puedes (Get Out If You Can)
Big Fat Funky Shirley
Alum Rock Park

(all songs written by Clifford Coulter)

Clifford Coulter - vocals, piano, Fender/Rhodes electric piano, Hammond organ & guitar
Mel Brown - guitar
John Turk - trumpet
Cornelius Bumpus - tenor saxophone
Gino Landry - alto saxophone
Jerry Perez - rhythm guitar
Jimmy Calhoun - Fender bass
Joe Provost - drums
Billy Ingram - drums (Cliff's Place & Big Fat Funky Shirley)

Tasty Licks


(image) For all you hungry bluegrass fans out there, I have a treat, a tasty one. This next album was among my early favorites in the bluegrass realm. Back when I was able to frequent festivals and keep up with every issue of Bluegrass Unlimited, the band, Tasty Licks, and it's first album (self titled) was a frequent flier on my turntable and car stereo. They have such a unique vocal sound. Jack Tottle and Robin Kincaid both having rather high registers to their voices, yet the results are so natural and relaxed. Of course, with Bela Fleck anchoring the banjo licks on this team, there is plenty of spice and surprises to make for a great bundle of old fashioned bluegrass and exciting new fangled fun. You'll hear some incredible dobro work from Stacy Phillips and bass fiddle man Paul Kahn adds the bottom parts instrumentally and vocally with great aplomb. All in all a real classic in my book. Every song is solid stuff although I am always a sucker for a good cover and I think "Listen To The Rhythm of the F(image) allin' Rain" is a blast. "Sweetheart of Rainy Days" (by Kincaid) is another killer tune. Ultimately I find the whole album to be a non-stop hit. You'll note a lot of unusual twists to the rhythm throughout many of the songs, odd syncapation that keeps you on your toes. "Lathe Machine" is a very enjoyable instrumental and there's also a wonderful gospel treatment on "If You Don't Love Your Neighbor". I hope you will enjoy getting a taste of what these guys were way back in the late seventies. These were some of the guys responsibile for the relative revolution in bluegrass that we witnessed at the time, right up there with beer can collecting, except much better and here to stay thankfully!


Tasty Licks - (Self-Titled) - 1978
Rounder 0106

Ridin' The Back Road
Sweet Rhythm Of Highway
Reading in the Dark
Listen to the Rhythm of the Fallin' Rain
Trains/Leavin' Tennessee

Make It All Right
Sweetheart of Rainy Days
Lathe Machine
Why Did You Say Goodbye
If You Don't Love Your Neighbor
Saturday Night Special

Jack Tottle - vocals & mandolin
Robin Kincaid - tenor vocals & guitar
Bela Fleck - banjo
Stacy Phillips - dobro
Paul Kahn - vocals & acoustic bass
Bobby Hicks - fiddle ("Sweetheart.." & "Sweet Rhythm...")

Let's Go!


(image) This next album deserved a simple introduction and so I used what is probably the most recognizable cut on the 1984 album of the same name, "Let's Go" by the Connecticut band, The Reducers. "Let's Go", the very first cut on the album really kicks things off with a lot of energy and fun, and for the most part, I think the rest of the album follows suit. These guys often remind me of a slightly simpler version of the Revillos/Rezillos but at times there are quite a few other influences noted that generally seem i(image) ndicative of the times back in 1984. Some Ramones, even ZZ Top, but most of all it's a rockin' collection of well played, fairly down to basics good music that captures that early eighties "New Wave/Post Punk" feel. I can see where they get their name...reducing things to the best of elements. From a post office box in New London, Connecticut, I give you...The Reducers!

Let's Go

The Reducers - Let's Go! - 1984
Rave On Records TCP-1001

Let's Go
Bums (I Used To Know)
Fashion of the Times
Your Mother
Hippy Hippy Shake

Closing Time
Maximum Depression
Take It Away
(That'll Be) Just Fine
Big Man

The Reducers:
Hugh Birdsall - guitar/vocals
Peter Detmold - guitar/vocals
Steve Kaika - bass/vocals
Tom Trombley - drums/vocals

All songs written by Birdsall/Detmold/Kaika/Trombley except "Hippy Hippy Shake"

Freakbaby...the heartbeat of Connecticut


(image) (image) Here's another band that made the Connecticut scene in the early 90's and touts an impressive lineage that ties in with the likes of 76% Uncertain among others. I really find this stuff to be very unique and would love to have heard more recordings from this group. Fortunately I do have this one 45 to share and I will be curious to see your comments. Go ahead, after all, it's a Freak country...


Freakbaby - "Full Size" (45 rpm)
Delirium Records - 1993

My Pet Pig (side A)........ (image) Una(image) ble To Turn The Bat On Himself (side B)

Here's a little history from their MySpace page...
Started by Martha Hamilton, Elisa Flynn and John Howard in and around Danbury, CT in 1989. First gigs in 1990. Added Todd Knapp on guitar in 1993. Changed name to Jet Jaguar in 1995. Ended 1996. Output: Flathead Longo (Oil Burner Cassette) 1991; Peel b/w Boot (Oil Burner Records) 1992; Retroactive Karma (Chop, Grate, Whip, Liquify comp) 1992; My Pet Pig b/w (Unable to) Turn The Bat (on Himself) (Delerium Records) 1993; Honour The Ugly Dormer (Oil Burner Cassette) 1994; Michael's Type b/w Echo 'n' Preamble (Romance Records) 1996.

Reflex...a natural


(image) This is another tremendous Connecticut punk band that flourished in the early 80's and was home to a number of musicians who ended up filtering into other outstanding bands that evolved in th(image) e Nutmeg State, including "Violent Children" and the great "76% Uncertain". Here is a 45 rpm recording they released in 1983 called "Black and White". The quality rooted in this band's playing and compositions is obvious I think, but you judge for yourself. If you decide you like it then that "reflex" well on your taste in music...rock on! This and other Reflex recordings are included on other blogs but since I had this one I wanted to post it as a link to my buddy Todd who later performed and recorded with Reflex From Pain on guitar and continues to perform with 76% to this day!


Reflex From Pain - Black and White - 1983
Death Threat Records (Stratford, CT)

Generic Life

Media Control
Holy Pictures

Greg - vocals
Andrew - guitar
Dave - bass
Bill - drums

Reale-in' and a rockin'...


(image) During my care free days of bar hopping and night-clubbing, and the constant pursuit of good live music, I can remember a fairly early experience in New Haven, CT at a somewhat short lived new wave/punk club called The Joint. Situated in a basement of a downtown building, you walked down some cement stairs as I recall, down a long hallway into a claustrophobic series of rooms that included a small stage. I'm pretty sure that one of the first groups I saw perform here was a local band called Roger C. Real & Rue Morgue. For this tiny place I recall I was immediately impressed that these guys not only brought a lot of energy to the "joint" but they were pretty polished. Though their music was relatively straight forward, not highly quirky like some of the bands that were making the scene at that time locally, this band was tight and had all their licks down and delivered each song convincingly with plenty of sweat and enthusiasm. It was gut wrenching rock n' roll. I liked them and eventually tracked down the album you see here, "Radio Active". It's been a lot of years since I listened to this album (like most of my record collection), and I don't think I ever saw the band perform again, but this vinyl still sounds great today. Fairly simple, power trio garage rock that falls somewhere between The Who and The Ramo(image) nes with some hints of The Chords and maybe even some Bruce Springsteen if that isn't too damaging a comment to make. Roger certainly has a dramatic flair for Harley Davidson type rock vocals, gravelly and relentless, in a good way. But G.E. Smith never lets up on his revved up guitar work and drummer Hilly Michaels more than carries his share, as well. I particularly like "Dear Dad" and check out the punk-like attack on "Kill Me". I don't see any clunkers on this LP, it is the Reale deal and I hope you enjoy it. I understand that Roger is still in the Connecticut area but I don't think he is performing these days. Too bad.

Reale Deal

Roger C. Reale & Rue Morgue - Radio Active - 1978
Big Sound Records (NY, NY) BSLP-028

High Society
Dear Dad
Stop and Go
Pain Killer
Kill Me

Reach For The Sky
Madonna's Last Stand
Please Believe Me
Inside Outside
I Can't Control Myself

Roger C. Reale - lead vocals & bass
G.E. Smith - guitar
Hilly Michaels - drums & vocals

Feeling reduced?


(image) Well cheer up because Tot Rocket and the Twins will reduce you beyond your wildest dreams. No worries, a tit for Tot and we're on our way (Karen Carpenter?). Here again we have some solid rock spilling over from the central valley of Connecticut, although Tot advertises his address as being Grand Central Stati(image) on. "Reduced" is a pretty undeniable 1980 anthem, while the "Fun Fades..." is a bit more laborious. All and all though this makes a very strong statement for a band ready to go places. This is evidence of some flash and polish, but once again I have no clue as to where they all ended up. If nothing else, "Reduced" is a very worthy legacy which I expect you will thoroughly enjoy...


Tot Rocket and the Twins - Tot Rocket and the twins (45 rpm) - 1980
Whiplash Records Ltd. (Naugatuck, CT) Trace Elements Music (45-107)

(side A)
Reduced (A.D. Halbreich) VRRNP-787

(side B)
Fun Fades Fast in the USA (R.M. Poss) VRRNP-788

If not your cup of tea, at least the saucer?


(image) Another apparent Connecticut band making the scene back in the late 70's with this 45 rpm featuring three nice tunes. Nothing earth shaking but solid pop rock with a cover that oddly provokes me I must a good way. I believe I did see these guys play once but that could be the beer talking all these decades later. Suffice to say, I'm glad to have this vinyl testament to their statement and I hope you enjoy it as well...

Saucers - Saucers Saucers Saucers (45 rpm) - 1979
Orange Recording & Management (New Haven, CT)(image)

(side A)
What We Do (Marsden)

(side B)
I Didn't Get It (Bell)
Muckraker (Bell)

Next at Bat in the continuing series...


(image) Next, but certainly not last, here we have yet another great Connecticut band called The Bats and this 45 captures two classic pop gems that have always had me hooked. Although I never saw The Bats live, these two recordings show a pretty slick group providing a highly professional and infectious rendering of their own classic "Popgun" along with a monster version of the Lennon/McCartney timeless hit song "Tell Me Why". To me these two recordings epitomize pop rock, 1980 or 1960 or 2009, no matter, this is just so rock solid and knee melting stuff. I know The Bats did put out a full album but it seems hard to believe they never went any further. The tune "Popgun" is incredible for pop lovers. It is simply credited to "BATT", perhaps the last (image) name of the group's leader I suppose. I know these cuts are available on the web elsewhere but this post must be made to praise these tremendous efforts from a top notch Connecticut group, taken directly from the 45 @ 320. Take aim and fire at this great stuff..."but the shot never kills"...


The Bats - The Bats (45 rpm) - 1980
Gustav Record (New Haven, CT) GT003

(side A)
Popgun (BATT) (Detour Music)

(side B)
Tell Me Why (Lennon/McCartney) (MacLen UNART)

Time to Q you in...


(image) #3 in our continuing series on the Connecticut music scene from my fun years, here's another goodie from a band called International Q. I believe I saw these guys at least twice, once at WESCONN in Danbury, CT. These guys were fun, up tempo and infectious. They were a little tighter and practiced than (image) some of the others I heard at the time, but likeable all the same! I think they developed a bit of a following locally but I have no idea what became of them. Once again the only reference to a name here is for the song credits, all being to a D. Pittsinger. I just know that I have always liked the three songs on this 45 from 1981 and I hope you will be all the better for having been "Q'ed" gotta love "Small Talk"!!


International Q - International Q - 1981
45 rpm - Queue Music

(side A)
What I Got

(side B)
To Be A Boy
Small Talk

All songs credited to D. Pittsinger

Remembering October Days...


(image) Next on the Connecticut late 70's early 80's local scene hit parade is a great 45 from a band called October Days. I believe I saw these guys at Brothers in West Haven once and they were very enjoyable as I recall. This recording is quite representative of the cool vibes of the music that this whole scene thrived on. A bit dark, a bit rockin', sort of moody but catchy at the same time. I like both cuts and wonder where these guys ever went, if anywh(image) ere. The cover and insert material includes only what you see in the above pics and a fold out collage that includes some lyrics, but nowhere does it give any information on the band unfortunately. Both songs are credited to B. Nelson so I'll assume he is probably the guitarist/singer here (looks like quite the leaper in his day!). The recording was apparently from New Haven so I'm pretty sure they were from Connecticut and I saw them here, so there ya go...enjoy!


October Days - October Days - 1981
45 rpm - Clutch records (New Haven, CT) - October Days Music

(side 1)
West Coast

(side 2)
Don't Give Yourself Away

Songs credited to Blake Nelson

Good bands are getting Furor and farther between...


From bluegrass in Japan to The Furors in New Haven, Connecticut. Now for some real fun! I have a very modest collection of 45's including a handful of some recordings made by local bands that were generally part of that late punk/early new wave phenomenon of the late 70's and early 80's. Being, at the time, a recent college graduate with a few bucks to spend on a regular basis, I was lucky enough to make regular trips to the hot spots for this music that were dotting the Connecticut landscape at that time. Places like Brothers in West Haven and the Lithuanian Club in Hartford were among the best clubs to see some down and dirty, raw music. Sometimes you would catch someone of more far reaching fame within the same genre, but most often you would see small, home grown bands trying to make their mark somewhere, and often enough it was pretty special. Although there certainly were some trademark attributes common to many of these enthusiastic fledglings, quite often it was somewhat "no holds barred" with some wild results. Good or bad or in between, it was definitely entertaining. Generally speaking, being tight and rehearsed was not the critical requirement. Energy and good music was all that mattered, usually loud and passionate. Of all the places that my friends and I would frequent during those days, I would have to say the most legendary and earliest among my memories is Ron's Place in New Haven. This might have been one of the first, if not the first, such place I visited. It was small, dark and dirty. The beer was cold, the bathroom typically flooded in urine, cockroaches roaming freely on the tiny bar, floors, etc. The jukebox was loaded with good stuff, classic rock and garage rock/punk/new wave. The dance floor was pretty small too, but managed to vaguely contain some pretty large groups of colliding bodies and aimless soloists who would flail under the hypnotic effects of the music. I remember one night where a bunch of us gathered (mostly strangers to each other) on the sidewalk just outside the front entrance, after closing, and we somehow slipped into a lengthy doo wop outburst that sounded pretty good (or so I thought at the time) until New Haven's finest stopped by to remind us that we were disturbing the peace. But that was sort of what Ron's Place was all about, disturbing the peace, in a harmless and fun sort of way. Why do places like that cease to have a purpose, why don't they just keep attracting throngs from generation to generation? Probably it was due to the public health risk, that I would believe. The core of our group of music hounds would often invite along various unsuspecting and uninitiated friends to enjoy a night at Ron's, but some were pretty uncomfortable with both the environment and the music. We tried. Anyway, to get to the point, I would like to post a few of these great 45's representing some of the talent that we witnessed in places like Ron's when the whole "scene" was really catching momentum and gaining attention from more fans. Kids were exhibiting some of the fashion of the English movement spurred by the likes of The Jam and The Clash, etc. The piercings and extreme hair, the leather jackets, The Ramones and this was just about the time that these artists were making some money selling records in the US. So it was a fun time, arguably not the very start of it, but it was coming of age as the New Wave evolved amongst bigger, glitzier[...]