(from http://www.billboard.com/biz/articles/news/legal-and-management/5820021/lost-johnny-cash-album-out-next-spring)
There's new never-before-heard music coming from Johnny Cash. Cash's estate is releasing "Out Among the Stars," an album he recorded with Billy Sherrill in the early 1980s that was never released by Columbia Records, then disappeared when the company dropped Cash in 1986. Turns out Cash and his wife, June Carter Cash, stashed the tapes - along with just about everything else that came into their possession. . .
. . . Columbia paired him with Sherrill, a producer and Country Music Hall of Fame member who was then the president of CBS Records Nashville. One of the main architects of country music's so-called countrypolitan sound, Sherrill helped push the genre toward pop sounds and conventions - and away from Cash's more independent-minded ways.
The pairing came at a time when Cash was at a low ebb in his popularity. The music on "Out Among the Stars" is taken from 1981 and `84 sessions, at a time when country music was going through great change.
It was clear record company executives didn't think much of the outcome. They put out a few more Cash albums after the recordings were made, but never used the music from those sessions before dropping him. Sherrill backed Cash with a band that consisted of fellow Country Hall of Fame member Hargus "Pig" Robbins and a young friend of Cash's named Marty Stuart. . .
. . . [It] was recorded during some of the most difficult years of Cash's life. He felt like he'd lost his legacy and he was still dealing with the fallout from personal problems including infidelity and drug addiction.
He soon met producer Rick Rubin, though, and wrote a coda to his career that gave his life something of a mythic quality.
The Ditty is progressing nicely, thank you. And working with the fine gentlemen of OHO continues to be technically, creatively and personally enriching for me. Jay, David (and Bill of The Bratt Studio) possess the focus of a mother eagle on its prey and exhibited rare and precious mettle in the task at hand . . . nurturing The Ocean City Ditty (by Jay Graboski) to a snappy and rocking maturity.
Coming along well, don't you think? . . .
O - C - E - A - N C - I - T-Y
O - C - E - A - N C - I - T-Y
On your mark get set
Disconnect that internet
Every girl and boy
Breathing in the joy
Not a care at last
Sit outside and bask
In rays of summer's bliss
Crabs and fish and shells
Feel your tension spell
Fries and pizza pie
Smiles won't be denied
Everything is cool
in 2 1 8 4 2
Feel the sparkle in your eyes
Catch a wave and ride
Cars and motorbikes
Bikini babes in the sand
Vibin' to rockin' bands
Ocean City
From Memorial to Labor Day
We beckon you to play
To a boardwalk beat
Miles and miles of beach
Your memories to take
Currents dance and sway
leave your footprints in the sand
Fireworks at night
Give your love a kiss
Sail and fish the sea
Here life is a beach
in Ocean City
Now is the time that's right
For you only live once
Time does drag when it's all work and no fun
The ocean gateway calls you
Sport your shorts and shades
It's so divine to dine at life's buffet
It's almost heaven and
There's so much more we can say
Catch a wave and ride
Cool cars and motorbikes
Bikinis on the sand
Dance to rockin' bands
Ocean City
. . . person to give credit to the current U.S. Senate, would be ME . . .
. . . but . . .
Signs of progress began to emerge in U.S. budget talks on last Tuesday, as top Senate Democratic negotiator Patty Murray said that she sees a path toward an agreement to ease automatic "sequester" spending cuts.
Murray, asked if there was now a path forward in her talks with her counterpart, Republican Representative Paul Ryan, said: "I believe there is."
The lawmakers are racing against a December 13 deadline for a deal, as Republican resistance to including new tax revenues continued to be a sticking point, according to a Democrat on the negotiating committee headed by Murray and Ryan.
House and Senate negotiators were putting the finishing touches Sunday on what would be the first successful budget accord since 2011, when the battle over a soaring national debt first paralyzed Washington.
The deal expected to be sealed this week on Capitol Hill would not significantly reduce the debt, now $17.3 trillion and rising. It would not close corporate tax loopholes or reform expensive health-care and retirement programs. It would not even fully replace sharp spending cuts known as the sequester, the negotiators’ primary target.
(thanks to Reuters and the Washington Post)
Christmas gift suggestions:
To your enemy, forgiveness.
To an opponent, tolerance.
To a friend, your heart.
To a customer, service.
To all, charity.
To every child, a good example.
To yourself, respect.
-Oren Arnold
(http://www.billboard.com/articles/news/5812320/gene-kellys-singin-in-the-rain-suit-up-for-sale)
A memorabilia collector is selling the gray wool suit Gene Kelly wore as he joyously danced in a downpour in the Hollywood musical "Singin' in the Rain."
The suit is expected to sell for more than $20,000 when Heritage Auctions offers it up Friday in Dallas. Memorabilia collector Gerry Sola has had the suit for more than four decades after buying it for $10 at a 1970 sale of MGM props and wardrobe items following the sale of the studio to financier Kirk Kerkorian.
"I think it's one of these pieces that people are really excited to see go up on the block," said Margaret Barrett, director of the entertainment and music memorabilia department at Heritage Auctions. "Even if you've never seen this movie, you probably know the scene. You've seen Gene Kelly dancing around, singing in the rain, swinging on that lamp post."
(from http://www.rollingstone.com/music/news/bob-dylans-newport-guitar-sells-for-nearly-a-million-bucks-20131206#ixzz2n4N8FrP3)
Epic rock memorabilia brings epic money: Bob Dylan's sunburst Fender Stratocaster, first unsheathed at the 1965 Newport Folk Festival, sold at auction for a record-breaking $965,000 on Friday, according to the Associated Press.
Dropping nearly a cool million on an axe might seem excessive, but this guitar is one of the most iconic instruments in music history. Dylan's three-song Newport performance is the stuff of legend: Many folk diehards booed the set, viewing the switch to amplified rock as a sell-out (and labeling Dylan a traitor to the folk movement).
Despite the historical importance of the instrument, Christie's auction house wasn't expecting such a massive price: pre-auction estimates for the guitar (which also included the original leather strap and hardshell case) were between $300,000 and $500,000. Within the case itself was another hidden gem: early-draft lyrics to three Dylan tunes ("Absolutely Sweet Marie," "I Wanna Be Your Lover" and two others). Those pieces were estimated between $3,000 and $30,000 by the auction house.
(from www.wikipedia.com)
". . . Recording sessions took place at Columbia's 30th Street Studio over the course of three days in August 1969. [Miles]Davis called the musicians to the recording studio on very short notice. A few pieces on Bitches Brew were rehearsed before the recording sessions, but at other times the musicians had little or no idea what they were to record. Once in the recording studio, the players were typically given only a few instructions: a tempo count, a few chords or a hint of melody, and suggestions as to mood or tone. Davis liked to work this way; he thought it forced musicians to pay close attention to one another, to their own performances, or to Davis's cues, which could change at any moment. On the quieter moments of "Bitches Brew", for example, Davis's voice is audible, giving instructions to the musicians: snapping his fingers to indicate tempo, or, in his distinctive whisper, saying, "Keep it tight" or telling individuals when to solo.
Davis composed most of the music on the album. The two important exceptions were the complex "Pharaoh's Dance" (composed by Joe Zawinul) and the ballad "Sanctuary" (composed by Wayne Shorter). The latter had been recorded as a fairly straightforward ballad early in 1968, but was given a radically different interpretation on Bitches Brew. It begins with Davis and Chick Corea improvising on the standard "I Fall in Love too Easily" before Davis plays the "Sanctuary" theme. Then, not unlike Davis's recording of Shorter's "Nefertiti" two years earlier, the horns repeat the melody over and over while the rhythm section builds up the intensity. The issued "Sanctuary" is actually two consecutive takes of the piece.
Despite his reputation as a "cool", melodic improviser, much of Davis's playing on this album is aggressive and explosive, often playing fast runs and venturing into the upper register of the trumpet. His closing solo on "Miles Runs the Voodoo Down" is particularly noteworthy in this regard. Davis did not perform on the short piece "John McLaughlin". . . "
. . . and political activist. . . true to his convictions. . . NO ONE's "owned" politician . . .
(from http://thinkprogress.org/home/2013/12/06/3030781/nelson-mandela-believed-people-wont-talk/)
1. Mandela blasted the Iraq War and American imperialism. Mandela called Bush “a president who has no foresight, who cannot think properly,” and accused him of “wanting to plunge the world into a holocaust” by going to war in Iraq. “All that (Mr. Bush) wants is Iraqi oil,” he said. Mandela even speculated that then-Secretary-General Kofi Annan was being undermined in the process because he was black. “They never did that when secretary-generals were white,” he said. He saw the Iraq War as a greater problem of American imperialism around the world. “If there is a country that has committed unspeakable atrocities in the world, it is the United States of America. They don’t care,” he said.
2. Mandela called freedom from poverty a “fundamental human right.” Mandela considered poverty one of the greatest evils in the world, and spoke out against inequality everywhere. “Massive poverty and obscene inequality are such terrible scourges of our times — times in which the world boasts breathtaking advances in science, technology, industry and wealth accumulation — that they have to rank alongside slavery and apartheid as social evils,” he said. He considered ending poverty a basic human duty: “Overcoming poverty is not a gesture of charity. It is an act of justice. It is the protection of a fundamental human right, the right to dignity and a decent life,” he said. “While poverty persists, there is no true freedom.”
3. Mandela criticized the “War on Terror” and the labeling of individuals as terrorists without due process. On the U.S. terrorist watch list until 2008 himself, Mandela was an outspoken critic of President George W. Bush’s war on terror. He warned against rushing to label terrorists without due process. While forcefully calling for Osama bin Laden to be brought to justice, Mandela remarked, “The labeling of Osama bin Laden as the terrorist responsible for those acts before he had been tried and convicted could also be seen as undermining some of the basic tenets of the rule of law.”
4. Mandela called out racism in America. On a trip to New York City in 1990, Mandela made a point of visiting Harlem and praising African Americans’ struggles against “the injustices of racist discrimination and economic equality.” He reminded a larger crowd at Yankee Stadium that racism was not exclusively a South African phenomenon. “As we enter the last decade of the 20th century, it is intolerable, unacceptable, that the cancer of racism is still eating away at the fabric of societies in different parts of our planet,” he said. “All of us, black and white, should spare no effort in our struggle against all forms and manifestations of racism, wherever and whenever it rears its ugly head.”
5. Mandela embraced some of America’s biggest political enemies. Mandela incited shock and anger in many American communities for refusing to denounce Cuban dictator Fidel Castro or Libyan Colonel Muammar Gaddafi, who had lent their support to Mandela against South African apartheid. “One of the mistakes the Western world makes is to think that their enemies should be our enemies,” he explained to an American TV audience. “We have our own struggle.” He added that those leaders “are placing resources at our disposal to win the struggle.” He also called the controversial Palestinian Liberation Organization leader Yasser Arafat “a comrade in arms.”
6. Mandela was a die-hard supporter of labor unions. Mandela visited the Detroit auto workers union when touring the U.S., immediately claiming kinship with them. “Sisters and brothers, friends and comrades, the man who is speaking is not a stranger here,” he said. “The man who is speaking is a member of the UAW. I am your flesh and blood.”
