Suddenly I feel like I'm doing something wrong.

Only if you try to go into folk singing.

Heh. David's right, I've been singing for a long time. In an alternate universe, one in which I never became disenchanted by the folk scene, all three of us could be competing for the One True Kate [lastname] Chick Folksinger's Crown. Or something.

As rock lore goes, I think Brian's sandbox is a little overrated.

Sure, but being the inspiration for Carl Spackler ensures him a place in the pantheon. "Big hitter, Dr. Landy..."

Anyway... the Calexico guy on Fresh Air will be Joey Burns. There will be a Robert Quine piece by Milo Miles, too.

I didn't hear it, but according to the playlist Irwin Chusid played "Rael" from Petra Haden Sings 'The Who Sell Out' (a cappella). A quick Google... says here, "Upcoming projects include 'Petra Sings, 'The Who Sell Out'' to be released in early September on Bar None records."

As always the Doc has her finger on the pulse of the nation. To paraphrase the King of All Media, "What does America want? Lesbians, lesbians, set theory and lesbians!" (Appears to be a natural affinity there.) Hard to believe she's not running a network.

I *know*! Where IS the funding?

I didn't hear it, but according to the playlist Irwin Chusid played "Rael" from Petra Haden Sings 'The Who Sell Out' (a cappella). A quick Google... says here, "Upcoming projects include 'Petra Sings, 'The Who Sell Out'' to be released in early September on Bar None records."

Woot! That's a cool project. My musician temp friend here was thinking of doing an all-girl band cover of Afghan Wigs Gentleman.

From the plate o' shrimp files (or maybe it's just the zeitgeist): Salon's "Wednesday Morning Download" recommends Miles' 1974 Duke Ellington tribute "He Loved Him Madly":

"He Loved Him Madly" was Davis' tribute to the recently deceased Duke Ellington, but rather than the stumbling, staggering, weeping motion of a dirge, it is absolutely static -- everything here is eerily elongated and unnaturally still, with the tone set by Davis' harmonically beautiful, ambiguously voiced electric organ playing. The stillness must have appealed to Brian Eno, who cited this track as one of the most important influences in his development of ambient music. He said the track has a "very strange atmosphere, as if you are standing in a clearing hearing different instruments at different distances from you." That very tangible quality of space in the track makes a great textural bed for Davis' trumpet when it finally enters, 16 minutes into the track, manipulated ever so delicately with a wah-pedal, to create an enthralling, serpentine sound.

In the Furious.com Quine interview he cites it as his favorite song:

The only other stuff that really influenced me early on was the electric Miles Davis stuff from about '72 to '75. On the Corner, Get Up With It. 'He Loved Him Madly' is like my favorite track of all time. Again, when I first heard it, I thought it was boring. He dabbled in rock with Bitches Brew but by the time of Jack Johnson, it was take no prisoners- he was in there all the way. He cut his own throat commercially. The jazz purists couldn't handle it- it was just walls of noise and textures.... That stuff is still fairly unappreciated. Maybe his chops are a little shot on 'He Loved Him Madly' but emotionally, when the smoke has cleared, that will be regarded as one of his most profound statements. You could listen to it when you're depressed, when you're having sex or whatever.

One of the other Furious interviews was with Miles' long-time producer, Teo Macero:

We had another machine invented when we were doing a record called Get Up With It by Miles. We were dedicating a number to Duke Ellington ("He Loved Him Madly"). And I put this track through this piece of equipment. I called Miles up and I says, "Look, something unusual happened here. I can't figure it out. I don't know what it is, but I hear the Duke Ellington band. Not your band, the Duke Ellington band, coming through the speakers." Holy Christ, mean it was traumatic and exciting at the same time. I couldn't believe what I was hearing.

The instruments, whatever they were, it sounded like the rhythm section. I mean the soloists and the brass and saxophones came right straight through. The next day we tried to duplicate it, but couldn't do it. We didn't touch the machines. It's like somebody had pushed a button, and out came Duke. Because, it was a tribute to Duke Ellington. I mean that sounds kind of scary to me but that's what happened. I've used it since and it hasn't created the same kind of illusion. But I think Duke was there in that room that day.

I've always wanted to hear it, but could never bring myself to drop the $25 for Get Up With It, which is considered, even by the standard of Miles' early '70s electric doubles to be extremely uneven. But ninety-nine cents is within my cheapskate budget, so I'll check it out and let you know what I think.

One of my perfect Buffista moments? Slow dancing with meara at the first F2F to a recording of Kate's college singing group doing "Galileo" with meara singing along.

I got ND to add it to this year's F2F play list, and got to see Kate and meara dance to it while singing along...

Ah, that was fun. Thanks for bringing that CD along, Ed! Buffistas: better than groupies.

I bought this CD yesterday. Granted, it's more than a few years old, but I recognize a lot of the artists from Buffista mixes, so I thought I'd give it a shot. (Haven't listened to it yet; will put it in the computer when Morning Edition is over.)

I know the Elastica song (the CD version, at least, never heard the demo) and the Garbage song, and I give them a thumbs up.

(Hey Jon, I finally sent those CDs off yesterday! Sorry for the delay.)