Just heard the news that disco diva Donna Summer died today at her home in Key West, Florida, aged 63. She’d been diagnosed with breast cancer last year, but had kept her illness private.

Her breakthrough single, the sensuous ‘Love To Love You Baby’ was released in the US in December 1975, the month I started out as a club DJ, and would go on to reach #4 on the UK chart, whilst the follow-up, an uptempo version of the Barry Manilow song ‘Could It Be Magic’ would also pick up plenty of club play, although it peaked at the more modest position of #40 (it would subsequently be covered in a similar style by Take That in 1992, for whom it was a top 3 hit). However, the record that cemented her status as the Queen of Disco (a mantle she took over from the original Disco Queen, Gloria Gaynor), was the seminal electronic dance masterpiece, ‘I Feel Love’, which topped the UK chart in 1977.

The hits would keep coming for the remainder of the 70’s – ‘Down Deep Inside (Theme From The Deep)’, ‘I Remember Yesterday’, ‘Love’s Unkind’, ‘I Love You’, ‘Rumour Has It’, ‘MacArthur Park’, ‘Hot Stuff’, ‘Bad Girls’ and ‘No More Tears (Enough Is Enough)’ all reaching the top UK 20 – her association with European production duo Giorgio Moroder and Pete Bellotte, dating back to ‘Love To Love You Baby’, being one of the defining aspects of the Disco era.  Things tailed off in the 80’s, although she had a renaissance towards the end of the decade with a trio of top 20 hits in collaboration with British pop producers Stock Aitkin Waterman.

One of my personal favourite Donna Summer recordings was her 1982 cover of ‘State Of Independence’ (originally recorded by Jon & Vangelis), produced by the great Quincy Jones and backed by an all-star choir, which included Michael Jackson, Brenda Russell, James Ingram, Dionne Warwick, Michael McDonald, Lionel Richie and Stevie Wonder. Footage from the recording here:
http://youtu.be/84_IQKtNYhg

Summer was never comfortable with her sex siren image and in 1980 became a born-again Christian. In the mid-80s she was embroiled in controversy, accused of making anti-gay remarks (a large proportion of her fan base being gay men). She allegedly said that the then relatively new disease, AIDS, was a punishment from God for the immoral lifestyles of homosexuals. She denied that she had ever made any such comment, and would later state that it had been ‘a terrible misunderstanding’.

Donna Summer Wikipedia:
http://en.wikipedia.org/wiki/Donna_Summer

Taken from this post:
Donna Summer

//Frederique Cifuentes captures Lloyd Johnson in the doorway at 406 King's Road. Lloyd installed the lamp above his head when he opened Johnson's at the premises in 1978.//

Yesterday filming started for this summer’s King’s Road Fashion & Music Trail, which is is being launched to visitors to west London’s historic thoroughfare as part of Kensington & Chelsea’s InTransit festival in July.

The films of sites which have housed important boutiques in the story of rock & roll fashion will be accessible for pedestrians via QR codes and also appear on the RBKC website and on Youtube.

//Nigel Waymouth on the terrace at 488 King's Road.//

The first five King’s Road addresses which will feature are:

• 138a – Mary Quant and Alexander Plunkett Green’s Bazaar opened here in 1955

• 161 – Dandie Fashions and Apple Tailoring (1967-70)

• 406 – Johnson’s The Modern Outfitter (1978-2000)

• 430 – The first incarnation here we are looking at is Paradise Garage (1971)

• 488 – Granny Takes A Trip (1966-74)

Yesterday film-maker/photographer Frederique Cifuentes and I filmed interviews with Lloyd Johnson at 406 and Granny’s founder Nigel Waymouth at 488. Now home to Rocco Borghese’s extraordinary glass chandelier sculptures, Nigel was jazzed to spot that some of the Victorian flock wallpaper which adorned Granny’s walls when they moved in is still in place on the ceiling.

The films have been commissioned by Alan Kirwan of RKBC’s culture section; find out more about InTransit here.

This is Frederique Cifuente’s website and more examples of Rocco Borghese’s work can be found here.

Taken from this post:
Filming Lloyd Johnson and Nigel Waymouth for the King’s Road Fashion + Music Trail

//Frederique Cifuentes captures Lloyd Johnson in the doorway at 406 King's Road. Lloyd installed the lamp above his head when he opened Johnson's at the premises in 1978.//

Yesterday filming started for this summer’s King’s Road Fashion & Music Trail, which is is being launched to visitors to west London’s historic thoroughfare as part of Kensington & Chelsea’s InTransit festival in July.

The films of sites which have housed important boutiques in the story of rock & roll fashion will be accessible for pedestrians via QR codes and also appear on the RBKC website and on Youtube.

//Nigel Waymouth on the terrace at 488 King's Road.//

The first five King’s Road addresses which will feature are:

• 138a – Mary Quant and Alexander Plunkett Green’s Bazaar opened here in 1955

• 161 – Dandie Fashions and Apple Tailoring (1967-70)

• 406 – Johnson’s The Modern Outfitter (1978-2000)

• 430 – The first incarnation here we are looking at is Paradise Garage (1971)

• 488 – Granny Takes A Trip (1966-74)

Yesterday film-maker/photographer Frederique Cifuentes and I filmed interviews with Lloyd Johnson at 406 and Granny’s founder Nigel Waymouth at 488. Now home to Rocco Borghese’s extraordinary glass chandelier sculptures, Nigel was jazzed to spot that some of the Victorian flock wallpaper which adorned Granny’s walls when they moved in is still in place on the ceiling.

The films have been commissioned by Alan Kirwan of RKBC’s culture section; find out more about InTransit here.

This is Frederique Cifuente’s website and more examples of Rocco Borghese’s work can be found here.

Taken from this post:
Filming Lloyd Johnson and Nigel Waymouth for the King’s Road Fashion + Music Trail

NOW HERE’S THE THING about how FaceBook works. We are having this fine discussion of Jimmy Page’s axology, so I reach over to my copy of Guitar World October 1988, “The Resurrection of Jimmy Page” issue – I believe it was the last issue I edited, in fact, before moving out to LA – and here is a piece of a great seminal interview with the man by Bud Scoppa with Max Kay:

GW: What was your primary guitar at that stage [early session work days]?
PAGE: A Les Paul Custom – the one that got ripped off over here. The “Black Beauty,” I think they called it. It’s the one that has the frets pretty far down. I had it re-fretted anyway, so the frets were higher. Yeah, most of the session work was done on that, using a Burns amplifier, and then also I had a Fender Super Reverb. …

GW: When did the Marshall enter your life?
PAGE: I was producing John Mayall and Eric Clapton for Immediate Records and that’s the first time I saw [laughs] and experienced that. I thought it was fabulous but I couldn’t have one of these – not in the studio environment that I was working in. ‘Cause the volume and such wasn’t quite the thing.

…….

GW: What about the wah-wah?
PAGE: [noticing Guitar World's special issue on JIMMY PAGE opened to the spread on his guitars] …

…   I see you’ve got a picture of [the Danelectro] here. They did a great job [on the issue], didn’t they?I had no idea at the time that that’s what they were doing. Anyhow, that’s the one that I used for the slide part – the Danelectro. And I’ve always used that [for slide], actually.

…

GW: You also used the Danelectro during the “Atlantic Fortieth Anniversary” show, as I recall.

PAGE: “Kashmir” was done on that, anyway initially – the recording of it.

GW: So your primary axes are still the ’58 Les Paul Standard, the Danelectro and the Telecaster with the B-String Bender –

PAGE: And the ’60 Strat.

…….

GW: … Does the setup of the album (“Outrider”)’s two side – the rockers and the blues songs – follow the chronology of the recordings?

PAGE: No, it wasn’t done like that.

GW: It was just a free-for-all, then.

PAGE: Not quite a free-for-all. A very controlled free-for-all

GW: I’m just trying to understand the specifics of your process.

PAGE: It fascinates you, doesn’t it, this process?

GW: Yeah, it does. What could be more fascinating than an artist’s creative process?

PAGE: I don’t see how the creative process with me is any different than it can be with anybody else, really. I wouldn’t think so. I mean, as far as the initial spark goes, anyway.

GW: Well, I understand that the initial spark just arrives – but then you have to direct, refine and focus it.

PAGE: Mmm, of course, absolutely. And I wouldn’t think that was any different with anybody else, either. Well, Maybe so.

WITH THAT, Page was off to LAX to catch a flight back to London, but not before sayingh, with optimum magnanimity, “See you in the fall, I guess.” While loading up my notes and tape recorder in the now-empty hotel room, I spotted the bag, still packed with burgers and fries, on the floor beneath the chair where Page had been sitting. He’d been too polite, or too self-conscious, to eat in front of me. Oh Well – they’d feed him on the plane. But it wouldn’t be Burger King.

Pagey in 2009 – photo by © Noe Gold

+++++++++++++++++++++++++++++++++++++++

This Note inpired by …

Led Zep “Heartbreaker” – … like a steam roller rolling over a chicken coup.

 a thread on FB:

http://www.facebook.com/permalink.php?story_fbid=298964116854915&id=564797197

By Greg Martin

8 May, 2012 at 10:15 ·

When this kicks in, it’s like a steam roller rolling over a chicken coup. This still fires me up today, Jimmy’s solo is over the top. Wonder what he was using on this track?

Les Paul or Telecaster, Marshall or Supro amp? We want to know!

– Perry Margouleff

Led Zeppelin – Heartbreaker

http://www.youtube.com/watch?v=BwZ4Px57cWA&feature=share

Led Zeppelin - Heartbreaker Copyright - 1969 Atlantic Records

“Heartbreaker” is a song from English rock band Led Zeppelin’s 1969 album, Led Zeppelin II. It …

Greg Martin I always said Page’s solo was like a “Slinky” coming down the steps, it’s too cool!

Bruce Reed I think he had switched to the LP/Marshall setup at this time

Perry Margouleff Call me and we can talk.

Doug TheSubstitutes Ginther ‘58 Les Paul Standard and Marshall 100-watt amps Vox electric 12-string and a Vox solid-state amp.

Kim Shaheen I have this album on 4 track, not the 8tr cartridge, an actual 1/8-inch tape reel. LZ II actually has a name. I’ve never seen it mentioned but it’s called “The Only Way to Fly.”

Jim Gaines I’d be willing to bet on the LP. This month’s Guitar World has a cover story featuring Joe Walsh where he tells about the James Gang touring with LZ right before the first album hit big and his flying to NYC to sell Page one of his 59s for 1200 dollars.

Wade Daffron I’m thinking Tele through Supro.

Bruce Reed

http://guitarinternational.com/2010/08/20/zep-gear-a-look-at-jimmy-pages-gear-during-the-age-of-led-zeppelin/

Chris McElrath I agree with Wade Daffron.

Bruce Reed Tele through Valco (Supro) on 1st album, then it’s a whole new ballgame!

Jim Gaines Before I forget, it’s the LP that became Page’s Number One, according to Joe.

Chris McElrath For one thing, he is getting some insane behind-the-nut bends that I have never been able to come close to approximating on anything besides a Telecaster, because there simply isn’t enough space between the string and the headstock wood to push down on the string that far unless you are playing a six-on-a-side, Fender-type headstock. Just my wild guess. …

Wade Daffron I’m sure many of y’all have done this already, but it’s really worth the time and trouble to seek out some of the old Yardbirds bootlegs (on vinyl!) and you will certainly hear the genesis of Page’s early Zep sound.

Wade Daffron Oh man, Mr. McElrath, I never thought about that! That’s genius! I know exactly what you mean about reaching up there and pushing those strings. Teles are also good for rolling the volume knob for that pedal steel sound, of course.

Greg Martin I still have “Yardbirds: Live At The Anderson Theater” and “Little Games” on vinyl, bought them when they came out. I bought the Anderson Theater LP for a $1 at Grant’s Department Store in Louisville, after Page had it pulled off the market. They had a pile of them in 1972. I also have the new “Glimpses” box set.

Wade Daffron Oh my, that’s some good stuff right there. I’m gonna have to go look and see what I’ve got for sure. I know I have some kind of box set, and some others. Some people are amazed when I play them the Yardbirds’ version of “Dazed And Confused.” They’re like, “So, Zep did a cover version?” Oyyy. …

Chris McElrath Yeah Wade, I love and own all kinds of different guitars, but at the end of the day I am and always have been a tele man, so I do admittedly have a bias in that direction. But seriously, that section of Page’s solo from about 2:08 to 2:14 just screams Telecaster to me. But I have been wrong a time or two in my life. …

Greg Martin Here’s the genesis of “Dazed And Confused,“ it’s listed as “I’m Confused” on the Yardbirds’ Anderson Theater LP.

The Yardbirds – Dazed And Confused (1968)

http://www.youtube.com/watch?v=wsjo92lJ9vg

 The Yardbirds are an English rock band that had a string of hits in the mid 1960…

Wade Daffron I gotta learn how to upload pics. I just found my copy of “Yardbirds-Last Rave-Up in L.A.” It’s a THREE-record set (456 of 1,000) on Glimpses Records. Nice, full-color cover and liner notes by “D.S. Cole” (?!). BTW – Nine-minute version of “Dazed And Confused.“

Greg Martin Actually, here’s the true genius of “Dazed And Confused”:

Jake Holmes – Dazed and Confused

http://www.youtube.com/watch?v=pTsvs-pAGDc

Dazed and Confused was written by the folk-rock singer Jake Holmes and released …

Wade Daffron Holy cow! I had no clue! Great find! I just hope there’s not a William Shatner version floating around somewhere…

Greg Martin LOL! Not that I know of, Wade. As far as know, Jake was the inspiration.

Wade Daffron Hey, if you don’t mind, y’all (there I go again) check out my most recent post and see if I’m on to something, or need to be put out to pasture. THANKS!

Greg Martin ‎… and the inspiration for “Whole Lotta Love?“

Small Faces – You Need Loving

http://youtu.be/LkQpZpFLpv4

Wade Daffron Everything I know is wrong. I thought I had read/seen/heard all there is, but I am being schooled seven ways to Sunday!

Greg Martin I absolutely love Jimmy Page. No matter what inspired what, Led Zep and Jimmy are one of the big reasons I wanted to play Guitar in the ’60s. I still aspire to learn something from the master himself anytime I can. Thank God for youtube!

Nancy Woods ”Stairway to Heaven” was always one of my faves. That song will take you to another place.

Greg Martin Yep, that one and a little organic help in the ’70s took me to another dimension a few times.

Wade Daffron I think there’s some good “lost” Page stuff-like “I Can’t Quit You, Baby” on Coda, and especially “Prison Blues” on the Outrider solo album. I swear, that song has the most sizzling guitar work I’ve ever heard!

Wade Daffron Hope it’s not a “Wet Willie” Dixon. “Keep On Smiling!”

Gregg Hopkins Not the wet one.

Noe Gold Mr. McElrath, the “nut job” theory is a bit of alright!

Mac Whiteside Sounds like an LP at the first, not positive though, then the Tele fer the leads, it just cuts too good … ditto on the bends … could we all be right? Always thought he used the Tele on the first couple of albums … corrections please.

Noe Gold Think the Tele was main ax …

… but …

The Yardbirds – Dazed And Confused (1968)

http://youtu.be/58mQvW0ROag

… and yet …

From the man himself Mr. Jimmy Page

http://youtu.be/uoBs3vyI3Q0

 Jimmy Page talks about his #1 Les Paul.

Visit www.authenticzeppelin.com

I took this at an intimate press conference for the movie.

Photo copyright © 2009 By Noe Gold - All Rights Reserved or I will kill you.

Donald ‘Duck’ Dunn, Albert Hall, London, England, April 15, 1970
In the middle of his set supporting Creedence Clearwater Revival, Tony Joe White stepped up to the mic and introduced his band: two of the Dixie Flyers (Mike Utley on organ and Sammy Creason on drums) and—on bass, ladies and gentlemen—the legendary ‘Duck’ Dunn, Memphis maestro (Booker T, Otis, Eddie, Wilson). Not content with Duck’s luminous, numinous credits, Tony Joe informed the audience that we had a Champion in the house (my memory fails me with the precise details, but it was something like All-State Tennessee Hall of Fame Champion). Yes a Champion of… the YoYo. And there, on the stage of The Royal Albert Hall, ‘Duck’ Walked The Dog… he Hopped The Fence… he went Around The World… he Looped The Loop… and 5,000 people whooped for joy, as they gave him a standing ovation.

Julie Delpy, The Film Programme, R4
In a really entertaining interview by Francine Stock, Delpy talks about her new film in which the action takes place over 48 hours. “I like the unity of time, maybe because I’m not very good at storytelling in time-lapse, and I hate the time-lapse sequence of montage with, like, music. Like the typical one was a nice trendy song of the time, then you have a montage of time passing or whatever (laughs)—I just can’t do that! I like unity of time, like when shit hits the fan it really usually happens on like a very short period of time… In Before Sunset the idea of doing it in real time, hour and a half, came from me…”

A Veteran Vibe
Aimlessly flipping from channel to channel, a great juxtaposition: Charles Aznavour (now 87, about 57 at the time of this recording of She) and Engelbert Humperdinck (formerly Gerry Dorsey, let’s not forget, currently 76). Aznavour sings like a piano player, jamming words together in entirely unnatural fits and starts, cramming then letting one word run long— a European version of gospel’s tension-and-release? Whatever, it’s mesmerising, especially as the camera just holds the same closeup of his face throughout the song. Humperdinck sings Britain’s Song For Europe entry, Love Will Set You Free, and, leaving aside whether the song is derivative or fine—what did you expect?—he gave it some going over. The voice was strong, his pitch was dead-on and he negotiated the tricky key change (a Eurovision must) with aplomb. All the best for Baku, Eng!

Alberto Y Los Trios Paranoias
Simon was saying that I should be aware of the Cardiacs, a band I’d entirely missed in the eighties and nineties, and on their Wiki entry I noticed a name from the past—listed as an inspiration—a name you don’t forget. The Albertos were a band I happily watched countless times [mostly, I think, at the Marquee] as they purveyed a wildly cynical take on the music business. It’s hard to describe the shows. Look through the contact sheet of a roll I shot at one of the gigs (it enlarges if you click on it) and you’ll get a sense of what they were like. See drummer Bruce Mitchell—widest shoulders this side of Dick Tracy plus huge wooden nude-girl tie! The worrying balaclava-and-gun look! That alarming codpiece! CP Lee, wearing a Peter Cook-like belted raincoat in the photos and playing a Stars & Stripes guitar, went on to write a great book about Dylan’s infamous ’66 Manchester Free Trade Hall gig, Like The Night. The Albertos were a one-off—they were really good musicians and were also hysterically funny. There’s not many bands you could say that about. [nb: final frame shows my friend Kwok, asleep on my mother’s couch.]

]]> http://www.rocksbackpagesblogs.com/2012/05/five-things-i-saw-heard-this-week-wednesday-16th-may/feed/ 0 http://www.rocksbackpagesblogs.com/2012/05/stephen-may-life-death-prizes/ http://www.rocksbackpagesblogs.com/2012/05/stephen-may-life-death-prizes/#comments Wed, 16 May 2012 07:33:07 +0000 Leyla Sanai http://www.rocksbackpagesblogs.com/?p=49251 My review of Stephen May’s Life! Death! Prizes! was in The Independent on Sunday a couple of days ago. It’s a light, undemanding read, but charming:

http://www.independent.co.uk/arts-entertainment/books/reviews/life-death-prizes-by-stephen-may-7742067.html

http://www.independent.co.uk/arts-entertainment/books/reviews/when-i-die-lessons-from-the-death-zone-by-philip-gould-7754258.html

These are the trestles stacked up in Les Subsistances gallery in Chaumont, France, awaiting delivery of the exhibits for my show Barney Bubbles: The Past, The Present & The Possible, which is part of the group show White Noise: Quand le graphisme fait du bruit opening on May 26.

The exhibits arrive in France today, so the install  is underway.

White Noise, co-curated by Sophie Demay and Etienne Hervy, coincides with Chaumont’s 23rd International Poster & Graphic Design Festival.

Read more about it here.

Taken from this post:
New Barney Bubbles exhibition: we’re on our way

Barney Hoskyns’ praise of Robert Greenfield’s The Last Sultan: The Life and Times of Ahmet Ertegun, which ran on this blog back on 6 April, inspired me to read it too.  I don’t know that Ahmet Ertegun was ever my “hero,” but as the principal auteur of Atlantic Records, my favorite label of all time, he was someone I really hoped I’d come to admire.  Despite my dedication to Atlantic, I’d never known much about Ertegun himself, other than the two legendary bookends of his life & career: how his love of jazz and African-American music began when he was overwhelmed by the experience of seeing Duke Ellington’s band play in London in 1933, when Ahmet was only nine or ten, and then his death in 2006 after suffering a fall and head injury backstage at a Rolling Stones event.  I loved the image of Ertegun being precociously inspired by the great Duke, but I worried myself with cynical fantasies of him having taken his fatal tumble while kneeling to kiss the ring on some Rolling Crone’s claw.

The truth, as always, was much more complex than that, as Greenfield’s bio reveals.  Ertegun’s Ellingtonian awakening took place essentialy as the legend’s always had it, but his fall was more prosaic and tragic.  It happened when he went to the restroom in the theatre where the Stones were appearing, the light inside was burned out, he butted the door open with his back to leave, then fell and hit his head on the hard floor — all of which he actually survived, but complications from a past stroke etc. did him in during surgery.  As an old guy myself now, I can certainly relate to all of that.   

In between those two portals, Ahmet Ertegun’s and Atlantic Records’ amazing careers took place.  I need to warn potential readers of this bio now that Robert Greenfield hasn’t been a company man for Rolling Stone’s Jann Wenner for forty years for nothing, and that his book is far more concerned with Power and Personality than with Atlantic’s music as such, though of course the inner workings of the company, as fully detailed here, determined what got recorded and released.  A book with far more pages devoted to Steve Ross, the late top dog at the Warner-Elektra-Atlantic conglomerate, than to the (Young) Rascals, the first white r’n'r group to appear on Atlantic itself, rather than Atco, and who sold a lot of records in the process, is not MY vision of Atlantic, but then I’m odd.

Another fantasy Greenfield’s bio has disabused me of (in this case helpfully), was my idea that Atlantic’s gradual loss of a distinctly jazz/r&b identity from the ’70s onward was due to Ahmet Ertegun’s surrender of influence to the corporate suits after the WEA & Kinney mergers in the late ’60s.  In reality (per Greenfield), it was the other way around; after Ertegun could spend the corporation’s money rather than his own, he went after all the big names he wanted on his label, from the Rolling Stones on down.  Ertegun was actually enthusiastic about the Bee Gees and other bands I would never have allowed on Atlantic if I ran the show.  But I must say I really enjoyed Greenfield’s anecdotes of Ertegun (a master at it) manipulating fellow music moguls Clive Davis and David Geffen into doing what he wanted, in order to enhance his own company. 

In my earlier comment on Barney’s posting, I’d expressed the hope that Jerry Wexler might turn out to be the true “Soul Man behind the throne” at Atlantic, and Greenfield’s book gives some credence to that: Wexler came from a working-class Jewish family, some of whom were actual Communists, as opposed to Ertegun’s wealthy-and-privileged-son-of-a-Turkish-diplomat background.  According to Greenfield, there were a few class-based frictions between Wexler and Ertegun, but they always worked together well.  Wexler’s left-wing origins had prepared him to be a Soul Man of sorts, but he was also thus somewhat doctrinaire about R&B, and was less open to the scene’s increasingly pop orientation in the ’60s.  He may have missed out on getting the Beatles for Atlantic, but he did sign Led Zeppelin to the label, for better or worse.  (Better them than Firefall or Hootie & the Blowfish, even in my book.)

What I love most of all about Atlantic is their imprint on the 1960′s: starting the decade with the holy trinity of John Coltrane, Ornette Coleman, and Charles Mingus all signed to the label; the ongoing R&B masterpieces from Aretha Franklin, Wilson Pickett, and the Stax artists; and the greatest run of album-cover art ever, per this critic.  Atlantic album jackets of the ’60s always had completely detailed credits on their backs, not just full composer & publisher info for each cut, but all the incidental contributors to the package.  That’s how graphic artsists Loring Eutemey, Marvin Israel, and Haig Adishian, who designed so many of Atlantic’s ’60s jackets, have become my (largely unsung) heroes over the years. 

Which in turn brings me to the surprise hero of my personal Atlantic myth: neither Ahmet Ertegun nor Jerry Wexler (for all I admire them), but big brother Nesuhi Ertegun(!)  Or, as Greenfield has it on p. 106: “Nesuhi took over production of Atlantic’s jazz records [in the late '50s] . . . With an eye for packaging and design second to none, Nesuhi personally approved all the artwork that appeared on Atlantic’s covers while also signing and/or producing the Modern Jazz Quartet, John Coltrane, Ornette Coleman, Charles Mingus, Thelonious Monk, Rahsaan Roland Kirk, and Keith Jarrett.”  Yes!  Now we’re talking, now it all fits together!  This is more than enough for me to know about Nesuhi Ertegun for now — I don’t really want a full bio of him yet, don’t want to find out if he became a shameless fan of Reaganomics and/or MTV bobblehead Phil Collins like his little bro’ did.  Though nothing could ever take away what Atlantic gave me in its halcyon 1960s. 

Ahmet, sorry to hijack this review of your bio with this last-minute deus ex machina from your brother, but that’s how it worked out.  Obviously I continue to admire you for making the whole thing happen, even if Nesuhi was the sib on my wavelength.  And that photo of you guys with Duke Ellington in 1941, in Greenfield’s book, with you looking like the classic record-collector nerd of all time, Nesuhi meanwhile already the cool hipster, is just too perfect for words.  That’s my myth, and I’m sticking to it.

Ten tunes chosen by me have been added to Rose Blake’s website studiomusic.

My choice was added yesterday with Harry Hill’s.
Harry plumps for some Kelis, a bit of Glasvegas and a helping of Tony Christie, while my list includes Hawkwind, The Heptones and Kilburn & The High Roads.

Click here to hear our choices and those of many other fab contributors.

Taken from this post:
My 10 tunes to listen to while you work