What are you listening to? March 2026
- Thread starter Unsomnambulist
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Unsomnambulist
Staff member
Black Bombaim - s/t (2009)
Ojai Sam
Staff member
The Nightcrawlers - The Little Black Egg (1967)
Vinyl Spin of the Day.
I don't care what they say
I'm gonna keep it anyway
I won't let them stretch their necks
To see my little black egg with the little white specks
I found it in a tree
Just the other day
And now, it's mine, all mine
They won't take it away
Here comes Mary, here comes Lee
I'll bet what they want to see
I won't let them stretch their necks
To see my little black egg with the little white specks
[chorus]
Oh goldurn, what can I do?
Your little black egg's gonna tell on you
I won't let them stretch their necks
To see my little black egg with the little white specks
[chorus]
-Chuck Conlon
Vinyl Spin of the Day.
I don't care what they say
I'm gonna keep it anyway
I won't let them stretch their necks
To see my little black egg with the little white specks
I found it in a tree
Just the other day
And now, it's mine, all mine
They won't take it away
Here comes Mary, here comes Lee
I'll bet what they want to see
I won't let them stretch their necks
To see my little black egg with the little white specks
[chorus]
Oh goldurn, what can I do?
Your little black egg's gonna tell on you
I won't let them stretch their necks
To see my little black egg with the little white specks
[chorus]
-Chuck Conlon
Unsomnambulist
Staff member
Die Spitz - Something To Consume (2025)
They're as if Courtney Love fronted Nirvana.
They're as if Courtney Love fronted Nirvana.
axolotl
Nunquam non paratus
I can't discern if that means you think they're fantastic or so-so. I'll go with the former.
Reddit seems to like them.
Unsomnambulist
Staff member
I can't tell from one listen how good they are.
Ojai Sam
Staff member
The Tremeloes - Live In Cabaret (1969)
This album was compiled from 2 shows: June 5, 1969 at The Showboat in Middleborough and June 6, 1969 in Spennymoor. According to the band, there was no sweetening in the studio. It's interesting that they chose to record in quiet areas like Durham and Yorkshire. For all that, the Trems put on a high energy show with engaging patter and lots of their trademark harmonies. Biggest surprise is Rick Westwood switching to electric sitar mid-record. I wouldn't have thought to do that for a cover of "Proud Mary" but I guess it makes sense if the river you're rolling on is the Ganges.
on the Sam-O-Meter.
This album was compiled from 2 shows: June 5, 1969 at The Showboat in Middleborough and June 6, 1969 in Spennymoor. According to the band, there was no sweetening in the studio. It's interesting that they chose to record in quiet areas like Durham and Yorkshire. For all that, the Trems put on a high energy show with engaging patter and lots of their trademark harmonies. Biggest surprise is Rick Westwood switching to electric sitar mid-record. I wouldn't have thought to do that for a cover of "Proud Mary" but I guess it makes sense if the river you're rolling on is the Ganges.
on the Sam-O-Meter.
Ojai Sam
Staff member
Linda Ronstadt - Keeping Out Of Mischief (1981 unreleased album)
Here is an album that I considered for the Lost Classics thread but decided that it didn't qualify. Oh, it's lost alright but sadly, not close to being a classic.
In 1980, Linda broke her string of successful formula albums (an oldie here, an El Lay ballad there) to venture into New Wave with Mad Love. When this odd record seemed neither to please her old fans or gain her new converts at CBGB, Linda made an even wider detour to the stage, heading to Broadway to do "Pirates of Penzance" the following January. While she was still wrestling with Gilbert & Sullivan, Jerry Wexler approached her to try a jazz session in mid-1981. Keeping Out of Mischief was the result.
All the ingredients were present for a triumph: great singer, legendary producer and top jazz musicians like Tommy Flanagan, Tal Farlow and Al Cohn. But the resulting album was so bad that it was buried by the artist and her management team, much to Wexler's sorrow. The postmortems placed blame in many places depending on the source. The whole gruesome story is here for the morbidly curious:
stephenkpeeples.com
In 1982, Linda retreated to formula with Get Closer, her last pop rock effort. Then she finally struck paydirt the following year when she joined forces with Nelson Riddle for three wildly successful albums of lushly arranged standards that brought her the mainstream success she seemed to crave. The first of these even reprised eight of the ten songs from KOOM, but Linda adopted a radically different vocal style. Wexler had her emulating the torch singers of the 30's, notably Mildred Bailey and Billie Holiday. Riddle, on the other hand, went for the world-weary post war style of Helen Forrest and Savannah Churchill.
Riddle proved to be the better judge of Ronstadt's performative approach to singing. The somber chamber music vibe of Linda's early hit "Long, Long Time" suited his approach perfectly. Under Wexler's guidance, she managed to project the same babyish persona as Fanny Brice, more Betty Boop than Billie or Bailey. No one wanted to say it, but Linda simply didn't have the spontaneity or the vocal chops to keep up with these skilled improvisational jazzers. At times the musicians seemed to make a conscious effort to leave the struggling singer in their dust. Years later, she found the highly structured orchestral settings cultivated by Riddle much more to her liking.
I have always been a big Linda fan, seeing her many times in person during her formula years. But I have to admit that drowning Keeping Out Of Mischief was the only merciful thing to do.
Here is an album that I considered for the Lost Classics thread but decided that it didn't qualify. Oh, it's lost alright but sadly, not close to being a classic.
In 1980, Linda broke her string of successful formula albums (an oldie here, an El Lay ballad there) to venture into New Wave with Mad Love. When this odd record seemed neither to please her old fans or gain her new converts at CBGB, Linda made an even wider detour to the stage, heading to Broadway to do "Pirates of Penzance" the following January. While she was still wrestling with Gilbert & Sullivan, Jerry Wexler approached her to try a jazz session in mid-1981. Keeping Out of Mischief was the result.
All the ingredients were present for a triumph: great singer, legendary producer and top jazz musicians like Tommy Flanagan, Tal Farlow and Al Cohn. But the resulting album was so bad that it was buried by the artist and her management team, much to Wexler's sorrow. The postmortems placed blame in many places depending on the source. The whole gruesome story is here for the morbidly curious:
Ronstadt, Wexler on Unreleased 1981 Album 'Keeping Out of Mischief' - Stephen K. Peeples
The documentary "Linda Ronstadt: The Sound of My Voice" altogether skipped "Keeping Out of Mischief," her unreleased 1981 album produced by Jerry Wexler.
stephenkpeeples.com
In 1982, Linda retreated to formula with Get Closer, her last pop rock effort. Then she finally struck paydirt the following year when she joined forces with Nelson Riddle for three wildly successful albums of lushly arranged standards that brought her the mainstream success she seemed to crave. The first of these even reprised eight of the ten songs from KOOM, but Linda adopted a radically different vocal style. Wexler had her emulating the torch singers of the 30's, notably Mildred Bailey and Billie Holiday. Riddle, on the other hand, went for the world-weary post war style of Helen Forrest and Savannah Churchill.
Riddle proved to be the better judge of Ronstadt's performative approach to singing. The somber chamber music vibe of Linda's early hit "Long, Long Time" suited his approach perfectly. Under Wexler's guidance, she managed to project the same babyish persona as Fanny Brice, more Betty Boop than Billie or Bailey. No one wanted to say it, but Linda simply didn't have the spontaneity or the vocal chops to keep up with these skilled improvisational jazzers. At times the musicians seemed to make a conscious effort to leave the struggling singer in their dust. Years later, she found the highly structured orchestral settings cultivated by Riddle much more to her liking.
I have always been a big Linda fan, seeing her many times in person during her formula years. But I have to admit that drowning Keeping Out Of Mischief was the only merciful thing to do.
Zeeba Neighba
Staff member
Sure you've always been a "big Linda fan" but do you know what the term "Linda Ronstadt" means in baseball?Linda Ronstadt - Keeping Out Of Mischief (1981 unreleased album)
View attachment 15746
Here is an album that I considered for the Lost Classics thread but decided that it didn't qualify. Oh, it's lost alright but sadly, not close to being a classic.
In 1980, Linda broke her string of successful formula albums (an oldie here, an El Lay ballad there) to venture into New Wave with Mad Love. When this odd record seemed neither to please her old fans or gain her new converts at CBGB, Linda made an even wider detour to the stage, heading to Broadway to do "Pirates of Penzance" the following January. While she was still wrestling with Gilbert & Sullivan, Jerry Wexler approached her to try a jazz session in mid-1981. Keeping Out of Mischief was the result.
All the ingredients were present for a triumph: great singer, legendary producer and top jazz musicians like Tommy Flanagan, Tal Farlow and Al Cohn. But the resulting album was so bad that it was buried by the artist and her management team, much to Wexler's sorrow. The postmortems placed blame in many places depending on the source. The whole gruesome story is here for the morbidly curious:
Ronstadt, Wexler on Unreleased 1981 Album 'Keeping Out of Mischief' - Stephen K. Peeples
The documentary "Linda Ronstadt: The Sound of My Voice" altogether skipped "Keeping Out of Mischief," her unreleased 1981 album produced by Jerry Wexler.
In 1982, Linda retreated to formula with Get Closer, her last pop rock effort. Then she finally struck paydirt the following year when she joined forces with Nelson Riddle for three wildly successful albums of lushly arranged standards that brought her the mainstream success she seemed to crave. The first of these even reprised eight of the ten songs from KOOM, but Linda adopted a radically different vocal style. Wexler had her emulating the torch singers of the 30's, notably Mildred Bailey and Billie Holiday. Riddle, on the other hand, went for the world-weary post war style of Helen Forrest and Savannah Churchill.
Riddle proved to be the better judge of Ronstadt's performative approach to singing. The somber chamber music vibe of Linda's early hit "Long, Long Time" suited his approach perfectly. Under Wexler's guidance, she managed to project the same babyish persona as Fanny Brice, more Betty Boop than Billie or Bailey. No one wanted to say it, but Linda simply didn't have the spontaneity or the vocal chops to keep up with these skilled improvisational jazzers. At times the musicians seemed to make a conscious effort to leave the struggling singer in their dust. Years later, she found the highly structured orchestral settings cultivated by Riddle much more to her liking.
I have always been a big Linda fan, seeing her many times in person during her formula years. But I have to admit that drowning Keeping Out Of Mischief was the only merciful thing to do.
Coincidentally we discuss that in this week's episode of Fungos & Fastballs
Oh jeez...I've become THAT guy who makes a one degree of separation with conversations and his podcast
Zeeba Neighba
Staff member
Didn't post yesterday
Posting today
Finishing up my weekly playlist - on to 1975 songs!
Including:
"Kashmir", "Trampled Under Foot"
"Thunder Road" and "Born to Run"
"Bohemian Rhapsody"
"Rhiannon"
Wish You Were Here
Blood On The Tracks
"Walk This Way" and "Sweet Emotions"
"One of These Nights"
"Low Rider" and "Why Can't We Be Friends"
"Philadelphia Freedom"
"(Hey Won't You Play) Another Somebody Done Somebody Wrong Song"
"Crazy on You"
KC's "Get Down Tonight"
AC/DC's "TNT"
KISS's "Rock and Roll All Nite"
ABBA's "SOS" and "Mamma Mia"
Tavares "It Only Takes A Minute"
Miracles "Love Machine"
Jefferson Starship's "Miracles"
ELO's Face The Music
Eric Carmen's "All By Myself"
Janis Ian "At Seventeen"
Bad Company's "Shooting Star"
Four Season's "Who Loves You"
Diana's "Theme From Mahogany"
Rod Stewart's "Sailing"
Olivia's "Have You Never Been Mellow"
And many, many more....
Posting today
Finishing up my weekly playlist - on to 1975 songs!
Including:
"Kashmir", "Trampled Under Foot"
"Thunder Road" and "Born to Run"
"Bohemian Rhapsody"
"Rhiannon"
Wish You Were Here
Blood On The Tracks
"Walk This Way" and "Sweet Emotions"
"One of These Nights"
"Low Rider" and "Why Can't We Be Friends"
"Philadelphia Freedom"
"(Hey Won't You Play) Another Somebody Done Somebody Wrong Song"
"Crazy on You"
KC's "Get Down Tonight"
AC/DC's "TNT"
KISS's "Rock and Roll All Nite"
ABBA's "SOS" and "Mamma Mia"
Tavares "It Only Takes A Minute"
Miracles "Love Machine"
Jefferson Starship's "Miracles"
ELO's Face The Music
Eric Carmen's "All By Myself"
Janis Ian "At Seventeen"
Bad Company's "Shooting Star"
Four Season's "Who Loves You"
Diana's "Theme From Mahogany"
Rod Stewart's "Sailing"
Olivia's "Have You Never Been Mellow"
And many, many more....
axolotl
Nunquam non paratus
Is it something like "Blue Bayou"? A strike on a fastball heater that the batter barely saw?Sure you've always been a "big Linda fan" but do you know what the term "Linda Ronstadt" means in baseball?
Coincidentally we discuss that in this week's episode of Fungos & Fastballs
Oh jeez...I've become THAT guy who makes a one degree of separation with conversations and his podcast
View attachment 15753
Apologies if I am correct. I so seldom am these days.
Zeeba Neighba
Staff member
Unsomnambulist
Staff member
Your podcast is an easy listen, only about 20 minutes. I wish more podcasts were like that, instead of being 2+ hours long.You are right
But rats! You spoiled it - now Sam will NEVER listen
axolotl
Nunquam non paratus
You are right
But rats! You spoiled it - now Sam will NEVER listen
I thought I should've put my comment in a spoiler. Then, we could've been certain Sam wouldn't see it.
I only knew it because Rex Hudler used the expression in almost every game that he was the (ETA: radio) color guy for the Angels.
That said, here's more (but I'm sure you know them already):
In Baseball, the Name Is the Game, by Rob Kyff
Why do baseball players call a fastball a "Linda Ronstadt"? Because she recorded the song "Blue Bayou," and, if you're a hapless batter, a sizzling fastball probably just "blew by you. " Why is a fastball that travels more slowly than expected called a "Peggy Lee"? Because she recorded the...
www.creators.com
Ojai Sam
Staff member
Great episode. No, I didn't know Linda's significance to baseball before you educated me.
Unsomnambulist
Staff member
Courtney Barnett - Creature Of Habit (2026)
Unsomnambulist
Staff member
Flea - Honora (2026)
Yes, the bassist from the Red Hot Chili Peppers. Jazz Fusion.
Yes, the bassist from the Red Hot Chili Peppers. Jazz Fusion.
Ojai Sam
Staff member
Ojai Sam
Staff member
How do you like it?Flea - Honora (2026)
Yes, the bassist from the Red Hot Chili Peppers. Jazz Fusion.
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