ETEWAF

ETEWAF: From WIRED a couple of months ago. I have run out of interest. Everybody seems to have eaten Quake and Quisp with Wanda Jackson and Hasil Adkins while wearing their soupy Sales Fan Club Badge, nowadays.

I go do now.

Yes- YES there's an ad at the beginning of the clip I CAN'T HELP THAT. Hit mute or something.

I find that this is always a real pick-me-up, Dave's "I Can't Read":



Yes I'm all curmudgeon-y today.

The Johnny Pearson Orchestra X 2

Spiral and Easy Listening World have decided that the 6th of February is the international Johnny Pearson Day.
Sharing: Johnny Pearson and his orchestra - One Day In Your Life and The Johnny Pearson Orchestra - Misty Sunset.


Sukiyaki (from 'One Day In Your Life')


You've Got A Friend (The Carole King composition from 'Misty Sunset')

I'm Busy

Naughty vinyl sharity from Lounge Legends.

Neh Nah Nah Nah + I Will Survive, Crowd Gone Wild

There's just something about this 6:33 video music medley that enthralls me. German singer/entertainer Simona Rich may have the greatest white jumpsuit since Elvis.

Debbie Cunningham - The Rest of Your Life

Intrigue Productions

As an avid jazz fan, I was delighted to review Debbie Cunningham’s album of standards. I was even more delighted when I received the CD in the mail and found that Cunningham is from my native Tennessee. A blurb on the back of the jewel case read that it was a “great CD to just kick back with a glass of wine and relax,” so I prepared accordingly. The verdict? It was, indeed, quite an enjoyable experience.

The professional, smooth sound of the trio first caught my attention. Pianist Barry Sames, percussionist Wilby Fletcher, and bassists Lee Smith and Mike Boone have created solid ensemble with guest instrumentalists on various tracks, and with Cunningham. A mellow, light touch from the trio set an appropriate lounge mood. John Swana’s muted trumpet solo on “My Funny Valentine” is spot on and probably my favorite interlude on the album.

Cunningham’s voice is polished; hers is a higher voice than one often hears, but she still delivers the smoothness one expects. I only have two comments to make on Cunningham’s delivery; that on lower passages, she seemed a little more hesitant and projects a tone that is not as rich; and there was a lack of manipulation of the melody. This is a mellower album, yes, but it would have been nice to hear a bit more of an Ella-inspired tonal play.

In “Our Love Is Here To Stay,” she does employ various vocal qualities, namely a sampling of scat, extended straight tone, and a playful staccato, which was a nice juxtaposition to the more slow pieces on the album. Her rendition of “The Rest of Your Life” was surprisingly introspective and dark, a departure from saucier, bossa nova renditions I’ve heard in the past. However, Sames’ sensitive piano interlude validates and reinforces this choice. Cunningham’s voice shines on this piece in particular; there is a depth to her interpretation and a force behind her enunciation that draws in the listener. This piece serves as a lovely ending to a thoughtful and professionally executed album.

Review by Cristin Colvin