Tea For Two - Ella Fitzgerald & Count Basie - On The Sunny Side Of The Street (Vinyl, LP)

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Good records at Tea For Two - Ella Fitzgerald & Count Basie - On The Sunny Side Of The Street (Vinyl prices About Contact Testimonials. Mystere Uncategorized August 22, Minutes. Jellybean — Wotupski!?! Wynton Kelly — Wynton Kelly! POOR — record will not play through without skipping. Only useful to complete a collection. Pastras, Philip. I Speak Music I speak music, the international language. I speak and people everywhere understand me.

I speak and people listen. I speak and people dance. I speak and people sing. I speak and people pat their feet and clap their hands. Occasionally I speak and people cry, but more often when I speak I bring joy, happiness, and uplift. I speak music, the universal language. I speak and the universe speaks to me.

I speak and the universe speaks through me. I speak music, the personal language of my soul. I seek music that will change the blues within my soul to a rhapsody. I speak the music of my thought. I speak the music of my word.

I speak the music of my deed. I speak the music of my soul, which is continually being composed and de-composed, arranged and re-arranged so that its melody, harmony, and rhythm may be in accord with all people and the universe. Horace Silver. Olsen recordings honoring horace silver a select bibliography of music publications awards index Yet each generation has produced relatively few individuals with something so distinctive, personal, and recognizable that when you hear the music not only do you know whose music it is but it also seems that you know that person.

These are the ones who will always be remembered. In this very privileged group belongs the hero of this book. Enjoy his story! I say roughly because, although I have a keen recollection for past events, my memory for dates is extremely bad. I do not believe that the dates are so important. But the stories are. I have tried to bare my soul in this book. I reveal things about myself that Ive never revealed to anyone before, not even to my family members and close friends.

I hope that it will give you, the reader, a keen insight into what Im all about. Maybe it will help you to understand my dedication to this glorious music we call jazz. This autobiography should provide some historical documentation, but I also hope that it will be enjoyable and interesting reading. Im trying my best to tell it like it is and like it was. In any event, it is as accurate a picture of my life as I can remember. Sometimes when I was on tour and in my hotel room, I passed the time by writing poetry or just writing down some of my thoughts on certain topics.

I kept these writings in a logbook and would like to share some of them with you. Ive been so involved in writing lyrics for my music in recent years that I havent written much poetry, but I would like to get back into it. I dont see much dierence between a lyric writer and a poet. To me, they are opposite sides of the same coin: one creates poetry set to music, and the other creates poetry without music.

I have included some of these writings as epigraphs to the chapters in this volume. Four of these individuals have made their transition and one remains. Ive had many friends throughout my life, but these are the ones I remember and treasure the most, the ones who have been like brothers and sisters to me.

Bob Marshall and I met and became close friends when we were in high school. Bob was well read and well versed in worldly aairs. He also had a great vocabulary and was a good speller and knew the denition of many words, skills that I am rather weak in. Whenever I wrote a new tune and was pleased with it and wanted to share it with someone, I would often call him and play it for him over the phone. When I was writing my lyrics and didnt know the denition of a word and couldnt nd it in the dictionary because I wasnt spelling it right, I would call him, and he would always come to my rescue.

Bob has recently passed on. I miss him dearly. I met Don Williams through trumpeter Blue Mitchell, and we became great friends. He loved my music and loved me. He was always concerned about my welfare. Since I live alone, he would call me at least twice a week to check on me and see if I was faring well. If I wasnt, he would always be there to assist me in whatever way he could. I am the godfather xv. For this I am very grateful.

She is a joy to my heart. I miss Don dearly. Bill was the conductor of the Los Angeles Modern String Orchestra, which consisted of a group of string players who were composers and who wanted to get their compositions performed. I wrote a three-part suite for string orchestra called Message from the Maestro, which was performed and recorded with the Los Angeles Modern String Orchestra.

William Henderson conducted. Bill had a great classical background. Whenever I wanted some information about classical music or any of its composers, I could always rely on him to supply that information.

He also knew a lot about Broadway composers and their compositions and shared that knowledge with me. Bill was a true friend, always there for me when I needed him. He used to hang out in all the jazz clubs where we performed, and he introduced himself to me.

We discovered that we both had Cape Verdean ancestry. He was a lover of jazz and a fan of my music. We became close friends. He was very proud of me and my accomplishments. His mother was a great cook and would often invite me to dinner.

I became the godfather of his daughter, Claudia. She has grown up to be a wonderful young lady, and I am very proud of her. Perry, as I called him, was always there to encourage and support me. I met Carol Forbes when she was eighteen years old. Her father, Graham Forbes, who was a pianist and conductor and had worked with singers Frank Sinatra and Roy Hamilton, brought her to the Cork and Bib, a.

I became friendly with Graham and his whole family. Carol is a great painter. I have many of her paintings displayed in my home. She is a lover of jazz music per se and a lover of my music in particular. Graham has passed on.

Through the years, Carol has been a true friend. She lives in New York, and I live in Malibu. We phone each other frequently, and I see her when I am in New York. I treasure our friendship greatly. I have recently acquired two new friends who have become a meaningful part of my life.

They are Norman and Gail Jacobson. They have become like family to me. One might say, So what? What has all this to do with Horace Silver, the composer and musician?

I would like to give you a picture of myself not only as a composer and musician but as a total person. I would like to convey to you which things and which persons meant and still mean the most to me in my life. I think it has become fairly obvious by now that Lady Music was and is the thing that has been at the center of my life.

The persons I hold most dear over the years include my mentors and my family and friends. I have been and continue to be a blessed man. I am a family man. I love and enjoy family. I have only one son, whose name is Gregory Paul Silver. But I also have four young men whom I have accepted as unocially adopted sons.

Drummer Alvin Queen joined my band when he was eighteen years old. Ive always tried to be a father gure to him, and he has treated me with the love and aection of a son. I would also mention pianist and composer Weldon Irving, who used to write me fan letters when he was a young man. I would answer them and try to give him guidance about music and the music business and the advancement of his career.

Devre Jackson helped me greatly when I was operating my own recording company, Silveto Records. I know he looks upon me as a father gure, and I look upon him as a son. Actor Richard Chaves, who was in the movie Predator, which starred Arnold Schwarzenegger, has become an adopted son of mine also. All of my sons are doing well, and I am proud of them. I have four goddaughters: Allison Lafontaine, who lives in Paris. France; Claudia Perry, whose father was one of my very best friends; Michelle Hunter, whose father is my nephew; and Kimberly Williams, whose father was also one of my very best friends.

I am blessed to have so many young people keeping tabs on me to see if Im well. I know I can depend on them if Tea For Two - Ella Fitzgerald & Count Basie - On The Sunny Side Of The Street (Vinyl need them, and they can depend on me. Ive always looked on my various bands as family units.

We strive to work together in harmony as families do. I think one reason that the Blue Mitchell, Junior Cook, Gene Taylor, Roy Brooks band stayed together for so long and enjoyed such success is because we were a family.

They are always so kind to me and are always telling their friends that I was a major inuence and inspiration to them when they started out on their musical journey. They are certainly among the giants of todays jazz piano players. It makes me feel good deep down within to know that I had a positive inuence on them in their youth.

Many of my musician and singer friends have passed on to the spirit world, but some of them still remain, especially tenor saxophonist Red Holloway, singers Bill Henderson and Andy Bey, and pianist David Gareld. Of course, I have several close nonmusician friends who bless my life with their presence. God has been kind to me.

Ive got to B sharp and be aware of all the possibilities that lie before me so that I may take action in those specic directions. Ive got to B major in positivity and B minor in negativity. Ive got to B diminished in the old and B augmented in the new. I must not B at and allow the light of my enthusiasm to fade. I must B natural and allow the sunshine of my positivity to nourish my ambitions.

My parents are John Tavares Silver and Gertrude Silver, two of the greatest parents a guy could ever have. The island where he was born is called Maio, or the Isle of May. Dad worked his way to the United States on a boat. I dont know just how old he was when he came to this country, but I do know he was a young man.

He settled in Massachusetts at rst and then. My father worked at the Norwalk Tire Company, a factory that made automobile tires and rubber soles for shoes. He was in charge of a small department that made rubber cement.

Dad spoke with a slight accent, but he spoke good English. When my uncles or some of his Cape Verdean friends who lived in our town would come by the house, he would speak Portuguese. Dad was one of four Cape Verdeans who lived in Norwalkuptown, as they called it; South Norwalk was called downtown. There were a few other Cape Verdeans who lived in South Norwalk, namely, Nick Santos, the barber, who played music with my dad; and Mr. Perry, who managed a poolroom and also played music with my dad.

You might say they were pretty enterprising in the black community. Dad returned to Cape Verde just once, but I dont remember him saying a hell of a lot about it. Mom was born in New Canaan, Connecticut, and did domestic work. My mothers marriage to my dad was her second. Her rst was to a man named Fletcher. They had a son, Eugene, so I have a half brother named Eugene Fletcher.

Gene, as we called him, was a grown man and married when I was just a little boy. My rst recollection of him and his wife, Elizabeth, was when Gene, my dad, and my mom took me to the hospital to visit Elizabeth and their rst baby boy, who was named Eugene Fletcher Jr. A few years later, they had a second son, Alfred Fletcher.

I was the uncle of these two boys, but I was just a few years older than they were, and we often played together. When Alfred married, he and his wife had a daughter named Michelle, for whom I assumed the role of godfather. Gene made his transition to the next life at the age of eighty-six. Because of our age dierence and the fact that he lived in the neighboring town of Bridgeport and was busy with family responsibilities, we didnt.

He seemed more like a cousin than a brother to me at that time. After I reached adulthood, we got to know each other a little better. My dad loved him very much. Dad would always say to me, If you grow up to be as good a man as your brother Gene, Ill be happy. Two other children were born to my parents before me, a boy and a girl. John Manuel Silver lived six months, but he contracted pneumonia and died. Maria Silver was stillborn.

I look forward to meeting them and getting to know them when I make my transition. Ive always been a family person. I love my family dearly, and I was blessed to be born into what I think is one of the greatest families in the world. Originally, Dad spelled his last name Silva, which is the Portuguese spelling.

When he married my mother, she changed the spelling to Silver. I was baptized Horace Ward Silver. In Cape Verde, it is customary for a son to take on the fathers middle name. I use only Horace Ward Silver when I sign documents. I was named after my great-uncle Horace, my mothers uncle. He worked as a cook and candy maker. He was one of the few black people who owned their own home in those days.

I enjoyed it when Dad took me to visit Uncle Horace, because he would always have homemade pie or cake and, at Christmastime, candy canes. He always had something good to eat in the house.

He had a cherry tree in the front yard and a vineyard in the back. He had a little vegetable garden and raised chickens. He would feed us when we visited and give us plenty of goodies to take home. They were living in our apartment in the attic room. They both had jobs. One night, in the wee hours of the morning, when we were all asleep, there came a knock on our kitchen door. Dad, Mom, and I awoke but were hesitant to open the door at that.

Naturally, we were all very frightened. Dad opened the door, and they came in. They arrested my Uncle Charlie and Uncle Jack because of their illegal status and took them away to be deported to Cape Verde. Mom and I were very fearful that they would take Dad also, but he had entered the country legally, thank God. Although we were saddened to see them take Uncle Charlie and Uncle Jack away, we were relieved they didnt take Dad. I remained in the church until I was in my mid-twenties, when I became involved in the study of metaphysics and Spiritualism.

The Catholic religion didnt seem to have the answers to a lot of spiritual questions that I was asking myself. I became and still am a dabbler when it comes to religion. I investigate as many religious concepts as I can, use what I can accept from each, and discard the rest. My mother was a Methodist. I attended her church occasionally and enjoyed the black gospel singing. Dad played the violin, guitar, and mandolin, strictly by ear. He loved the folk music of Cape Verde.

Nick Santos and Mr. Manuel Perry, friends of my dad who were Cape Verdean, played these instruments also. Occasionally, they would give a dance party in our kitchen on a Saturday night. The women fried up some chicken and made potato salad. The men would get whiskey and beer and invite all their friends, Cape Verdean and American blacks, to come and have a good time.

They pushed the kitchen table into a corner of the room to make way for dancing, and Dad, Mr. Santos, and Mr. Perry provided the music, playing and singing all the old Cape Verdean songs. I was a little boy and could not stay up late to witness the festivities. Mom would put me to bed before the party started. I would go to sleep, but eventually the music would wake me up, and Id get out of bed, wearing my pajamas with the button-down ap in the back, and go downstairs to the party and sit on the steps, looking and listening.

Labels: Tut Taylor. Mississippi Blues - Stefan Grossman. Labels: Stefan Grossman. Tech Talk - Home made instruments. This guy has made some beautiful instruments Labels: Gear. Goin Down Slow. Labels: Little Willie Littlefield. Hustlers Blues. Labels: Jimi HockingMalina Moye. Carlos Del Junco. Labels: Omar and the HowlersRuf Records. What I Say. A new submission from a member. This is pretty good. His innovations as composer sometimes overshadow his reputation as one of the greatest bassists in jazz history.

The coda is a short and wonderful series of trading between Mingus and the horns. It closes the album on a happy note. This album is largely positive sounding; even when the horns shriek or a tune broods, there is a sense of joy.

I think it was this recording, because the performance is pretty amazing. I love the way Old Serge weaves the piano in and out of the orchestra with those fast sixteenth notes, and Ms. Argerich is precise without sounding mechanical. This piece, like most great music, demands repeated listenings. You can discover new things each time you hear it. I was introduced to the ballet Romeo and Juliet and the Aubade from a singer-songwriter I worked with years ago.

He found a solo harp version and wrote some pretty creative lyrics to it. You can think of it that way or just go with this recording by Valery Gergiev leading an unnamed ensemble:. I like that you can follow along with the score on the screen. There are so many catchy elements in under three minutes that it makes sense my friend turned it into a pop song. You hear a lot of military sounds—fifes, drums, trumpets— but it the first few themes are happy and light-hearted.

Eugene Ormandy conducts. Finally, most kids at least those who were kids in the 20 th century were exposed to Peter and the Wolf probably through the magic of Walt Disney. This was the recording I had as a kid. It was the first American version with narration, here by Sterling Hollowaywho is perhaps best known as the voice of Winnie the Pooh. There have been many versions of it; some with narrators and some with no words at all.

The music tells the story anyway. I learned a lot about the orchestra from it when I was a kid. You can you. His music is challenging at times, but also artfully melodic. Modern classical music rarely is this accessible and harmonically complicated at the same time. If you want to learn The Great American Songbookyou might as well start with this duet album by two of the all-time greats.

We also have to thank producer and jazz impresario for making this record happen. Ella and Satch each sing a chorus before Armstrong blows for sixteen measures. They sing together for the last sixteen bars. In a meeting of jazz royalty, everyone wins.

Except for those in the friend zone:. Jazz piano god Oscar Peterson plays a short intro before Ella sings the first sixteen bars rubato. Louis comes in for the bridge, with tasteful guitar fills from Herb Ellis. Perfect trumpet solo. Louis Armstrong is America. Some artists own songs because of their performances, and their interpretations loom over anyone else who records the song.

You can hear the sharing and caring. Ella to me is that happy aunt who lives across the country, so you rarely see her. I have my jazz family and my blood family, and sometimes I get them mixed up in my head.

You can finally hear the rhythm section on this one— Ray Brown on bass and a swinging and subdued Buddy Rich on drums. Yes, Buddy could lay it down with some brushes on the snare without resorting to fireworks.

It has a great melody, so it could be played as an instrumental more often. Or was that his point? Ella sings a Louis-like phrase to end, complete with a perfect low rasp. This version swings pretty damn hard. Louis sings one chorus and gives way to Ella. I love thinking of the minutiae that went on during legendary recording sessions.

This was recorded in one day, which is unthinkable LP) most pop musicians now who need months to put together a few tunes. Jazz came fairly easy to these legends though, or at least it sounds like it did. These tunes never get old to me. This gives it a lighter feeling, which to me feels like true love than a slow ballad. Or is it? Is the narrator in love with Paris or an unnamed person in Paris? Is it a metaphor? Why am I asking?

Louis and Ella recorded a few more albums together, but this was the first. What took them so long? The cool thing about the good ship Ella and Louie is that it always waits for you and will always be there for you. There are those musicians who dazzle you with their brilliance or stupefy you with their musical innovations. This was his firs t trio record, with Jim Hall on guitar and Ralph Pena on bass.

I like people who go against the trends and norms; not because they are trying to be against whatever music is popular, but because they hear new things and textures and show us rather than tell us. The ashtray is full. Suddenly, Jim Hall is playing down on the street. Giuffre comes back and they have a conversation that sums up a lot of what happened in the past four minutes. How many songs of eight years from now will become modern standards?

I love the way Giuffre and Hall play the melody together in the last eight of the first chorus. Giuffre plays under his solos at times to reinforce the harmony.

Not many horn players can do this— it takes restraint and care to not overshadow the soloist. Another win for Giuffre. They play as if bebop never happened; the music ranges from traditional jazz to swing and then adds a bit of modern chamber music.

He also reminds me of Stan Getz, but without the vibrant schizophrenia. The melody fades and slows down into a spacious dialogue between Hall and Pena. I hear the crawdads in the blues part, but then our film noir guy is on Lake Ponchartrain with an altered melancholy.

His is such a unique voice. The tune sounds like it could be an American folk song with a bit of blues. Sometimes I almost feel sorry for jazz guitar players because the horn players have usually led the way and told them what to do.

Bebop players of every instrument wanted to play lines like Charlie Parker and Dizzy Gillespie, which forced the rest of us to think of improvisation differently. I like that it happened, but I like that Hall had a more idiomatic approach to the guitar on these Giuffre records.

Make it a Giuffre day. I had no idea these early Giuffre trios existed until I read his book. You can listen to this record in a motel, or on the beach, or on a snowy mountain. I had to use the Spotify playlist because Prince and his estate control where his music goes, which is a smart thing.

Maybe this link will be dead in a few years if Spotify dies and goes the way of Napster. I agree with him. Sure, you might say Stevie Wonder, but Stevie is his own thing. You do not mess with Stevie Wonder. And you do not mess with the great Purple One. When an artist poses for an album cover wearing a speedo and an unbuttoned jacket, yeah, there will probably be some sexual content. If you never got to see Prince live, you missed out on one of the greatest performers in history. How the hell did he always get back to the mic on time?

Some of the things he describes are of a far more intimate detail than what other songsters of the day would say. Prince is always ready to hook up with someone new. The synth parts really lock everything together, as do the slap bass and drums. Did I mention that Prince played just about everything on a lot of his albums? Check this out for an insight into his early career and work ethic. Not many people have had the rigid musical mindset Prince had, which is one reason he was considered a tyrant by some people who worked with him.

Side B! David Bowie paved the way for Prince with his use of androgyny. That rhythm guitar part and the thumping bass- subtle but right on. Prince IS sex and music.

I remember when I met you, baby You were on your way to be wed You were such a sexy thing I loved the way you walked the things you said. You be the judge.

Just when you think Prince has gone too far, he goes even further. Another reason to quote his lyrics:. How the hell did he get away with this? Incest never sounded so good. Oh, wait—strike that. It might be the funkiest track on the record, and it certainly owes a bit to James Brown. This is what embryonic genius looks like, folks. We all have people who introduced you to a style of music or a particular artist.

These records flipped a switch in my brain and got me to write for my own larger ensembles. Is there any such thing as a bad Blue Note record? I think they had a backlog of great albums, hence the delay. The world was changing, and so was jazz. The Sixth Sense is one of those recordings from the tail end of hard bop, before the electric instruments and rock and roll backbeats took over.

It was almost an anachronism by the time it was released, as Coltrane, Ornette, and Miles pushed jazz to the edge, harmonically and stylistically. Lee died far too early watch I Called Him Morgan if you want to see great footage and interviews about him and I wish he had lived to see how the music has changed in the past four decades. He would have altered the course of things. Lee Morgan was one of the greatest jazz trumpet players there is or ever will be. He was also a fine composer and arranger, and this sextet recording shows off his writing well.

The title track begins with a pseudo-boogaloo drum groove from the great Billy Higgins. They have fun playing on it too. Mitchell plays some really good stuff here. This record might have been my first exposure to Jackie McLean. He has one of my favorite alto saxophone tones, even when he plays out of tune. Cedar Walton plays a nice piano solo before they trade eights with Higgins. Everyone gets to solo except for Victor Sprolesbut his bass playing keeps the band together, not that they needed tethering.

Something about this record makes me think of a gray and overcast day. You ever get that with a record? I was born exactly one year after they recorded this album. Still, I wonder if he was trying to cash in on the burgeoning hippie market.

Is there a well of Jazz DNA that we unknowingly draw from? Check out how Morgan and McLean make a lot out of just two chords and listen to the way Higgins pushes McLean in the middle of his solo until McLean fades out. Walton shows the almighty power of the piano when he changes the harmony during his solo. I shall have to investigate.

McLean sounds like a slightly angered duck, albeit a duck with a few good things to say. The other two horns lay out as Morgan plays the slow mournful melody with a harmon mute. Morgan, Mitchell, and Massey all died young; it was murder that did in the first two and a heart attack that did in Massey.

You can call him Morgan if you want to. There is simply too much great Duke Ellington for me to call one record is my favorite, but The Far East Suite sure ranks up there, both in terms of compositional brilliance and flawless performances. Ellington, like Louis Armstrong, was an ambassador of jazz.

Picky, picky, picky. Is the mynah taunting us all, including the brass section? There is no one who can bend a note like Johnny Hodges. He could be telling you the most outrageous lies, and you would believe him.

You need seduction music? Put Isfahan on that playlist. I have no idea if Dpek is a place, or a name, but it sounds like a fun time. After the chase is over, everyone laughs, and things go back to normal. It begins in the semi-remote key of F minor, then turns to the even more unusual key of B major. I wonder if Duke was trying to woo the rock-and roll crowd with this groove, but Jones rocks it so hard that nobody gives a shit about the swing dancers. Johnny Hodges knows how to play the blues, but he sounds stunned until Ellington hits him with a bunch of crunchy and unexpected chords that are too edgy to be rock and roll.

This is a ballad of sorts, but perhaps it has the Taj Mahal in mind. Man, I need to get to India. The piano figure leads into an enchanted sax soli before a Middle Eastern-inspired trombone solo from Lawrence Brown. You could study these tunes for years and still find stuff you never noticed before. They sounded a lot different from this when I was there, so I think I missed something, as amazing as that country is. The Japanese influences go through a heavy Ellington filter of impressionistic piano chords over some great bass work by John Lamb.

Some composers and performers get more restrained as they get older, but Ellington only got heavier and more complex as he got on he was sixty-seven at the time of this recording. Being an infant is probably the only valid excuse for not knowing the music of Willie Nelson.

He OWNS every song, whether he wrote it or LP). Willie has over three decades older on Jesse and Iand the meaning of the song changes when he sings it. Willie knows that. Ah, the jukebox. Willie sings it with a detached passion, while Cline goes full throttle in her Countrypolitan interpretation.

I love both versions for different reasons. That Nashville band and their groove really help it move along. I could do without the choir that answers his opening lines, but it was the early s and Nashville was trying to appeal to the Mitch Miller crowd. His phrasing on this first take is unlike any other country artist of the time. Emmylou could sing backing vocals for GG Allin and make him sound like a soldier of love.

The album Shotgun Willie established Willie as an artist and saw him join the Outlaw Country movement Was it a movement? He and Kris and Waylon and Merle were all sick of the blanched Nashville sound and wanted to make music on their terms. And yes, this song is about heartbreak:. I think music can make the pain go bye-bye faster, or at least make it more tolerable. The morning that you left me was just another day How could I see the sorrow that had found me And then you laughed and told me that I was in your way And I turned and ran as heaven fell around me.

I stumbled through the darkness my footsteps were unsure I lived within a world that had no sunshine But when you left me darling my world came to an end And there was darkness on the face of the earth. A good song is a good song. Pretty paper, pretty ribbons of blue Wrap your presents to your darling from you Pretty pencils to write I love you Pretty paper, pretty ribbons of blue. Should you stop? Willie was on a songwriting roll then, like Kristofferson was later in the decade. There was a time in the s when some of the funk made it into country music.

Willie often played it live as an up-country train groove, but here it alternates between swamp and swing. Nelson is a great song interpreter, and his album Stardust showed the Tea For Two - Ella Fitzgerald & Count Basie - On The Sunny Side Of The Street (Vinyl that he could cross over and play tunes from The Great American Songbook.

Oh the days dwindle down To a precious few. September, November. Weill could write a song, Maxwell Anderson could craft a lyric, and Willie can sing nearly anything. We need one happy song in this set. I have to close the playlist with one of my favorite songs and performances of all time. Willie tells us so much, but he tells us without avarice or suicidal despair, no matter how dark the lyrics get.

He is America, and he is Tea For Two - Ella Fitzgerald & Count Basie - On The Sunny Side Of The Street (Vinyl world. Fight me. This is Bell on vocals, and he had a rougher edge to his voice than Chilton but coupled it with a more emotive quality. There are hooks galore in this tune and throughout the album. I wonder if that was a Bell line, as he turned to Christianity later.

Bell also turned to booze and drugs, possibly to deal with his homosexuality. Bell is a tragic figure; he left Big Star after this record and was killed in a crash when he was twenty-seven. If you were watching s sitcoms, you probably heard a Big Star song without knowing it. They pack so many hooks into each tune that it should be illegal.

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