The Work to Get There

Even with sparse crowds, there was no designated parking area, so suburbanites like us were tasked with finding curbside parking somewhere in the neighborhoods, where the people who lived there would have already taken up most of the parking spaces.

A Deal

Despite everything stacked against us, my brother and I finally convinced my father to take us to The Stadium, as it was known.  Once at the ticket booth my father entered into negotiations with the seller.  It appeared that my father had only so much money to spend on this venture–enough to secure general admission seats in the upper deck–but since the number of fans was so small, the ticket seller offered, for just a few dollars more than my father was willing to spend, lower level seats that were not only a bargain in price, but would keep the few thousand fans who were brave enough to come to the game in a concentrated area behind home plate, thereby avoiding the spread of the those fans throughout the seventy thousand seat stadium, which would create the effect that no one was there.  Everyone would win–except, of course, the Yankees.

Heaven

This was my first trip to The Stadium, the first of many.  Any baseball fan will describe his or her first trip to the ballpark as a moment of revelation, a moment of walking through the dark streets and the dank guts of the stadium, itself, until one emerged from the ramp leading to the seats to be exposed to the emerald of the playing field.  It was heaven.

The work needed to get to this scared place was soon forgotten, and whether the Yankees won or not–in fact, I forget–was unimportant, for the more important business at hand was just being present.

The Ability to be Present

The ability of a child simply to be is, of course, legendary.  We all remember the great times of childhood that were marked by few if any cares as we participated in some activity, usually with family or friends, always totally immersed in that activity.  Yes, this is heaven.  And we look back at those days as lost, childish and immature.

I don’t think we have lost the ability to be presents, however, and I don not think of being present as childish.  I think we have purposely buried that skill in the cultural imperative of our time: productivity.  If we think productivity is maturity, then we will never experience that heaven.  If, however, we can stop for a moment and look out over the place where we are right now, detached from productivity, we are open to the beauty of the moment, if not the beauty of the place.

Seeing For the First Time

Even at work, one can sit in an office and see it for the first time.  It might surprise you that you can do that many times.  What, in the end, is productivity but a utilitarian concept that keeps us moving through our days like ants until we die, never to be remembered for anything unique or creative and to simply be replaced by a younger ant that will repeat the process.

If we are more than ants, we need to honor our ability to be present, even during the most mundane task.  The skill that came to us so naturally as children is still there; we just need to exercise it every once in a while.

God in Our Lives

This seems to be a part of who God is.  And faith is being okay with our world, our lives, and our lot in life.  It is being okay with feeling sad sometimes because there is enough in our lives to be sad about and being okay with feeling joy sometimes even if those moments of joy are not economically productive.  Most of all, living a full life is about hearing God’s voice emanating from every nook and cranny of our days.

Just as I stood, mesmerized by the green grass of that magical place of my youth, I stand, captured by God’s voice, which says live this moment because it is a gift.  Make what you want of the gift, but please live it, be with it, just be with it without regard for what is next.  That is how we live that little slice of heaven every day.

#1 ☺Subverting Modernism: Cass Corridor Revisited, 1966-1980 Book Reviews 2013

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Subverting Modernism: Cass Corridor Revisited 1966-1980 is an exhibition catalog created to accompany a show of the same title to be held at Eastern Michigan University in the spring of 2013. In decline since the 1950s, the Cass Corridor, an area near Wayne State University in Detroit, witnessed an intense efflorescence of artistic activity in the late 1960s and the 1970s. Conventional wisdom has held that these Cass Corridor artists, as they have come to be called, were essentially “urban expressionists,” responding to the decline of post-industrial Detroit, a thesis most thoroughly set forth in Kick Out the Jams, a 1980 exhibition at the Detroit Institute of Art. Subverting Modernism, a much-needed scholarly reappraisal of this art movement, debunks this notion, positing instead that each Cass Corridor artist created his or her own individual styles and meanings cross-fertilized at times by his/her fellows. What does unify these artists is their reference to, but rejection of, the tenets of Modernism, which held sway, but were increasingly under attack, in New York art circles in the 1960s and early 1970s. Thus the book places the work of these Detroiters in the context of the movement from Modernism to Post-Modernism that took place in American art generally in the 1970s. Within the paradigm of subverting Modernism, certain common themes do, however, emerge. Therefore, the exhibition and catalogue are divided into the following interrelated sections: “The Critique of Pure Painting and Sculpture,” “Minimalism/Industry,” “Complexity,” “Violence, Destruction, Decay . . . and Renewal,” “Vulnerability,” “Shelter,” “Music/Dance/Industry,” and “Nature/Geometry.”

Subverting Modernism represents a multi-year collaboration between Eastern Michigan University and the Wayne State University Art Collection, which, unfortunately, does not have its own exhibition space. Thus the exhibition and catalogue will allow art lovers to see important Detroit art that is not usually accessible. Author Julia R. Myers’s extensive research, which included interviewing the artists, consulting hundreds of newspaper articles from the late 1960s and 1970s, and using archival materials in both Washington, D.C. and Detroit, make for a thoroughly new look at the exciting work of these important Detroit artists.

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Subverting Modernism: Cass Corridor Revisited 1966-1980 is an exhibition catalog created to accompany a show of the same title to be held at Eastern Michigan University in the spring of 2013. In decline since the 1950s, the Cass Corridor, an area near Wayne State University in Detroit, witnessed an intense efflorescence of artistic activity in the late 1960s and the 1970s. Conventional wisdom has held that these Cass Corridor artists, as they have come to be called, were essentially “urban expressionists,” responding to the decline of post-industrial Detroit, a thesis most thoroughly set forth in Kick Out the Jams, a 1980 exhibition at the Detroit Institute of Art. Subverting Modernism, a much-needed scholarly reappraisal of this art movement, debunks this notion, positing instead that each Cass Corridor artist created his or her own individual styles and meanings cross-fertilized at times by his/her fellows. What does unify these artists is their reference to, but rejection of, the tenets of Modernism, which held sway, but were increasingly under attack, in New York art circles in the 1960s and early 1970s. Thus the book places the work of these Detroiters in the context of the movement from Modernism to Post-Modernism that took place in American art generally in the 1970s. Within the paradigm of subverting Modernism, certain common themes do, however, emerge. Therefore, the exhibition and catalogue are divided into the following interrelated sections: “The Critique of Pure Painting and Sculpture,” “Minimalism/Industry,” “Complexity,” “Violence, Destruction, Decay . . . and Renewal,” “Vulnerability,” “Shelter,” “Music/Dance/Industry,” and “Nature/Geometry.”

Subverting Modernism represents a multi-year collaboration between Eastern Michigan University and the Wayne State University Art Collection, which, unfortunately, does not have its own exhibition space. Thus the exhibition and catalogue will allow art lovers to see important Detroit art that is not usually accessible. Author Julia R. Myers’s extensive research, which included interviewing the artists, consulting hundreds of newspaper articles from the late 1960s and 1970s, and using archival materials in both Washington, D.C. and Detroit, make for a thoroughly new look at the exciting work of these important Detroit artists.

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Too often, the famed Chicago Sound is reduced to a caricature by those trying to emulate it: excessive volume takes precedence over most other aspects of musicality, in the mistaken belief that the only way to create a strong sound is to make a loud sound.  Unfortunately, though, most brass players never discover that playing loud and playing well are two very different animals.  A unified concept of style and a desire to achieve musical greatness as a whole, rather than an individual, define for me the true tenets of Chicago style brass playing. To put it in a more concise way: TEAMWORK.

Enter Jean Martinon, music director of the Chicago Symphony Orchestra from 1963-1969. Though his tenure with the CSO was rather short, and in many ways he was not the greatest fit as music director (a French conductor following Fritz Reiner was quite an odd choice). Martinon’s slim recorded legacy with Chicago has left us with what I think is the greatest recorded example of teamwork there is, and for that I am very thankful for his short and troubled time with one of the greatest orchestras on the planet.

Recorded in 1966, Martinon and RCA Victor joined forces to save for posterity one the most excited renditions of Carl Nielsen’s 4^th  Symphony “The Inextinguishable” ever committed to disc (RCA Red Seal 76237).

Yes, the sound quality is less than ideal on this disc. Flat and two dimensional with little reverberation or natural warmth, RCA failed spectacularly with the sound on this disc. If you’ve ever wondered what it might feel like to sit in the middle of a really loud orchestra, this might be a good place to begin exploring. Microphone placement is far, far too close to the players (maybe the recording engineers were excited to get close to the famous musicians?) and sometimes it sounds like the engineers got a little crazy with whatever new technology they got to play with that day. Frankly, the sound is terrible.

But, even with some serious concerns about the sound quality, this recording is an absolute MUST for any serious connoisseur of the symphony orchestra.  The entire orchestra – not just the brass section – performs Nielsen’s 4^th with verve and confidence. Style is absolutely identical throughout each section, and no single musician stands out above another. This is truly an orchestra playing together in every possible sense, and the listener can immediately hear why the Chicago Symphony Orchestra on an exceptionally good day has no equal. Teamwork reigns supreme on this disc: yes the brasses are loud and pack as much firepower as an artillery unit.  But that is secondary to the tremendous skill of the entire orchestra performing as if it were a single musician, always striving for just a little better than their best.

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England that were managed by the great Alf Ramsey and captained by the legendary Bobby Moore, won the toss and elected to kick off. After twelve minutes, Siegfried Held sent a cross into England’s penalty area which Ray Wilson misheaded to Helmut Haller, who got his shot on target. Jack Charlton and goalkeeper Gordon Banks failed to deal with the shot which went in making it 1–0 to West Germany. In the 19th minute, Wolfgang Overath conceded a free kick, which Moore took immediately, floating a cross into the West German’s area, where Geoff Hurst rose unchallenged and leveled the scores with a downward glancing header. The two teams went in at half time with the score at 1-1.

The second half began and in the 77 minute England won a corner. Alan Ball delivered the ball to Geoff Hurst whose deflected shot from the edge of the area found Martin Peters, who produced the final shot, beating the West German keeper from eight yards to make the score 2–1 to England. The Germans pressed for an equaliser in the closing moments, and in the last minute the referee awarded them a free-kick when Uwe Seeler backed into Charlton who protested that he was the one who had been fouled. The kick was taken by Lothar Emmerich with the ball going to Cohen who managed to block it, but the ball bounced across the England six-yard box and Wolfgang Weber was there to hit home and level the scores at 2–2 and force the match into extra time. However the German equaliser was controversial since the ball had appeared to strike the hand of Schnellinger whilst travelling through the penalty area.

As extra time started England pressed forward and created several chances. In particular, with five minutes gone, Bobby Charlton struck the post and sent another shot just wide. With eleven minutes of extra time gone England scored, what is still one of the most controversial goals in the history of football. Alan Ball put in a cross and Geoff Hurst swivelled and shot from close range. The ball hit the underside of the cross bar, bounced down around the goal line and was cleared. The referee Gottfried Dienst was uncertain if it had been a goal and consulted his linesman, Tofik Bakhramov from the USSR, who in a moment of drama indicated that it was. After non-verbal communication, as they had no common language, the Swiss referee awarded the goal to the home team. One minute before the end of play, the West Germans sent their defenders forward in a desperate attempt to score a last-minute equaliser. Moore won the ball and picked out the unmarked Geoff Hurst with a long pass, which Hurst carried forward while some spectators began streaming onto the field, then Hurst scored moments later. Hurst later admitted that his blistering shot was as much intended to send the ball as far into the Wembley stands as possible should it miss, in order to kill time on the clock. The final goal saw the birth of one of the most famous sayings in English football, when the BBC commentator Kenneth Wolstenholme described the situation as :

“And here comes Hurst. He’s got… some people are on the pitch, they think it’s all over. It is now! It’s four!”.

Hurst still remains the only player ever to score a hat-trick in a World Cup Final. This also remains as England’s first and only World Cup win which will live long in the memory…

The legendary Bobby Moore lifts the world cup for England!

“What’s your Mustang story?” Thread

Feature Image source: forum.stangtv.com

It’s become sort of a tradition here at BAT-BLOG.COM to, every now and then, share some funny picture or comic strips that are Batman related. So, here we go!! Oh yeah, I guess I should say that the 1st one is my top personal favorite and is also an excellent mash-up parody of the Opening Introduction of the 1966 BATMAN TV Show ( Animation ) and Frank Miller’s dark and gritty BATMAN: THE DARK KNIGHT RETURNS ( Graphic Novel ). The expression on the face of Robin, the Boy Wonder, in the last panel is priceless!

 In the summer of 1966, The Supremes had two singles competing for release. Their previous two, though both Top 10 hits, had failed to top the charts, making for the longest break between Supremes number-ones yet. Motown logically chose to release “You Can’t Hurry Love” first, a song that recaptured the bounce and light touch of their initial run of hits while adding a stronger soul influence. “You Keep Me Hangin’ On,” the other potential single, was more of a departure – a despairing, driving record whose closest antecedent was the minor-key chorus and groaning organs of “My World is Empty Without You,” a flop by Supremes standards (in that it only got to #5). By the time Motown released the single in October, though, songwriters/producers Holland-Dozier-Holland were riding the success of a similar blend of melodrama and psych-rock touches. No coincidence, then, that “You Keep Me Hangin’ On” finally came out the same week “Reach Out I’ll Be There” topped the charts.

While the stakes may be lower on “You Keep Me Hangin’ On” – just heartbreak and frustration, not existential angst – the outcome is less certain. Diana Ross’s fragile vocals and inherent vulnerability render the defiant lyrics (“set me free,” “get out my life”) less as commands than feeble pleas. Mary Wilson and Florence Ballard, avatars of wisdom and guidance on “You Can’t Hurry Love,” aren’t much support here either. They drift in and out of the mix, often overlapping with Diana’s lead as if singing as one muddled voice, or emitting wails that sound halfway between a siren and a sob. Distress signals recur throughout “You Keep Me Hangin’ On”: the morse-code guitar lines, the flailing bass, the galloping percussion (borrowed from “Reach Out”). At the same time, though, there’s a directness and forcefulness to the record that outstrips even “Stop! In the Name of Love.” Layers of instruments (including organ, vibes and what sounds like muted brass) are doubled and tripled playing the same sustained notes, as if building a fortress out of sound. The emphatic drum/tambourine beat provides the foundation, steady but for an admission of defeat: “and there ain’t nothin’ I can do about it.”

Diana often played the romantic victim in previous Supremes singles, but usually in the sense that she was a pushover, perhaps even someone who got a thrill out of the drama. In “You Keep Me Hangin’ On,” though, she really does seem to be making an honest effort to break away from the relationship (“let me get over you the way you’ve gotten over me”), making her struggle all the more tragic. This shift toward trying to take control of the relationship, whether successful or not, marks a new maturity for The Supremes, accentuated by the move from light pop to a harder-edged, more urgent sound. Unlike earlier Supremes hits, Holland-Dozier-Holland wouldn’t try to follow it up by trying to replicate the formula exactly. Instead, they’d mutate it, taking advantage of the single’s success and the expanding pop atmosphere of the late ’60s to see how baroque and experimental they could push the Supremes’ sound without losing their essence (or their audience). 9

Hit #1 on November 19, 1966; total of 2 weeks at #1
174 of 1025 #1′s reviewed; 16.98% through the Hot 100

In later life he lived at Anne’s Farm on Spin Hill (which has now been renamed) with his wife, Dolly. Frank was a large man and by then he certainly wasn’t a speed merchant.

A local cartoonist created several images of Frank and others, going about their lives. This one dates from 1966.

This cartoon of Frank Arnold can be seen at Market Lavington Museum

It’s not clear what the problem was for Frank. Maybe birds were eating his seedlings. Anyway, he is clearly telling his sow, Bess, to get after the problem. Bess is happy to oblige. It’s to be hoped that the little piglet keeps out of the way of the galloping sow.

Like all of the cartoons – there are 19 of them – the people have been caught perfectly. There’s no mistaking the size and style of Frank there. The artist has the advantage over the cameraman there. Our cartoonist can draw a scene from his imagination and not generate that tense look which people can put on when a camera points at them. Frank’s life and times – for a couple of years – are well documented in these images. Being cartoons, with a speech bubble, we get ideas about how Frank thought. For those people who knew Frank it all rings very true.

We looked at another cartoon earlier on this blog and we gave a summary of his life there. Click here to read it.

From Mattel, these DC Classic TV Moment figures come in two packs, with this one in the lead. They’re each about 5” and recreate the stunning style and costumes of the retro show.

OK, I do not know the full complete story yet on this brand-new Hot Wheels Batman Car yet but it is kinda fun so I guess, for now, consider this a teaser. Anyways, it looks like Mattel is going to release a Special Edition 1966 TV Series Batmobile Car ( George Barris version ) that has a Halloween Holiday Theme! Stay tuned to the BAT-BLOG.COM and once we get more info we’ll share that.

Also, be sure to click on the photo up above for a larger, more detailed, version.

The year: 1966   The Place: San Bernandino, Ca

Buffalo Springfield opened up for the Byrds!

Here they are at Monterey, 1967:

They were simple, and catchy as The Beach Boys first started. You could hear the good times, and laughter in their music. But I think it seemed to lack depth in the early years. With the exception of Brian Wilson, I think they only wanted to have fun, and enjoy being young. Brian had ambition, and had a great producer and engineer he admired to no end. That engineer of course was Phil Spector and his Wall of Sound technique. He admired The Beatles album Rubber Soul and wouldn’t stop until he had made an album that wasn’t only at the same level, but exceeded it.

Pet Sounds ushered in a new era of using the recording studio itself as an instrument. This was one of the albums major characteristics. Altering tape machines to speed up tracks to make them sound “sweeter” or flanging them to create a new effect. The Beatles said themselves Sgt. Peppers was inspired by Brian’s work. Another characteristic that seems to stand out more and more as I listen is the amazing variety of instruments used on this album. Bicycle horns and tambourines combined with cello’s and grooving bass lines; I cant even imagine what it must have been like to hear this back in 1966.

Apart from setting new precedents in recording techniques and instrument arrangements, they also had other firsts. God Only Knows was the first major single to say ‘God’ in a song. They were nervous to no end wondering if it would even get air play, and it turned out to be a great success.

I personally love this album. It has so much depth, but is still such a fun album to listen too. That is such a hard combination to fully realize. Some albums are overbearing and even saddening to listen too. But in Pet Sounds you can day dream about better days, and summer loves. I also love the wide use of instruments. Its refreshing compared to todays pop music which usually features synthesized versions of everything and squashed mastering over the top. This album has so many dynamic qualities and arrangements that keep you entertained and engaged.

My final thoughts; I’m building a time machine so I can hear this album fresh off the press in 1966.

References:

• Wilson, B. (Director). (2003). Brian Wilson presents Pet sounds live in London[Documentary]. United States: Sanctuary Visual Entertainment.
• happy, S. &., & Kemp, M. (n.d.). The Beach Boys | Bio, Pictures, Videos | Rolling Stone. Rolling Stone | Music News, Politics, Reviews, Photos, Videos, Interviews and More. Retrieved April 14, 2013, from http://www.rollingstone.com/music/artists/the-beach-boys/biography

THE LAUREATE: Nobel biography and Wikipedia page

WHAT I’M READING: Apparently her first collection in English, O The Chimneys

REVIEW: If the Holocaust was a weight on Czeslaw Milosz’ neck that he dragged through the rest of his life, it was an ugly, bleeding wound for Nelly Sachs. Her earliest work throbs with anger and grief and despair.

RECOMMENDED: Yes. Absolutely.

WHAT’S NEXT: Wyslawa Szymborska

As promised ( see previous post ) here are some amazing photos of our good friend Jeff’s brand-new 1966 Batmobile GCSC Replica Car that we turned into Batman-Desktop Wallpaper Backgrounds. This custom automobile is amazing; just check out those flames shooting out the back!!

Also, as a BONUS, we also have some very pretty BATGIRL Wallpapers for you to enjoy, Hubba Hubba!

Our good friend John Brown, of Gotham City Super Cars ( shown up above ), recently celebrated the completion of another 1966 Batmobile Replica Car he made. The new owner is a mutual friend of ours named Jeff. He lives in Long Beach Island, New Jersey. So now you know that town will be safe from crime! Actually, I think Jeff has plans to use it as a way to help children charities raise money. That’s always a great thing to do and we totally love that. Congratulations Jeff on the new Batmobile and it looks amazing!

( Yeah, I’m jealous, JEALOUS!! Also, Thanks to NJ’s BatDave for sharing all these great pics )

As a side-note:
Please be sure to check out the next post for Desktop Wallpapers featuring more pics of this incredible ’66 Batmobile Car!!

This Electric Guitar is called the “Wing-Bat!” and is made by Hallmark Guitars. We have featured this beautiful musical instrument a few times in the past here on the Bat-Blog but we’re showing again to share a Product Review by our Friends at DAMN GEEKY. This Guitar is pretty cool and it’s pretty easy to notice how it’s design was inspired by George Barris’ Custom 1966 Batmobile Car.

Water pipe across Old Covered Bridge to service Felton Grove 1966

Según la leyenda, el 9 de Noviembre de 1966 Paul McCartney abandonó el estudio de grabación de Abbey Road tras una fuerte discusión con sus compañeros. Paul, furioso, conducía su Aston-Martin a toda velocidad sin prestar atención a la carretera hasta que, segun testigos, al llegar a un cruce, vio a una de “sus chicas”, en cuanto no prestó atención a los semáforos y fue arrollado por un camión. Brian Epstein, por aquel entonces manager de los Beatles, fue avisado inmediatamente del accidente. Supuestamente, la cabeza de Paul había quedado tan desfigurada que fue necesario acudir a la muestra dental para identificarlo. Misteriosamente, Brian consiguió que la policía no hiciese referencia a la muerte de Paul. El informe policial dejó constancia simplemente de que un hombre joven había muerto en el accidente, pero nunca sería identificado. 

Se tiene constancia que, en el año 1969, se realizó en Inglaterra un concurso de dobles para encontrar a alguien similar a McCartney pero, que extrañamente, nunca se llegó a saber quien lo
había ganado. Solo después, la leyenda dice que fue un escocés llamado William Campbell, el cual fue sometido a
cirugía plástica para parecerse enormemente con el fallecido McCartney y así sustituirle de cara al público.

Las pruebas de la muerte de McCartney consisten en pistas encontradas entre las muchas grabaciones de los Beatles; cientos han sido citadas en varias ocasiones por diferentes personas. Entre ellas figuran las declaraciones supuestamente escuchadas cuando cierta canción se reproduce al revés, el simbolismo encontrado en algunas letras de canciones calificadas de misteriosas y las imágenes ambiguas de las cubiertas del álbumes. Algunas de ellas son bien conocidas, como el hecho de que McCartney es el único Beatle descalzo y está fuera de paso con los demás en la portada de Abbey Road. Los ojos de Paul están cerrados, porque él está muerto.  Paul avanza con el pié delantero, mientras que los otros Beatles lo hacen con el izquierdo, los otros Beatles no consienten que William Campbell aparezca igual que ellos. Paul fuma con la mano derecha, pero él es zurdo, lo que demuestra que el de la foto no es Paul, es William. Y algunos afirman que el coche del fondo parece que va directamente contra Paul, en lo que es la representación de un accidente de Tráfico.

Se encuentran referencias a su muerte en algunas canciones: 

YESTERDAY “I believe in yesterday, suddenly, I’m not half the man I used to be”. La canción nos dice “Yo no soy el hombre que solía ser”. 

NOWHERE MAN “you don’t know what you’re missing, nowhere man can you see me at all?”;”Tú no sabes lo que te estás perdiendo, hombre de ningún sitio, ¿puedes verme?.

SHE’S LEAVING HOME. ”Wednesday morning at five o’clock”. El miércoles a las cinco de la mañana, el momento del accidente.

Analicemos la portada de Sgt. Pepper’s lonely heart club band: 

Las flores amarillas están dentro de la funda de un bajo, el instrumento que tocaba Paul. Además si te fijas bien, verás que las flores amarillas escriben: PAUL? Volviendo al bajo, hay tres palos encima del él, representando que ahora sólo quedan 3 Beatles. Paul tiene en la mano un instrumento negro, mientras el resto de la banda tienen instrumentos de otro color. El negro se asocia con la muerte. La gente mira hacia el montón de tierra formado por una tumba, la de Paul.
El muñeco de la derecha tiene en la mano un coche blanco con el interior manchado de sangre. Es un coche similar al modelo que conducía Paul. Debajo del anterior muñeco, se puede ver un vaso con flores amarillas. Fíjate muy atentamente y verás un coche que ha caido desde un precipicio y del que salen llamas.
Por último se ve una mano abierta encima de la cabeza de Paul, según la tradición india eso le pasa a la gente que va a morir o ha muerto recientemente . La mano encima de su cabeza aparecerá en más ocasiones. 

Estas son solo algunas de esas pruebas de las que te hablábamos anteriormente. Sorprendente ¿verdad? 

This week I came across a forgotten classic while looking for a something new! I was searching for Willy Moon’s cover of ‘Bang Bang’ from his new album ‘Here’s Willy.’ Some people I’ve spoke to really don’t like Willy, all citing an arrogance that they can’t stand, But that’s actually one if the things I really quite like about him. Anyway love or hate Willy Moon I dare you to not love the song ‘Bang Bang’ by Joe Cuba Sextet. Which is what this post is actually about.

I heard it on Monday at work and as soon as I clocked off I headed strait to Sounds Of The Universe on Broadwick street to go and get me some on Vinyl. I didn’t find the record I was really hoping to find which was the single ‘Hey Joe, Hey Joe’ but I did find this fun re-issue LP Joe Cuba Sextet ‎– Wanted Dead Or Alive (Bang! Bang! Push, Push, Push) which had the Song I had initially happened upon in the morning! Way to go starting Monday morning with a Bang Bang!

Joe’s Spanish Harlem sound really does evoke carnival excitement in me. I guess since the sun has been trying to come out I though it would be OK to listen to this and think of how close the summer must be by now.

Enjoy!