wow wow wow!!! 😃🥇🏆✨🤠

Hey—-have absolutely nothing against aggregators. Indeed I’m grateful for many of them, BH’s included. Perhaps I was just a bit bitchy about the attribution thing. A promo shoot or pic from Rolling Stone gets a mention…but lifts from little-visited websites —- not so much. Whatever…I’m not really a stone-age get-off-my-lawn type. So all good.

Good ol’ BH; the cut-paste-repost king of the internet. Wonder why [strike none] so few of his grabs ever come along with a hint of the original source 😅. Thousands of viewers probably mistake him for someone with awesome exclusive access to kewl shit 😂 Which may be the point? Like, “I’m not a Fogel but I play one on the internet”

Not many pics during that time, for a variety of random reasons. I know there are some scattered around the web somewhere (after 24 yrs of webdroning I can hardly find anything anymore)… like the pic of W’s bass nook, with cutouts of the greats standing around his amp stacks.. But here’s one from one of the WB slideshows; I took it on or very near to the last day of overdubbing at Avatar (ditto with the pic above, from the CM packaging). The very last overdub as I recall was Potter in Audrey…..but he had left by the time I climbed up on a table for this shot. [Edit: I should add that as a general rule *I* did not take pics during any actual recording or studio runthoughs or even rehearsals….it was just not the right time or place, I felt, for the players to see a camera pointing at their face. Having said that I’m now remembering a few other (not very good) non-invasive pics I took that same day, just as everything was wrapping up. I’ll post them if I run across them again] Front L-R: Klein, Becker, Scheiner Back L-R: Baker, Carlock, Herington, Parks

Behind a paywall after scrolling to 2nd ‘page’. Hack: set “printer” to landscape, then if you get a reload (different computer if needed to defeat the “second view’ paywall), save as pdf. Sorry historynet… Anyhoo—, that is one beautiful article, Matt. Continue to be impressed and humbled by your combo of deep and wide historical understanding of your (larger) subject, and your fine fine superfine writing skill. [guilty that such a talent is put to work helping an old lady with a website 🫤]. I look forward to what are bound to be many other authorships in the future.

Congrats, Matt! Another recognition of your depth expertise (and talent at presentation) flowing out of your great book. Are we going to see you at the awards ceremony maybe? You know, WebDrone habits die hard…and I’m wondering if we should construct a sort of “Texas Jack Index” post that links to all your update posts announcing various talks, podcasts, awards, etc., so that TJ fans can easily find all related news on the site. Something that can easily be edited to accommodate new entries. Personally, the update I;m most waiting for is an announcement of the audiobook 😎

Plus 🤫 (unfortunately)… just tip-toeing the line 🙈🙉🙊

Thanks Dan. Uh … you mean these remastered concert videos? ;-)

Dan, Tony, and others: For a while now I’ve wanted to post a cheat-sheet for various terms we use here on WBM —track; track-take; take; run-though; rehearsal, demo; overdub; etc. etc., especially as our use of these terms here may differ from their more colloquial meaning or understanding. This would provide more context for visitors to an archive such as this who, after all, are hearing lots of different “beasts” from a big menagerie of process components and stages. In short, it might help to understand the somewhat different goal or function of each beast in the oft-mentioned iterative process of getting from demo to final. [EDIT: In fact, if I get it right, it probably belongs as part of the site FAQ] This present multi-clip post is a good case where an explicit clarification of concepts and terms might be illuminating; why, for example, Walter isn’t soloing on some clip…or why there’s no vocal on what I’ve identified as a “track-take”, and so on. But whenever I try to begin my little WBM glossary, my Infographic nature gets me dizzy, with visions of hierarchical branching trees and such… but in any case it would be a bigger job than I have the gas for just now. Still, I did want to flag my intention here — you get points for intentions, right? — and maybe in the meantime the more inductively-inclined among you — or those familiar with old-school recording endeavors — can make better gestalt sense of what we’ve presented here, and elsewhere on the site. Carry on….

Hi P — just curious….do you have a ‘love’ preference for the “Swamp” version (the Maui band), or the Signet approach w/ some player overlap but a different overall approach?

😅

working om a long-term solution. It will take some time to get set up, but should be a good solution whenever it does come

Many thanks for that stunning work, Matt. Strikes me as Blade Runner meets Becker in vintage Hell's Kitchen. Lexically-based AI imaging crams my head with questions so fast I can't even keep up to count them. By coinkydink, today's NYTimes had an article about the same program you used: An AI-Generated Picture Won an Art Prize. Artists Aren't Happy. Fascinating.

Love the bit about "Texas Jack's character is well reflected in the merchandise here at ....". The Tie-In: bane of any local jouro. Good article though. PS If you care to share any links to the video(s) of your talks hither and yon, I for one would love to see them here.

Very cool, Matt - congrats. But hissy bitch that I am, I still can't figure out -- especially now that I see you're the author of the cover story -- why your name isn't on the mag cover itself. Still, a real coup for sure -- you're one of them now! Mazel tov!

Wow...a new browser! Welcome Thomas, and mahalo for wandering by

Hey T -- thought someone else would have jumped on this by now, but --- the thinking behind including a Bonus Track for a Japanese release was that some extra goodie was wise given that folks over there -- an important market for all released music -- usually have to pay a higher import price for western-world CD releases. I've no idea if that's still the practice in the new streaming age. As to why it wasn't included among the standard WhackTrax.... well, just another inscrutable mystery among the many that is 11TOW

What a beautiful tribute to W's labor of love. Thanks somnar --- I know W would have considered your sentiments the very best of B-day gifts.

Nice to hear WB give a shoutout to a few fan characters at the end and, wow ... I had forgotten he had one for 'the famous Polly Minnow" (for those of you who don't know, the intrepid girl reporter form the beloved music mag "Teen Turnip". RIP)

@Thomas Sicard Yeah, I found even the "raw" demo (which was the only version we had for decades) completely compelling -as-is... even with its crappy Xth-gen sound. In fact I'd venture to say it was my favorite of all the unreleased Whack tracks in circulation for all those years. Which also supports the idea, elaborated on in other posts, that a good demo will contain all of the important bones of a song, even absent all the additional instrumentations, arrangements, overdubs etc (and, as in this case, the baseline was almost always the spine).