I can definitely share in that fantasy! Lombardo is excellent, but if it's a fantasy I would pick a much better drummer... (Funnily enough, the temporary Fantomas touring drummer and Lombardo replacement Terry Bozzio, while prone to cheesiness at times, would be one of the best picks in my view and a hundred times better than Lombardo in pretty much any context.) Besides Bozzio, I think Zach Hill of Hella or Furio Chirico of the legendary Italian 70s group Arti e Mestieri would be much better to play interesting ultra-fast aggressive music. Speaking of dream lineups, I think there's actually been some moderately serious talk about a Hill/Barr/others? unit...

The best fantasty I can cite offhand, and one I've had for quite a while, would be a collaboration of Melt-Banana and the BSC in which the methodology and character of each was preserved--not some kind of muddy averaging of the aesthetics or a jam session, but a mix of hocket-like alternation and a timbral expansion of the loud and aggressive parts. I've been pleading my case to BSC members to perform Melt-Banana compositions for a few years, but sadly (but surely not surprisingly!) some are quite averse to the concept, even though they are mostly fans of the rock ensemble. I suppose Christian Wolff compositions suit them better and I can't complain about that...

Oh yes, I also wanted to say I dig the Electric Prunes allusion...

Those fondly remembered dreams of the Electric Prunes (seemingly in no time) went from diarrhea to (remember?) Mass in f minor (a copy of which is probably still parked somewhere in my garage, got to find it!). You're too young to know (?), Michael, but it seems like we're watching reruns of the late 60's these days what with American dream pilgrimages a la dubya (from hangover to Rapture or: Frankly, my dear, I don't give a damn!)?

Sweet dream, Phil.

Ooo… I’ll play. Here’s a quick eight on the jazzier side.

High on my list are two Joe Maneri sessions I’ve been fantasizing about for years. Firstly, a double solo album recorded in a small cathedral space like the one used on those ECM discs w/ Barre Phillips. One disc feat. his small battery of reeds, piano and some invented lingo spoken word to spice it up; the other centering specifically on his clarinet and a songbook of cherry-picked Greek wedding tunes. Second, a set that likely wouldn’t work, but I’m game to sink ducats into anyway: Joe’s trio w/ Mat and Randy P. joined by Joe McPhee’s Bluette (Joe Giardullo, Mike Bisio & Dominic Duval) doing a program of spirituals & improvs. Vibraphonist Matt Moran might be a good pick to make it an even octet.

In this vein, I’d also like to funnel $20-$30K into launching Mat’s proposed label for releasing his father’s archival recordings. It looked like this was a go a couple years back, but a wealthy benefactor pulled out & left the enterprise marooned on the reef of insolvency.

And speaking of Moran, I think it’d be cool to bankroll a date with him doing Prestige-era Teddy Charles/Hall Overton covers w/ Guillermo Gregorio filling the Giuffre slot & Axel Dörner playing the part of Shorty Rogers; bass, drums & possibly guitar to be named later.

Others:

That Flaherty/Brötz match-up I mentioned awhile back, preferably in a quartet config w/ Chris Corsano & Paal Nilssen-Love on dueling trap kits. Maybe a track or two w/ Gustafsson’s guesting baritone complicating the fray.

A Hamid Drake solo record, though this desire has been partially sated by his new disc as a leader on Rogueart Records. Still digesting it, but it’s sweet to hear him face off with a horn section of Daniel Carter, Sabir Mateen, Ernest Dawkins & Greg Ward. The guest spot by Nicole Mitchell is nice too, if overlong.

A James Finn/Dennis Gonzalez collaboration. Not sure what band would be the best to back these guys, but I think they might conjure something pretty interesting together esp. incorporating a Flamenco/Mariachi angle.

A Kidd Jordan trio session, professionally recorded & w/o his usual confrere Joel Futterman in the loop. I’m thinking Adam Lane and Gerald Cleaver might do the trick, though stalwart Alvin Fielder would be a welcome choice on tubs too.

A Brötzmann B-3 organ project w/ say, Craig Taborn & someone like Soji Hano on drums (maybe Dave Fiuczynski on board to fuck shit up too?). Michael Ehler’s of Eremite tells me this is pretty much a pipe dream start to finish.

Mike: "I think Zach Hill of Hella or Furio Chirico of the legendary Italian 70s group Arti e Mestieri would be much better to play interesting ultra-fast aggressive music."

I got to see Hella play in their hometown of Sacramento last year, and Zach Hill is one motherfucker on the skins!

That's a severe understatement, Adam! My first take on Zach Hill when I first heard and saw Hella last summer was that he was like a rock drumkit version of Conlon Nancarrow's hyper player piano pieces... My jaw hung from start to finish and the guitarist was like a background source of accents for his non-stop mutating spastic groove... I recommend their first album, Hold Your Horse Is, which I got after that concert and played about ten times a week on average for a few months... It's even better than seeing him live.

What's that line from the Odd Couple?

"I had that dream again last night."

"The one about you and Tuesday Weld as the sole survivors of a nuclear holocaust?"

Interestingly enough I had a dream the other night that I went to see The Ex but for some reason Terrie wasn't in the band anymore, and the group had metamorphosed into.. Heaven 17! Mein Gott..
"That Flaherty/Brötz match-up I mentioned awhile back, preferably in a quartet config w/ Chris Corsano & Paal Nilssen-Love on dueling trap kits. Maybe a track or two w/ Gustafsson’s guesting baritone complicating the fray."
Yeurggch. I think you can have too much of a good thing - why do you need Nilssen Love when you've got Corsano? Anyway, Dim Bulb is just about all you need Derek - Steve Baczkowski's easily as much fun as Brotz and blows the fuck out of the baritone too. Check it out.

Why would you need Corsano if you could have Nilssen-Love?! I'll take some post-Oxley coloration with my power-blasting please...

nilssen-love gets my vote as well. shit i saw him recently with the thing + vandermark and he ROCKED. and to make this thread a real bagatellen thread: i fucking hate jon abbey. hahaha! :)

I once dreamt that John Stevens was still alive and playing.

No you fucking don't, Tomas!

I hear you on the dangers of too much of a good thing, Dan. But in the case of Corsano & Nilssen-Love I'm pretty confident that they'd click, able to tear the roof off the sucker & still provide textured, even nuanced, support if the horns chose to travel in more subdued directions (NOT LIKELY).

I've been won/run over by the possibilities of the double drum kit config thanks to James Finn's cache of releases on his own Ginko Tree imprint- Warren Smith & Klaus Kugel make for a powerhouse & largely complementary pair. The choice of Gustafsson as guest was actually inspired by Baczkowski's work on The Dim Bulb, a killer rekkid & one that will likely stick on my year end list.

So, next question... who wants to pony up some ducats to help make this happen?

Fun game, this 'un. I'll throw my two cents in with 2 dream units that I actually saw to fruition (and that relate to some of the posts here). One of the great things about organizing concerts is that occasionally you can actualize yr fantasy bands:

1. RE: derek's June 22/3:44 post (Kidd Jordan). In 2000 when Peter Kowald was doing his famed North American station wagon tour he contacted me to put together a week of concerts in New Orleans. Of the four we put together, the plum gig was a trio of Kowald/Kidd Jordan/Alvin Fielder. Mighty good if i do say so myself (a snippet of them playing appears in the documentary "Off the Road").... Kowald came back to NOLA in 2002 for a long weekend during JazzFest and we did three concerts = trio with Endre Landsnes on drums and me on guitar, PK as guest/4th member of the bass trio ContraContraBass, and a reprise of the trio with Kidd and Fielder. That one got recorded, though with some unwanted pops from a faulty instrument cable (which could possibly be cleaned-up)...We'll see if it ever sees release, but the music was great and it is nice to hear Kidd without the clutter of piano or another horn sometimes (though i dig some of his stuff with Joel too, and love the 4tet w/Fred).

2. Paal Nilssen-Love - definitely one of my favorite drummers of his generation (along with my man Andrew Barker). Got to do a real smoker of a gig in 2002 when the Gjerstad trio was on tour. Endre Landsnes (mentioned above) is a Norwegian drummer that lives here but played extensively with Frode and Paal in Norway. So a reunion of sorts for them, and a lucky opportunity for me to jump on the viking ship. Quintet of Frode Gjerstad (reeds), Oyvind Storesund (bs), me on guit' and the double drums of Endre and Paal, which were wonderfully fierce and intricate. Woo-hoo! Paal does quite well in these tandems as evinced by his nuanced work with Zerang in the Brotz 10. He and Corsano would likely make a rocking perc-session, but I'd like to hear him paired with Andrew Barker as well.

Now, as to the fantasy teamings here's a couple -
1. Always wanted to hear McPhee with Paul Lovens together. Would make a great duo (as Kevin Whitehead pointed out in a festival review in Coda many years back)... but if we're dreaming how 'bout Joe/Paul in quartet with Gunter Christmann (t-bone) and Fred Lonberg-Holm? I think that would yield some deep music.

2. Now let's get a bit crazier: how 'bout Nels Cline/Caspar Brotzmann on guitars with Jamaaladeen Tacuma and Hamid Drake as the rhythm section (!)

I'd also love to hear Hamid play with the great Malagasy guitarist D'Gary...maybe get Mahmoud Gania on guimbri in there too. Whispered the Hamid idea into the ear of D'Gary's road manager when he was here back in May. And then there's the slew of ideas for grouping with underrated Los Angeles guitarist Joe Baiza (of saccharine trust, mike watt & the black gang, universal congress of...)

We could probably all go on and on with this game....Lotsa fun and who knows if some might come into being. Yes, i'm becoming aware that this is the music-nerd equivalent of fantasy football, albeit minus the wagering, so I'll stop for now... But I want to hear more from y'all...
-- RC !

+minus plays the music of Albert Ayler. I've mentioned this idea a number of times to Mark Wastell, but he just gives me an odd look.

..as well he might!

"That Flaherty/Brötz match-up I mentioned awhile back, preferably in a quartet config w/ Chris Corsano & Paal Nilssen-Love on dueling trap kits. Maybe a track or two w/ Gustafsson’s guesting baritone complicating the fray."

Well the closest i got to that was Brötz dueling with Vandermark + Drake and Lovens. As for the Ex last year there was Terrie and Andy rocking hard with Paul Lovens and Tony Buck. Both performances happened at Konfrontationen (www.konfrontationen.at) in Nickelsdorf.
As for dreams try out Brötzmann's Chicago tentet digging into Principia Sugimatica or Radu Malfatti's late compositions ...

Tomas behave yrself otherwise Jon will erase you from ErstQuake

And to add another challenging dream how bout Axel Dörner/Robin Hayward/Alessandro Bosetti/Radu Malfatti/Mazen Kerbaj/Tim Barnes/Martin Küchen leading New Orleans funeral march on a really hot summer day...

I had the most unlikely dream the other day... Everyone's favourite tabletop guitarist Keith Rowe played in a trio with a great percussionist called Eddie Prevost and some pianist guy called Tilbury...

I know, I know, I am taking things into the real realms of fantasy with this one and there's more chance of a Hendix/John Stevens duet, but I can dream it may happen....:)

I will never play with John Stevens, that wussy.

Howzabout John Scofield Plays the Music of John Wall? Or Antonin Artaud Sings the Bacharach/David Songbook?

"it's about whether you've got anything interesting to say." (Brian Marley June 20)

"If you've got nothing remotely interesting to say, keep your trap shut." (Brian Marley June 21)

"To find something interesting, you merely have to look at it long enough." (Flaubert)

Sorry, Flaubert, I haven't got the time.

i had a dream that people show up a a street corner each day at the same time and they are like fish but they have fishnets contoured exactly to the shape of their bodies. for some minutes i wondered what it might mean. then i thought of the comments on bagatellen. i thought of the wire magazine. i thought of all the festivals were the same people perform year after year with little or no change.

"Sorry, Flaubert, I haven't got the time."

"out on the street and muthufucka doesn't know what time it is"--who said that?

then i thought of the comments on bagatellen. i thought of the wire magazine. i thought of all the festivals were the same people perform year after year with little or no change.

Et alors...? What do you expect where festival promoters are constantly invited wined & dined to each other's bashes and then - surprise! - sign up half the groups they've just seen for their own events. One look at the lineups for the past five years confirms this. Am I frustrated? Damn right! What concrete measures can you suggest for changing the situation, though? Finance the festival yourself, perhaps? Might be a good idea to use your real name if that's the case.

what if there was a thread solely dedicated to beefs and pot-shots so that these mysteriously-named friends (and others) could get their ya-ya's out?

honestly, it's worth a try.

might even be fun.

Et alors...? What do you expect where festival promoters are constantly invited wined & dined to each other's bashes and then - surprise! - sign up half the groups they've just seen for their own events.

isn't the hold pattern keeping equally by a press operating in the old boy school way? private clubs. signal to noise too (at least wire has a spell check on--but then again, you learn those names after five years of the same ones over and over don't you!)

One look at the lineups for the past five years confirms this. Am I frustrated? Damn right! What concrete measures can you suggest for changing the situation, though? Finance the festival yourself, perhaps?

but i guess you are trying to be constructive but i can't help post and ironic smile. workers genrally can't build the factory. workers maybe got one kinda power: to strike, to boycott. so boycott the magazines, the labels, the festivals. and then there is other forms of agitations.

Might be a good idea to use your real name if that's the case.

when i once was posting with my real name no one ever replied ever at all. this was because i was nobody. now we are somebody (still nobody) posting as namelessly as nobody and everyone wants to know who it is. what's funny is that for example these words are not the only ones posted anonymously. others i dont know do it too. it causes confusion that is interesting because often the reader listens no to the words statement but more of the source (if it is important label big man, for instance).

scrapsi - you're sounding just like a guy who used to post here (and still does maybe). always ranting about everything, deeply frustrated and jealous people don't give a shit about him. maybe you even are that guy? your blabber at least sounds as empty and devoid of any sense as his did. you poor, poor guy, must be hard to be ignored, huh? the funny thing is: you talk big about "boycott" and shit yet you seem to be one of those who voraciously devours all these mags and blogs and what have you. because - would you really turn away of all of this - you'd be confronted with what's left. and that's you and your crappy and hollow music. and you're so afraid of this, aren't you? ah...what a pathetic creature. and by the way: only way i'm gonna reply to the wretched answer you'll give to this post is by posting under your real name. no excuses, the coward one. unmask or fuck thyself.

I have no opinion about your anonymity Scrapsi, but I humbly entreat you to somehow demarcate the text you're quoting and your own new text!! (Standard options include source tags, italics, quote marks, funny symbols, etc.) I found I had to put a bit of extraneous effort to follow your post!

As far as content, I don't really agree that the same stuff gets repeated exposure. Sure, there are some overrated, overexposed things out there, but I also see a steady influx of new names and faces everywhere I turn, and if someone is great they deserve to get perennial attention. There are some people well deserving of their high profile, like Evan Parker, John Butcher, Anthony Braxton, John Zorn, etc. (Why is it always saxophones? Sorry, that's what I like!) Of course I have my pantheon of hopelessly underexposed heroes I would like to champion, but I don't perceive this level of injustice you and Dan portray. Granted, I'm not a good one to speak on this, because I'm not very tuned into "the biz"—I'm aware of only a tiny fraction of the world's festival activity (the few things in my little corner of the world) and the only music rags I've ever read with anything remotely approaching regularity are STN and Resonance. I have read two or three issues of The Wire over the years, though, and I was impressed by the diversity of coverage and saw many new and interesting names. Likewise for STN. I just got the summer STN in the mail today in fact and I see all kinds of deserving obscure artists getting exposure. As far as festivals, the one I know very intimately, High Zero, has totally fresh and adventurous musicians every year, always a real surprise and always a few gambles on very young, inexperienced, or obscure people. Certainly no "old boy", closed circuit biases there! Those Baltimore cats don't answer to anyone but themselves.

Also, who cares so much about magazines and festivals? I mean, the solution is grass-roots, local activity... That is the solution to so many other things too... Create or find your music and an audience for it.

Well, I must admit I'm averse to the kind of disgruntled, pessimistic discourse you guys are peddling here; I find the world of music a rosy, thriving, and inspiring place for the most part. Then again, living out in the country here I'm around cows and chickens a lot more than any music people, so maybe I'm just a naive hick out of touch with reality...

"isn't the hold pattern keeping equally by a press operating in the old boy school way? private clubs. signal to noise too (at least wire has a spell check on--but then again, you learn those names after five years of the same ones over and over don't you!)"

Do we detect a teensy weensy bit of frustration on your part too Mr Krupke, or whatever your name is? Maybe one of those oh-so-influential magazines (DON'T KID YOURSELF KID) didn't review one of your records, zat it? Can't get a gig? Prefer to sit at home and moan?

"workers genrally can't build the factory. workers maybe got one kinda power: to strike, to boycott. so boycott the magazines, the labels, the festivals. and then there is other forms of agitations."

Well, how about going on strike then? I'm sure we'll all miss you terribly. I'm sure your unilateral strike action will have as much impact on world music as John Tilbury's US boycott a while back. As far as I'm concerned, I'm inclined to quote Stockhausen (not a noted socialist hero), when a bunch of 2nd division politically engaged composers barracked a performance of Stimmung in the 60s. "They don't realise that I'm one of the workers that works the hardest."

"when i once was posting with my real name no one ever replied ever at all. this was because i was nobody."

Ever considered the possibility that it was you said fuck all worth listening to?

"now we are somebody (still nobody) posting as namelessly as nobody and everyone wants to know who it is."

No, I just think if you're going to stand up and be counted by going on the record with (not particularly constructive) criticism, you should have the balls to say you who are. So, yes, I'm accusing you of cowardice. Can't get clearer than that.
If you don't like the Wire, stop buying it. If you don't like festivals, stop going, and if you can't find anything positive to read here, bugger off.

Hey, Scripsi/Scrapsi, you're missing the point.

If your postings are just a form of attention-seeking ("when i once was posting with my real name no one ever replied ever at all" – boo hoo), then you’re a success. Congratulations! Here I am acknowledging your existence. But if you want to communicate something other than smug self-satisfaction, baby, you’ve got a long way to go.

You’ve tied yourself in knots trying to justify why you won’t say who you really are (I’m assuming, for the sake of charity, that you do know who you are), but the argument you present is so fatuous it’s beneath contempt. The simple fact is that people who wish to hide their identity have a reason for doing so (and not the nonsensical reason you gave). Mostly it’s because they want to do something underhand. In your case it’s harassing and denigrating people you don’t like (for whatever reason). It’s a sleazebag, cowardly attitude. You really ought to reconsider your options.

i'm bummed...all this back-and-forth has derailed what was supposed to be a fun game for the music nerds...

let's hear some of yr dream bands, folks.

c'mon, ill get it re-started: tony iommi/jim sauter/radu malfatti/clyde stubblefield - GO!

Tomas Korber & Alex Bellenger "Omaggio à Kurt Cobain"!

My nomination:

Stan Getz Meets King Tubby at the Grass Roots of Dub.

The reason:

Tubby was a great jazz fan, he had a huge collection of American jazz on LP, and I once heard tell he admired Stan Getz. I think Getz's early Latin period would make a perfect match with the dubmeister's techniques. If I could have one further stipulation it would be strings - a small string ensemble. Several tracks from the King Tubby/Harry Moodie Dub Conference CDs testify to how well Tubby dealt with strings, a sound that's rare in reggae even to this day.

I always wished that miles davis had been part of the blue note stable in the midsixties with line ups like: miles davis, jackie mclean, joe henderson, andrew hill, cecil mcbee, joe chambers, or miles davis,ike quebec, grant green, larry young, elvin jones playing nature boy and lazy afternoon...

or for a more current dream how about pan sonic meets sachiko m, toshimaru nakamura, otomo yoshihide.

polkiuox

I want to hear Hans Reichel and Lê Quan Ninh do a daxophone and percussion version of the amazing first track from Uriah Heep's 1970 debut. Actually, I have fantasized many times about this, except the part about Ninh just occurred to me and so it's sounding ten times better in my head now.

Also, I'd like to hear Jack Wright, Michel Doneda, John Zorn, and Mats Gustafsson improvise a piece and then have the Arditti quartet transcribe and perform it. After those two pieces, I'd like to hear Arditti play it again with those saxophonists freely improvising together with it. Then I want all three pieces to be burned onto a CD for Yasunao Tone to recompose in his usual manner, generating a good hour or two or music. This fourth piece would probably suffice for the rest of my life's music listening and I would be able to get rid of my record collection and drop out of the music world entirely. Has anybody else out there had this same fantasy?

that's fucked man.

Yeah, but it's quality fucked.

Definitely.
Here's one, to prove I'm not another troll:

ONJE, substitute Hamid Drake on drums and Tom Djll on trumpet, and add Schlippenbach on piano. Oh, and no vocals.

It's still the ONJE because it's still based on Otomo's charts, but I imagine a rather different result.

"This fourth piece would probably suffice for the rest of my life's music listening and I would be able to get rid of my record collection and drop out of the music world entirely. Has anybody else out there had this same fantasy?"

U betcha, Michael! I thought Feldman's monumental String Quartet No.2 would do the trick all by itself, and for a while it almost sufficed. I even had a dream once in which my house was razed to the ground, no-one hurt, but all my CDs, DVDs and books had been reduced to ashes. I woke up feeling unusually sunny - but maybe that's because I was anticipating the insurance payout.

Mike wrote: "This fourth piece would probably suffice for the rest of my life's music listening and I would be able to get rid of my record collection and drop out of the music world entirely."

I don't believe you, Mike. You'd get rid of all your Tim Berne?

I'd love to hear this duo: Marc Ribot and Sonny Rollins

Brian, I meant the whole shebang, Arditti and all, not just that last part when I asked if anyone else shares that fantasy!
:-) I'm fully aware of the humor lurking in that inquiry!

But it's uncanny you mentioned SQII in that light. Check out the opening paragraph in my review of BSC Good that I wrote over a year ago and shelved without finishing or publishing in any form. (Actually, I only had one or two paragraphs near the end to plug in, so one of these days I'll do that and post it here on Bags... To be honest, I was thinking about actually chopping this entire first paragraph because it's perhaps too personal, naive, and embarassing, but it's too late now because it's too appropriate here for me not to post it. Besides, everyone's used to me saying ridiculous things in public by this point anyway. My only excuse is that it's 100% authentic.)

Truly life-changing, transcendental musical experiences are certainly rare, but in this first public document of the BSC we have something even rarer—music that makes me feel I could walk away from music and never listen to anything again, with a feeling of total peace and contentedness towards this particular aesthetic domain, a feeling that the journey of avant-garde listenership had reached a resolution and needn't be continued. For a journey that has no destinations to speak of, and is probably driven by little more than an implicit fear that stillness is impossible, it is admittedly perverse to speak of reaching an end, but this is precisely the feeling I can report. It is the feeling that something so definitively encapsulates such a wide swath of musical experience that as far as the eye can see in any direction there is nothing but glistening object-realizations of truth and beauty from which the veils have all been lifted. In this moment of beholding a vast expanse of revelation it is as though I've been relieved of my musical desires. While chewing, it is observed that the dangling carrot of new musical experience was included as an ingredient in the meal. The sheer rarity of the experience is probably the only defense I can offer for these remarks against the dustbin of hyberbolic subjectivity. For me personally, the only other recorded works I can claim a similar feeling for might be Feldman's String Quartet II, the A.D.D. Trio's 1995 recording Instinct, Melt-Banana's MxBx 1998/13000 Miles at Light Velocity, Tipographica's God Says I Can't Dance, and the recordings of the Jack Wright/Bhob Rainey/Bob Marsh/Fred Lonberg-Holm quartet. With so few junctures at which the temptation to part ways with music has been felt, I have happily not yet succumbed.

So, in any case, I share your feelings about SQII as a sort of ultimate musical climax. That's a great dream you had!

[Mike]- Truly life-changing, transcendental musical experiences are certainly rare, but in this first public document of the BSC....

Well I haven't heard anything by BSC Mike, but after that wonderful little display of heart on the sleeve honesty I will certainly now seek this disc out and listen to it.

Passion, excitement and fearless honesty... my kind of writing.. thanks for that Mike.

"Brian, I meant the whole shebang, Arditti and all, not just that last part"

Damn! and I thought I could get away with choosing the part I liked and basically ignoring the rest. You're a hard taskmaster, Michael!

Gee Richard, your improv connoisseurship puts most of us to shame, so I'm shocked to hear a widely discussed release on a prominent Euro label like Grob slipped past you! Definitely one of the landmark discs in improv history, a large free improv ensemble creating a quiet tapestry of sounds based on novel timbres and an avoidance of narrative or conventional rhythms, but with a sense of drama and tension. I'm certainly biased being an East Coast American who's heard those musicians in many contexts and whose own interests in lowercase improv mostly stems from these very same musicians, but I think it's been met with acclaim from all corners. But don't take my opinion too seriously! After all, I wouldn't recommend you go out and start listening to Tipographica or something! You'd probably hate it!

[Adam] I don't believe you, Mike. You'd get rid of all your Tim Berne?

[Mike] hehehe. Okay, I guess I would sneak a few Bloodcount and Hard Cell pieces onto a CDR and hide it somewhere just in case it was "medically necessary"...
:-)