The Old Forge (Sunday 28th October 2018)

I thought I would make use of the extra hour by getting up at the normal time, and did so, but the clocks had self-corrected during the night and I turned out to have slept solidly through the extra time. When the clocks go forward in the spring, on the other hand, it takes my body clock weeks to re-adjust and I feel more like a zombie than normal.
It was mostly an indoor day but as I haven't blipped in a couple of days because they were photographically unmemorable I went outside to blip this lobelia which has just flowered.

L.
28.10.2018 (1804 hr)

Blip #2786 (#2536 + 250 archived blips taken 27.8.60-18.3.10)
Consecutive Blip #000
Blips/Extras In 2018 #228/265 + #73/100 Extras)
Day #3139 (612 gaps from 26.3.10)
LOTD #1928 (#1769 + 159 in archived blips)

Old Forge series
Flora series

Taken with Panasonic/Leica DMC-LX100 M4/3 compact

Lozarhythm Of The Day:
The Packers - Hole In The Wall (1965)
I bought this single on Pye International for 2/- at Walsall Market when it was released here in 1966, not having heard it, and was delighted when I played it and found it was in the vein of the Ramsey Lewis Trio's The In-Crowd, complete with audience noises, and even more so when I discovered that Booker T Jones, Steve Cropper and Al Jackson Jr from Booker T and the MGs were amongst the musicians involved. The saxophonist was Charles 'Packy' Axton, formerly from the Mar-Kays and the son of Estelle Axton. The band must have been moonlighting as it was recorded in Los Angeles, not Memphis, for the Pure Soul label, not Stax, to whom they were contracted.
The short-lived Pure Soul label, it turns out, was specifically set up by Los Angeles KGFJ disc-jockey, Nathaniel 'Magnificent' Montague, who had arranged the recording session. It was credited E & M Productions who were Estelle Axton, co-owner of Stax, and Magnificent Montague. She was there with a Stax Revue show that Montague helped organise and promote. The release of the record and its success was the cause of a major argument between Estelle Axton and her Stax partner Jim Stewart.
Even more strangely the same single was later released as Right On (The Cream) by Joe S Maxey on LuPine, and again in 1972 by him but as Sign Of The Crab, on Action. I sold my single many years ago but now have it on a Kent's Cellar Of Soul compilation.
Cerys Matthews played this today as part of 6 Music's Slow Sunday themed shows.


One year ago:
Autumn Leaves IV