now this is the music i listened to growing up

yo we getting out of The Great Fire Of London with this one 🔥🔥🔥🔥🥵🥵

This Reminds me of When i was Child my and family went trip to border in deutchland to this Theme park Called Tolk Schau Lovely it was now that im to Old for it i still miss this Joy but life goes on

Mfs when this dropped be like 🔥🔥🔥🔥🥵🥵🥵🥵💃💃💃💃

I say old sport, put 'em up I say 👊👊 oh good heavens

*Charlie Chaplin slips on banana* the whole audience laughing

og mfs remember this when a clown gave us his dih with this music in the background 🥀

Jazz

Spanish Flea

Ragtime Piano

The Entertainer

Maple Leaf Rag

Funky Cha-Cha-Arturo Sandoval.mp3

Welcome to Timeless Romance, a feast of romantic melodies that will capture your heart.

This album beautifully encapsulates every moment of love through instrumental pieces. From the flutter of first love to the sublime nature of an eternal promise, these 29 diverse melodies will gently caress your emotions.

In the midst of your busy life, take a moment to pause and immerse yourself in this music.
Close your eyes, and it will transport you to a starlit night sky, among the petals of a secret garden, or on a sun-drenched afternoon stroll. It will sometimes evoke tender memories and at other times make your heart race with anticipation for a love defectos to come.

The melodies of Timeless Romance will make every moment of your life more special and romantic.
It will be the perfect choice for precious time with a loved one, a sentimental afternoon alone, or as background music for a special day.

Fill your heart with the melodies of romance right now with Timeless Romance

Buy Music

Memory of First Love

A1	The Sidewinder	
A2	Totem Pole	
B1	Gary's Notebook	
B2	Boy, What A Night	
B3	Hocus-Pocus

Produced by Alfred Lion
Produced for release by Michael Cuscuna
Recording by Rudy Van Gelder
Recording at the Van Gelder Studio, Englewood, New Jersey on December 21, 1963

Some of the Liner Notes:
The title number might best be described as a long-meter blues (24 measures to the chorus). "The tune kind of put me in mind of the sidewinder - you know, the 'bad guy' on television," says Lee. "There's a snake called the sidewinder, but I was thinking of the bad guy." If the character and mood seems a little different from that of the average blues, you can attribute it to the unexpected change at bars 17-18 of each chorus, when a minor chord is introduced. The fascinating rhythm section figure established during the opening ensembles is sustained throughout the solos, giving the performance a deep blue tinge as well as a Latin touch. Lee's solo, fluent and sensitively constructed, never becomes grandstandy and relies at times on essentially simple devices, such as the repeated B Flat in the last of his three choruses. Henderson's solo is rich in melodic variety (note the contrast between the busy opening and simple continuation in his second chorus). Harris' piano picks up in intensity as it goes along, aided on his third chorus by the horns' backing. Cranshaw bears out Lee's complimentary observations in a fine solo that owes part of its success to the continued pulsing of Billy Higgins' percussion figures. 

Totem Pole, named for the effect of Lee's alternation with Joe, is a group of six notes they play going into and coming out of the release. The E Flat Minor theme is strengthened by the effective contrast of Latin rhythm on the main passage and a straight 4/4 in the release. 

Boy, What A Night is also a blues waltz, but this time with more of a funky feeling and a 12/8 meter, with a very basic character to both melody and changes. "Remember the old Avery Parrish blues After Hours?" says Lee. "You'll notice that during the main figure, the bass and the piano are playing the rhythm out of that. We tried this a lot of different ways - first as a straight blues, then double-up time, then with the three four feeling - until it finally came out the way it is here." On his solo here, it seems to me Lee reflects some of the Gillespie influence in his phrasing and in the ability to string ideas together at considerable length. Note Harris' sly fills in the closing reprise of the theme, and the old-timey blues ending. 

Hocus-Pocus is, as Lee comments, "Just a simple tune, a nice easy blowing thing with the standard chorus length. I wanted to get away from straight blues. After I'd written it Barry Harris pointed out that the changes are the same as Mean To Me, except for a slight difference in the channel." 

Joe Henderson and Lee are both displayed to advantage in the straight-ahead swinging groove of this performance. Barry, in his choruses, shows not only a wealth of ideas but a sturdy technique, often kept latent but occasionally made more openly evident in a flurry of sixteenth notes. The theme is repeated twice at the end, once to feature Billy Higgins and then with regular ensemble. 

- LEONARD FEATHER 

Lee Morgan - The Sidewinder (Full LP on Original Vinyl)

Elton Britt - Uranium Fever

Lyrics:

What if there was a place with all the zip of Nuka-Cola? 
Wouldn't that be the cheer-cheer-cheeriest place in all the world?
Where the rivers' made of Quantum
and the mountaintops are fizz
With fun and games and rides for all the moms and pops and kids!
Well it turns out there's a place with all the zip of Nuka-Cola
Come on down to Nuka-World and see it for yourself!
Kiddie Kingdom's lots of fun for childs like you and me
Safari Adventure's full of animals to see
Blast off to Galactic Zone for otherworldly thrills
Down in Dry Rock Gulch there's cola up in them thar hills
The World of Refreshment's the most wonderful place
The friendly streets of Nuka-Town put a smile on your face
Now you know there's a place that's just as great as Nuka-Cola!
Come on down to Nuka-World and see it for yourself!
A vacation that refreshes, a trip you won't forget
A park with every minimum acceptable safety standard met
Quensh your thirst for adventure at Nuka-World!

Ragtime Piano - SCOTT JOPLIN . The Entertainer (1902)

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