Oh man, I thought I was cracking a funny there with Brad and divine intervention and all of a sudden Brad's post disappears and for all I knew Brad himself with it. Fortunately he and his post have reappeared after perhaps a slight warning from above, so the only possible blasphemy was when Uncle George referred to that Louis What's his Name as being God. Ooohh. Has anybody seen George since? I hope he's okay. ha ha. My post was more to Emrah's comment that he preferred the Mugster's solo to the mystery man and to thank him for that great sounding YouTube of Cradle. Since there's three takes of the song one would be tempted to ask what take of Muggsy Emrah was referring to, but the nasty nasty in me can't help noting there's no need for that as Muggsy's takes are all the same. To me Muggsy's solo can't stand up to the scrutiny of Alex' repeating his solo over and over till there's no more record left whereas the mystery man grows only more mysterious and a deepening source of wonder the more you hear him. What Linda said about Muggsy sounding more lyrical on this occasion, I wonder was maybe occasioned by a sense of competition he was feeling like "I can do that too" He sounds tense to me. Those big bent notes don't sound natural or singing to me. I just get the feeling Muggsy's solo was all about Muggsy and less part of the record. This is most evident in Take G. It's like the band had done their duty and made their formal records and now as a special treat they were getting to do an uptempo free wheeler for Europe. Like they said, "All right Boys, let's teach those Krauts how to swing.", and everybody's loosey goosey cept for the Mug just goes on through it again albeit a great version. Contrast this to the Bix guy. To me he's amazingly open and engaging and delivers one of the most downright friendliest solos I know of. This is good though, once again, different strokes for different folks.