The Beatles "Yellow Submarine"
Sunday, March 15, 2009
Vinyl In Japan
Vinyl heaven: A treasure-hunter fingers 7-inch gems at Be-in in Tokyo's Koenji district.
45s at 60 just keep groovin' on their 7-inch way
By DAVID HICKEY
It was 60 years ago this month when a country crooner from the South released the first-ever single to spin at 45 rpm.
Issued in green vinyl on the RCA label, the 7-inch "Texarkana Baby" by Eddy "The Tennessee Plowboy" Arnold became a No. 1 hit and enjoyed the sort of sales that today's artists can only dream of.
But good news from the music industry these days is (almost) rarer than a gaffe-free member of Prime Minister Taro Aso's Cabinet, what with total sales in all formats here down 3 percent last year, and one industry official now estimating that worldwide sales have nose-dived by more than 30 percent since 2001 because of illegal downloads.
Amid the gloom, though, there's a bright spot: Several young entrepreneurial owners of Tokyo specialty record stores are experiencing a miniboom — and it has a lot to do with those 7-inch slices of circular vinyl.
"Sales of 45s are up 75 percent on last year, and 75 percent up on five years ago," says Haruka Naka as she steps out from Escalator Records' office, stacked almost to the ceiling with cardboard boxes full of records so new they're likely to be unknown as yet to even the most savvy Tokyo indie kid.
"Vinyl is so much more collectable than MP3s," she adds when asked to explain the format's appeal. "We've got cool kids who are pumped up for buying 7-inches every week."
The mood is similarly upbeat elsewhere, from Daikanyama's Bonjour Records (electronica/alternative) to Koenji's Be-In Records (rarities), with its 30,000 45s in stock (out of 100,000 in all), and Shibuya's Warszawa, a dance-music specialist that does much of its business online and is also taking part in the second Record Store Day on April 18 — a global event to promote independent record stores supported by the likes of Nick Hornby, Bruce Springsteen and The Flaming Lips.
One reason for this vinyl revival is the passion and knowledge of the stores' staff, who are more curators than shop assistants.
For example, those at Be-in can show customers such gems as a 1963 demo of The Rolling Stones' second single, "I Wanna Be Your Man" (a cool ¥126,000), and their oldest 45 in the racks, Elvis Presley's 1958 "Hard-Headed Woman" (a snip at ¥7,800).
Add to that a steady stream of younger buyers, and Tokyo's vibrant DJ scene — dominated by analog purists who sniff at the enfeebled sound quality of MP3s and CDs (because digital can't capture the ultra-high frequencies that analog can) — and you have an idea why plastic is still very much fantastic.
Another key player is the music industry itself, which is grappling for a sustainable business model and is desperate to sell music in any form possible to anybody who will listen. Consequently, some boutique independent labels — and some artists themselves — are coming up with marketing strategies (read: gimmicks) to make a connection with the likes of Escalator's "cool kids."
Naka credits British dance act Klaxons, who built up a buzz in 2006 with limited-edition 7-inch singles before they went Top 40, and London singer- songwriter Jack Penate, whose 2006 release "Second Minute or Hour" was limited to 1,000 copies (each with a unique Polaroid), for making the 7-inch single a cult object again. These days it's vinyl singles by the likes of Vampire Weekend and Friendly Fires (priced at around ¥1,000) that are flying out of the bins and onto turntables.
Here in Tokyo, life also began at 45 rpm for up-and-coming garage-rock trio The Feminine.
"We don't want our tunes to be something you can just download," explains singer Coatea of the band, whose debut single, "Sweet Stout Boogie," was released as a 7-inch last year on Seez Records. "It had to be something 'real.' Even with CDs, it's effectively just data, and you can copy it easily."
Says bassist Shimmy: "We like that crackle you get with vinyl."
Producing a grooved platter of black wax and the paper sleeve it's housed in isn't cheap.
Seez Records President Chikara Yoshida says that it cost ¥250,000 to press (in the United States), package and distribute 500 copies of "Sweet Stout Boogie." Then there's recording costs. Yoshida, 30, says he'd have to sell all 500 copies (at ¥1,000 each) just to break even — something he cheerfully admits is unlikely. So why does he do it? Why not put out a CD, which is cheaper to produce?
"Because vinyl is something that'll never die," he says. "I think the way people listen to analog and digital forms of music is different. On one side of a 45, you've only got room for one song. If you want to listen to the flip side, you've got to physically get up, turn the record over and put the needle on again. I think that's really important. There's no fun in listening to CDs or whatever, where you're just pushing a button.
"I think music should be something you have to put some effort into to get enjoyment out of it. That's what you have to do with vinyl; it's a ritual. I don't understand why the major labels spend ¥500,000 to ¥600,000 on making a tune, using the best recording equipment, if the song is going to end up being downloaded onto a cell phone for ¥100."
Indeed, in such a cell-phone-saturated culture, in which browsing is something you're more likely to do while standing on a train than in a record store, perhaps the continued rude health of Tokyo's independent record stores signifies nothing less than a primordial urge for something physical — for possessions that in and of themselves mean something again. Certainly Escalator's Naka thinks so.
"I think young people these days desire more of a connection — with people, things and music," she says.
Despite the diversification of music formats — it would probably make the late Eddy Arnold chortle if he knew Justin Timberlake's last album was released in more than 100 formats, from ring tones to iTunes to plain old CD — it's ironic that some old technology is in vogue once again.
Perhaps the future lies in a mixture of analog and digital. Many stores, including Warszawa, are offering free download coupons when shoppers purchase a record of any sort.
Analog on the A-side, digital on the B-side, if you like.
SOURCE: http://search.japantimes.co.jp
Music News & Notes
TYRANTS BLOOD - Cover Art And Tracklist Of New Album Revealed
Vancouver, BC-based black/death metallers TYRANTS BLOOD - who feature members from some of Canada’s most prestigious and important metal bands such as BLASPHEMY, WITCHES HAMMER and INFERNAL MAJESTY - have revealed the cover art and tracklisting of their forthcoming album Crushing Onward Into Oblivion. The tracklist is as follows: 'Cast Into Hell', 'Torn From The Sky', 'Slithering Into Exile', 'Behold The Conqueror', 'Deceiver', 'Empire Of Acheron', 'Crushing Onward Into Oblivion', 'Slaine: The Berzerker - I: 'Cauldron Of Blood', II: 'Eyes Without Life', III: 'Flesh Cage Of Insanity'
==================================
Digital Beatles Music
Paul McCartney, Ringo Starr and the estates of John Lennon and George Harrison are said to be leaning towards giving up on any deal with iTunes for releasing the music of the Beatles instead going with their own website.
Harrison's son, Dhani, says that they have not been able to put together an acceptable deal with the download giant. He told Blender, "We're losing money every day. So what do you do? You have to have your own delivery system, or you have to do a good deal with Steve Jobs. But he says that a download is worth 99 cents, and we disagree."
Vancouver, BC-based black/death metallers TYRANTS BLOOD - who feature members from some of Canada’s most prestigious and important metal bands such as BLASPHEMY, WITCHES HAMMER and INFERNAL MAJESTY - have revealed the cover art and tracklisting of their forthcoming album Crushing Onward Into Oblivion. The tracklist is as follows: 'Cast Into Hell', 'Torn From The Sky', 'Slithering Into Exile', 'Behold The Conqueror', 'Deceiver', 'Empire Of Acheron', 'Crushing Onward Into Oblivion', 'Slaine: The Berzerker - I: 'Cauldron Of Blood', II: 'Eyes Without Life', III: 'Flesh Cage Of Insanity'
==================================
Digital Beatles Music
Paul McCartney, Ringo Starr and the estates of John Lennon and George Harrison are said to be leaning towards giving up on any deal with iTunes for releasing the music of the Beatles instead going with their own website.
Harrison's son, Dhani, says that they have not been able to put together an acceptable deal with the download giant. He told Blender, "We're losing money every day. So what do you do? You have to have your own delivery system, or you have to do a good deal with Steve Jobs. But he says that a download is worth 99 cents, and we disagree."
This Date In Music History-March 15
Birthdays:
Will.i.am- Black Eyed Peas (1975)
Mark McGrath- Sugar Ray (1968)
Grateful Dead bassist Phil Lesh (1940)
Beach Boy Mike Love (1944)
Sly Stone (1944)
Ry Cooder (1947)
Daniel "Dee" Snider- Twisted Sister (1955)
Terence Trent D'Arby (1962)
Bret Michaels- Poison (1962)
Mark Hoppus- Blink-182 (1972)
They Are Missed:
Lightnin' Hopkins was born in 1912. (died January 30, 1982 age 70). Was a major influence on Bob Dylan and Jimi Hendrix.
In 1929, Boogie-woogie inventor Pinetop Smith was shot dead in a Chicago dance hall. He had made the mistake of dancing with a Miss Louise Ford, who appeared to have been already taken by someone toting a revolver.
Marshall Lieb of the Teddy Bears ("To Know Him Is To Love Him") died of a heart attack in 2002.
History:
Fats Domino recorded "Ain't It a Shame" in 1955.
Colonel Tom Parker became Elvis Presley’s manager in 1955. Having already managed several major Country stars, Parker makes Elvis his life’s work. The partnership is beneficial to both parties though not always artistically rewarding.
Billboard magazine began listing a top albums chart in 1945. The first #1 was "The Nat King Cole Trio."
At the 8th annual Grammy Awards in 1966, Album of the Year was Frank Sinatra's "September of My Years," and Herb Alpert & Tijuana Brass' recording of "A Taste of Honey" was named Record of the Year.
Police invaded Los Angeles' KHJ in 1972 after DJ Robert W. Morgan repeatedly plays Donny Osmond's "Puppy Love" from 6 to 7:30 in the morning. The cops feared the station had been overrun with crazies, but it turned out to be just another radio stunt.
In 1990, some 13.7 million households signed up to see a pay-per-view special by the New Kids on the Block, breaking PPV records. I was not among them.
In 1999, Bruce Springsteen, Paul McCartney, Billy Joel, and Dusty Springfield were inducted into the Rock and Roll Hall of Fame.
In 2003, protesters in Louisiana destroyed Dixie Chicks CDs with a 33,000-pound tractor, in protest over singer Natalie Maines' derogatory comments about President George W. Bush. I guess the truth hurts.
In 2004, Prince, George Harrison, Bob Seger, Traffic, Jackson Browne, The Dells and ZZ Top were all inducted into the Rock and Roll Hall of Fame.
Today in 1969, the song "Dizzy" by Tommy Roe topped the charts and stayed there for 4weeks.
In 2002, Yoko Ono unveiled a seven foot bronze statue of John Lennon overlooking the check-in hall of Liverpool John Lennon airport. The re-branding of the airport featured a sketch of Lennon's face with the words “Above Us Only Skies.”
Led Zeppelin went to #1 on the US chart in 1975 with the double album “Physical Graffiti,” the first on their own Swan Song label.
Olivia Newton-John went to #1 on the US album chart in 1975 with “Have You Ever Been Mellow.”
The Bangles were at #2 on the US singles chart in 1986 with “Manic Monday,” a song written by Prince under the pseudonym Christopher. Ironically, it was prevented going to #1 by Prince with “Kiss.”
Will.i.am- Black Eyed Peas (1975)
Mark McGrath- Sugar Ray (1968)
Grateful Dead bassist Phil Lesh (1940)
Beach Boy Mike Love (1944)
Sly Stone (1944)
Ry Cooder (1947)
Daniel "Dee" Snider- Twisted Sister (1955)
Terence Trent D'Arby (1962)
Bret Michaels- Poison (1962)
Mark Hoppus- Blink-182 (1972)
They Are Missed:
Lightnin' Hopkins was born in 1912. (died January 30, 1982 age 70). Was a major influence on Bob Dylan and Jimi Hendrix.
In 1929, Boogie-woogie inventor Pinetop Smith was shot dead in a Chicago dance hall. He had made the mistake of dancing with a Miss Louise Ford, who appeared to have been already taken by someone toting a revolver.
Marshall Lieb of the Teddy Bears ("To Know Him Is To Love Him") died of a heart attack in 2002.
History:
Fats Domino recorded "Ain't It a Shame" in 1955.
Colonel Tom Parker became Elvis Presley’s manager in 1955. Having already managed several major Country stars, Parker makes Elvis his life’s work. The partnership is beneficial to both parties though not always artistically rewarding.
Billboard magazine began listing a top albums chart in 1945. The first #1 was "The Nat King Cole Trio."
At the 8th annual Grammy Awards in 1966, Album of the Year was Frank Sinatra's "September of My Years," and Herb Alpert & Tijuana Brass' recording of "A Taste of Honey" was named Record of the Year.
Police invaded Los Angeles' KHJ in 1972 after DJ Robert W. Morgan repeatedly plays Donny Osmond's "Puppy Love" from 6 to 7:30 in the morning. The cops feared the station had been overrun with crazies, but it turned out to be just another radio stunt.
In 1990, some 13.7 million households signed up to see a pay-per-view special by the New Kids on the Block, breaking PPV records. I was not among them.
In 1999, Bruce Springsteen, Paul McCartney, Billy Joel, and Dusty Springfield were inducted into the Rock and Roll Hall of Fame.
In 2003, protesters in Louisiana destroyed Dixie Chicks CDs with a 33,000-pound tractor, in protest over singer Natalie Maines' derogatory comments about President George W. Bush. I guess the truth hurts.
In 2004, Prince, George Harrison, Bob Seger, Traffic, Jackson Browne, The Dells and ZZ Top were all inducted into the Rock and Roll Hall of Fame.
Today in 1969, the song "Dizzy" by Tommy Roe topped the charts and stayed there for 4weeks.
In 2002, Yoko Ono unveiled a seven foot bronze statue of John Lennon overlooking the check-in hall of Liverpool John Lennon airport. The re-branding of the airport featured a sketch of Lennon's face with the words “Above Us Only Skies.”
Led Zeppelin went to #1 on the US chart in 1975 with the double album “Physical Graffiti,” the first on their own Swan Song label.
Olivia Newton-John went to #1 on the US album chart in 1975 with “Have You Ever Been Mellow.”
The Bangles were at #2 on the US singles chart in 1986 with “Manic Monday,” a song written by Prince under the pseudonym Christopher. Ironically, it was prevented going to #1 by Prince with “Kiss.”
Saturday, March 14, 2009
A Labor Of Love Has Given Birth To A Radio Show, Accidental Nostalgia.
March 13, 2009. – FULL FRONTAL LOBE, USA - “I like the built-in nostalgia of vinyl - whether it's a 1964, Top 40, one-hit wonder or a super rare, private press, psychedelic LP” said co-host Norm Geddis.
He’s been collecting records since he got kicked out of a record store in 1978 for trying to order "Black Market Clash". Norm met his wife, Jane, a Grateful Dead concert in 1985.
Twenty-four years later, they’re the owners of Counter-Clock Records, an eBay store, which houses a vast collection of records, mostly 45s.
Jane and Norm buy collections from individuals, closed record stores and from eBay. Their tastes are eclectic and intuitive. They look through a stack of records and sense what's interesting, unusual, weird . . . just enjoyable. Norm has an encyclopedic knowledge of music history, but their show is far from esoteric.
Featuring random juxtapositions , unusual pairings and occasional divine accidents, each show is a voyage of discovery interspersed with short music news segments and trivia.
“We have something unique and something we're proud of. We play what we find. I call the programming style Accidental Nostalgia," said Jane.
"I'll do artists like Etta James, Grateful Dead, Joni Mitchell, The Band, Bill Monroe, Renaissance, Mazzy Star, Opal, Joan Armatrading, CSNY," Jane continued. "While Norm stirs in the Moody Blues, Sandi Sheldon Small Faces, Pink Floyd, The Intruders and hundreds of others . We never know what the result will sound like until we play it.”
"The community record store used to be a hub for music lovers. You got to browse, explore, chart and share.” said Norm. “The Internet cannot deliver that. We can’t begin to replace the chill up your spine dirty tile smell of your record store, but we can begin to replace the sense of community and shared interests.”
And that’s the goal of Accidental Nostalgia weekly Thursday Nights at 7:00 starting March 19th only on Radio Dentata.
For additional information on this show, go to http://www.radiodentata.com.
Contact:
Frankie Monroe
RadioDentata Inc
P.O.Box 265
Bean Station TN 37708
RadioDentata
There are no call letters for our station,
therefore no rules, limitations or boundaries.
http://www.radiodentata.com
webmaster@radiodentata.comThis e-mail address is being protected from spam bots, you need JavaScript enabled to view it
twitter: @radiodentata
# # #
About
Radio Dentata offers a fast-paced, quick-witted alternative to the pabulum-driven, vanity or shock jock shows that “out of the box thinking” radio stations have been famous for. We are here to Engage, Enlighten Educate & Entertain 24/7. Checkout the station at http://www.radiodentata.com.
Counter-Clock Records Ebay Store: offers thousands of record albums, singles, specialty lots of 45's. http://stores.shop.ebay.com/Counter-Clock-Records
Music News & Notes
Reprise Records to Release Green Day's Entire Catalog on 12-Inch Vinyl
BURBANK, Calif. - (Business Wire) Reprise Records will release multi-platinum rock band Green Day's entire catalog on 12-inch vinyl, giving fans and collectors alike access to records that have been hard-to-find or out-of-print for years. The band's first two albums, 39/Smooth and Kerplunk, will be made available on March 24th, while their third, the breakthrough smash Dookie, will be made available on April 18th, in honor of the second annual Record Store Day — a celebration of the unique culture surrounding the more than 700 independently owned record stores in the U.S. The remaining albums will be released chronologically throughout 2009.
Details about each release are as follows:
Green Day's debut 39/Smooth, which was originally released by Lookout! Records in 1990, will be available on 140-gram vinyl, along with two 7-inch singles, "Slappy" and "1000 Hours," beginning March 24th.
Kerplunk, originally released on Lookout! Records in 1992, will be available on 140-gram vinyl, along with the 7-inch single "Sweet Children," beginning March 24th.
Dookie, the band's Diamond-selling major-label debut that was originally released by Reprise Records in 1994, will be available on 180-gram, audiophile-grade vinyl beginning April 18th.
Insomniac, which was originally released by Reprise Records in 1995, will be available on 140-gram vinyl beginning May 12th.
Nimrod, which was originally released by Reprise Records in 1997, will be available on two 140-gram vinyl discs with a gatefold sleeve, beginning June 16th.
Warning, which was originally released by Reprise Records in 2000, will be available on 140-gram vinyl beginning July 14th.
International Superhits!, a greatest hits collection that was released by Reprise Records in 2001, will be available on 140-gram vinyl beginning August 11th.
Shenanigans, a compilation of B-sides, rarities, and covers that was released by Reprise Records in 2002, will be available on 140-gram vinyl beginning September 15th.
American Idiot, the band's chart-topping, Grammy-Award winning punk rock opera that was released by Reprise Records in 2004, will be available on two 180-gram, audiophile-grade vinyl beginning October 13th.
Bullet in a Bible, a live CD/DVD, that was released by Reprise Records in 2005, will be available on 140-gram vinyl beginning November 10th.
Each album will be plated and pressed at Pallas in Germany and mastered at the world-renowned Bernie Grundman Studios, familiar to audiophiles worldwide.
In addition, Reprise will also release a boxed set of Green Day singles culled from the band's entire career, including those from their alter egos Foxboro Hot Tubs and The Network, as well as B-sides, international tracks, and live tracks, on July 21st.
Green Day are currently putting finishing touches on their highly anticipated, Butch Vig-produced eighth studio album, 21st Century Breakdown, which will be released by Reprise Records in May 2009. It, too, will be available on 180-gram, audiophile-grade vinyl.
For more on Green Day, please visit their official website www.greenday.com.
==================================
Wacko Jacko Sells Out
A total of 750,000 tickets have been sold for the 50 London shows scheduled by Michael Jackson, with the last one being sold just hours after they were made available to the public.
Chris Edwards of Ticketmaster in the U.K. said in a statement, "We often talk about unprecedented demand, but this week we have witnessed a live entertainment phenomenon. We have seen a truly amazing level of interest and demand for tickets from fans from across the world for the Michael Jackson shows at the O2 over the last three days. This was undoubtedly the busiest demand for tickets for an event which we have ever experienced."
==================================
Pixies Back In Action With European Dates
The Pixies return to their roots this summer with a series of European concert dates, including a June 14 appearance at the Isle of Wight festival with Neil Young, according to Billboard. The gigs will be the first for the alternative rock standard-bearers since 2007, dispelling doubts that the group's most recent hiatus was permanent. Further details about the additional European shows will be released soon. No North American gigs are planned, according to Billboard's sources.
The Pixies reunited in 2004 after an 11-year break. From 2004-2007, the group toured throughout the United States, Europe, Asia, and Australia, including appearances at the Coachella, Lollapalooza, and Sasquatch festivals. The reunion was the subject of the 2006 documentary, "loudQuietloud: A Film About the Pixies."
==================================
DREAM THEATER - New Album Details Revealed
Progressive metal veterans DREAM THEATER have announced Black Clouds & Silver Linings as the title of their tenth studio album. The band commenced work on the album – their second for Roadrunner Records, following up 2007's Systematic Chaos - in October of last year.
Roadrunner will release the record on June 23. In addition to the standard version CD, the album will also be available on vinyl LP, as well as a 3-disc Special Edition CD that will include the full album, a CD of instrumental mixes of the album and a CD of six cover songs, the titles of which will be revealed
at a later date.
==================================
Jack White unveils two new projects in Nashville
White has opened a brand new downtown office for Third Man Records and revealed his new band, Dead Weather
written by Matt Kappel
Jack White constantly keeps himself busy. Some would think that, between handling a record company, The White Stripes and The Raconteurs, that activity would be enough. However, this is clearly not enough for this rock great. White unveiled two new projects in his hometown of Nashville, TN this week.
White has opened a downtown location for Third Man Records, his record company that has offered White Stripe and Raconteur releases. This new location will also come equipped with an office for the label, a vinyl record store, photo studio/dark room and a rehearsal space.
White’s second project will take him from usual front-man position and sit him behind the drum kit. The new band is called Dead Weather and the members of the band all come from various places.
Alison Mosshart of The Kills will take over singing duties, Jack Lawrence of the Raconteurs will handle the bass and Dan Fertita of both the Raconteurs and Queens of the Stone Age will man the guitar. White has produced the first LP entitled Horehound being released on Third Man Records in June 2009, according to Rolling Stone.
Dead Weather performed a five song set for close friends in the new rehearsal space at Third Man Records just to give people a little taste of what’s to come.
The new band will carry-on more of that blues rock sound. It will include the volatile drumming people that people have come to love from White’s other projects. The band’s inception is pretty neat as well. According to Rollingstone.com, White had bronchitis at the end of his tour with the Raconteurs. Instead of ruining his voice, he brought Mosshart on to sing his parts, specifically “Steady as She Goes.” There was so much energy and love it spawned a new band. They would visit each other and discuss music and eventually the idea to release a seven-inch record was born.
Source: http://www.collegenews.com
BURBANK, Calif. - (Business Wire) Reprise Records will release multi-platinum rock band Green Day's entire catalog on 12-inch vinyl, giving fans and collectors alike access to records that have been hard-to-find or out-of-print for years. The band's first two albums, 39/Smooth and Kerplunk, will be made available on March 24th, while their third, the breakthrough smash Dookie, will be made available on April 18th, in honor of the second annual Record Store Day — a celebration of the unique culture surrounding the more than 700 independently owned record stores in the U.S. The remaining albums will be released chronologically throughout 2009.
Details about each release are as follows:
Green Day's debut 39/Smooth, which was originally released by Lookout! Records in 1990, will be available on 140-gram vinyl, along with two 7-inch singles, "Slappy" and "1000 Hours," beginning March 24th.
Kerplunk, originally released on Lookout! Records in 1992, will be available on 140-gram vinyl, along with the 7-inch single "Sweet Children," beginning March 24th.
Dookie, the band's Diamond-selling major-label debut that was originally released by Reprise Records in 1994, will be available on 180-gram, audiophile-grade vinyl beginning April 18th.
Insomniac, which was originally released by Reprise Records in 1995, will be available on 140-gram vinyl beginning May 12th.
Nimrod, which was originally released by Reprise Records in 1997, will be available on two 140-gram vinyl discs with a gatefold sleeve, beginning June 16th.
Warning, which was originally released by Reprise Records in 2000, will be available on 140-gram vinyl beginning July 14th.
International Superhits!, a greatest hits collection that was released by Reprise Records in 2001, will be available on 140-gram vinyl beginning August 11th.
Shenanigans, a compilation of B-sides, rarities, and covers that was released by Reprise Records in 2002, will be available on 140-gram vinyl beginning September 15th.
American Idiot, the band's chart-topping, Grammy-Award winning punk rock opera that was released by Reprise Records in 2004, will be available on two 180-gram, audiophile-grade vinyl beginning October 13th.
Bullet in a Bible, a live CD/DVD, that was released by Reprise Records in 2005, will be available on 140-gram vinyl beginning November 10th.
Each album will be plated and pressed at Pallas in Germany and mastered at the world-renowned Bernie Grundman Studios, familiar to audiophiles worldwide.
In addition, Reprise will also release a boxed set of Green Day singles culled from the band's entire career, including those from their alter egos Foxboro Hot Tubs and The Network, as well as B-sides, international tracks, and live tracks, on July 21st.
Green Day are currently putting finishing touches on their highly anticipated, Butch Vig-produced eighth studio album, 21st Century Breakdown, which will be released by Reprise Records in May 2009. It, too, will be available on 180-gram, audiophile-grade vinyl.
For more on Green Day, please visit their official website www.greenday.com.
==================================
Wacko Jacko Sells Out
A total of 750,000 tickets have been sold for the 50 London shows scheduled by Michael Jackson, with the last one being sold just hours after they were made available to the public.
Chris Edwards of Ticketmaster in the U.K. said in a statement, "We often talk about unprecedented demand, but this week we have witnessed a live entertainment phenomenon. We have seen a truly amazing level of interest and demand for tickets from fans from across the world for the Michael Jackson shows at the O2 over the last three days. This was undoubtedly the busiest demand for tickets for an event which we have ever experienced."
==================================
Pixies Back In Action With European Dates
The Pixies return to their roots this summer with a series of European concert dates, including a June 14 appearance at the Isle of Wight festival with Neil Young, according to Billboard. The gigs will be the first for the alternative rock standard-bearers since 2007, dispelling doubts that the group's most recent hiatus was permanent. Further details about the additional European shows will be released soon. No North American gigs are planned, according to Billboard's sources.
The Pixies reunited in 2004 after an 11-year break. From 2004-2007, the group toured throughout the United States, Europe, Asia, and Australia, including appearances at the Coachella, Lollapalooza, and Sasquatch festivals. The reunion was the subject of the 2006 documentary, "loudQuietloud: A Film About the Pixies."
==================================
DREAM THEATER - New Album Details Revealed
Progressive metal veterans DREAM THEATER have announced Black Clouds & Silver Linings as the title of their tenth studio album. The band commenced work on the album – their second for Roadrunner Records, following up 2007's Systematic Chaos - in October of last year.
Roadrunner will release the record on June 23. In addition to the standard version CD, the album will also be available on vinyl LP, as well as a 3-disc Special Edition CD that will include the full album, a CD of instrumental mixes of the album and a CD of six cover songs, the titles of which will be revealed
at a later date.
==================================
Jack White unveils two new projects in Nashville
White has opened a brand new downtown office for Third Man Records and revealed his new band, Dead Weather
written by Matt Kappel
Jack White constantly keeps himself busy. Some would think that, between handling a record company, The White Stripes and The Raconteurs, that activity would be enough. However, this is clearly not enough for this rock great. White unveiled two new projects in his hometown of Nashville, TN this week.
White has opened a downtown location for Third Man Records, his record company that has offered White Stripe and Raconteur releases. This new location will also come equipped with an office for the label, a vinyl record store, photo studio/dark room and a rehearsal space.
White’s second project will take him from usual front-man position and sit him behind the drum kit. The new band is called Dead Weather and the members of the band all come from various places.
Alison Mosshart of The Kills will take over singing duties, Jack Lawrence of the Raconteurs will handle the bass and Dan Fertita of both the Raconteurs and Queens of the Stone Age will man the guitar. White has produced the first LP entitled Horehound being released on Third Man Records in June 2009, according to Rolling Stone.
Dead Weather performed a five song set for close friends in the new rehearsal space at Third Man Records just to give people a little taste of what’s to come.
The new band will carry-on more of that blues rock sound. It will include the volatile drumming people that people have come to love from White’s other projects. The band’s inception is pretty neat as well. According to Rollingstone.com, White had bronchitis at the end of his tour with the Raconteurs. Instead of ruining his voice, he brought Mosshart on to sing his parts, specifically “Steady as She Goes.” There was so much energy and love it spawned a new band. They would visit each other and discuss music and eventually the idea to release a seven-inch record was born.
Source: http://www.collegenews.com
Friday, March 13, 2009
Michael Fremer Review
I am very proud to continue our new feature (look for this every Friday), music reviews that are written by the senior contributing editor of Stereophile magazine- Michael Fremer. It has been a pleasure to speak with Michael and learn more about audio sound and equipment. In fact, his new DVD, "It's A Vinyl World, After All" has hit the shelves and is selling out very quickly. This is a must have for anybody who loves vinyl, it is a true masterpiece.
Additionally, make sure to stop by his site, www.musicangle.com and bookmark it for further exploration. I certainly want to thank Michael for the exclusive rights to reprint his fantastic material.
ALBUM REVIEW:
Stevie Wonder (REVISED review 2/21/09)
Songs In the Key of Life
Tamla/Speakers Corner 06007 5303833 2 180g LPs+7" EP
Produced by: Stevie Wonder
Engineered by: John Fischbach and Gary Olazabal
Mixed by: N/A
Mastered by: Maarten de Boer at UMG Berliner
Review by: Michael Fremer
2009-03-01
Editor's note: this review has caused quite a dust-up, in part because of the sonic description and in part because of this, which you'll find further down in the text:
"..but the mastering is just plain weird.
A layer of crunchy ice has been added on top and the bass has been boosted, producing a garish sonic mix. The result is an unpleasant edgy grit to Wonder’s voice. You know something's wrong when the triangle on "Love's In Need ..." is louder than Wonder's voice! And believe me, it is.
One would hope an analog source was used, but whatever was the source, this reissue sounds nothing like the original and represents an unnecessary, unwarranted revision that I’m sure would appall Stevie Wonder."
Mastering engineer Maarten de Boer has responded, first on the Steve Hoffman forums:
Steve Hoffman Forums
and then to me personally. Here's what he wrote:
"Being the engineer who mastered and cut this record I think I am the only one who can put this record straight.
1. never will a digital source be used as a master for Speaker Corner records
2. the master is an analog copy run at 30 ips on virgin tape. So if the copy is done correctly it will be pretty close to the original.
3. I did use a very slight touch of EQ, 0,5dB at 700 Hz with a Q of 2.5. Just to enhance depth a bit . This is a typical 70's recording so it is very dry and lacks depth. I had to use the de esser so anybody could play the album without distortion.
4. No dolby has been used and the copy was obviously from a non dolby tape. Believe me after 30 years of disc cutting and mastering I can tell the difference.
5. If I EQ an old analog master there has to be a good reason for that otherwi9se I won't and if I EQ it it will be minimal and it will probably most of the time midrange. EQing low and top is totally useless and ruins practically everything.
What bothers me about this discussion is the amount of presumptions instead of knowledge and fact. One of the problems with vinyl is the playback system and difference in quality and sound between all these systems. I'm glad Mr Grant shows the right way to approach the record as it was cut and mastered. As long as you haven't heard the real master tape and we probably never will you will never know what the truth is. What I can tell you is that for a lot of cuts I do get the absolute original and when I compare these to the original release I am glad they masterd it originally before cutting it."
Maarten de Boer
Emil Berliner Studios
There were many posts on the thread, some accusing me of having "an agenda" (not spelled out, of course) and others telling people that my word shouldn't be taken "as gospel" (no shit!).
My response was this:
"Now that I have Mr. de Boer's email address, I will ask him before presuming anything. However, I don't think my review presumes anything and I don't think Mr. de Boer had aimed that at me. I don't think it's fair to say that I "trashed" the Wonder reissue. I reported on what I heard, comparing the original, the Japanese copy I have and the Speakers Corner reissue.
In my experience, when a reissue sounds very different from an original, it is the reissue that is the revision. This is not always the case, but usually is. If you read a lot of reviews of reissues, you will find that there are many reviewers who are biased against reissues, and of course there are the usual dingbat re-sellers of original pressings who say the same thing, and then accuse me, who sells no records, of having an "agenda."
I have no "agenda" here. There are also reviewers who love everything. I am not one of those reviewers either.
I have never asked anyone to take my word as "gospel," so when I read posters saying "why are you taking Fremer's word as 'gospel' " I agree with them, though I defy them to show me where I've ever claimed to be the light.
I state my opinion and I don't mince words---or at least I try not to.
In this case, the Speakers Corner reissue is much brighter than the original. That is not my opinion, that is a fact. And the brightness is in this one narrow zone.
Now, I am also sure Mr. deBoer has no agenda here other than the truth.
Then the issue becomes, as it has always been, is the master tape "the truth" that should pretty much be transferred to lacquer or DMM untouched? Or is it merely a tool to be manipulated to achieve a particular result.
Often, master tapes include original "notes," wherein the original mastering engineer explains what he did AT THE DIRECTION OF THE ARTIST OR PRODUCER to create the original lacquer from which the original pressing was created.
In that case, an original pressing, not the master tape, should be considered the "original document."
For instance, Sundazed's Bob Irwin told me when he mastered Love's "Forever Changes" for vinyl reissue he consulted the original notes he found. Arthur Lee insisted that the first song on the record start out very low in level and build. It's what Arthur Lee wanted. The tape wasn't produced that way but when Irwin remastered it, he conformed to the artist's intentions.
So if you compare an original gold label Elektra pressing to the Sundazed reissue, you will hear that same slow fade-up (along with dozens of other subtle "moves" found in the notes).
There was a later Elektra "butterfly" pressing mastered by someone who simply rolled the tape. The level is higher at the beginning, more uniform throughout and the cut misses all of what Arthur Lee intended for his record to sound like.
Yet I've read message boards and reviews claiming THAT was the best version of the album because it was the loudest and most dynamic and whatever....too bad it wasn't what Arthur Lee intended.
Now, as for the Stevie Wonder album under discussion here: clearly the Speakers Corner reissue is brighter in one particular region than the original, that produces an icy crust over Wonder's voice and over the voices of the background singers. It literally makes the triangle on the opening tune sound louder than Wonder's own voice!
I have no doubt Mr. de Boer's transfer is faithful (with the exception of the minor EQ tweaks he mentions) to the tape copy he was given to use as a source and we can assume it was a flat transfer and that his mastering produced a result faithful to that tape.
That does not mean, however, that the result is necessarily what Stevie Wonder, or his producers, or whoever was originally responsible for the final vinyl's sound, wanted!
Is everyone with me on this?
So in conclusion:
1) The Speakers Corner reissue was cut from an analog source
2) The Speakers Corner reissue was not a wild "revision" of that source (my wrong presumption that I will revise in my review)
3) The Speakers Corner reissue sounds much different than either an original RCA/Motown or Japanese pressing, being icier and brighter, perhaps in the "Aural Exciter" range (presumption warning) than either of those and also having a more robust bottom end.
4) Without consulting either the original mastering engineer, the original engineer Mr. Orazabal or Stevie Wonder himself (who was at CES in the Venetian Towers and who I have been told will soon take delivery of a pair of Hansen King speakers), it is impossible to determine whether the sound of the original pressing was their intent and that they desired to tame and soften the edge around Wonder's vocals and curtail the bottom end a bit, OR whether those changes happened as a result of sloppy mastering, or technical limitations of the gear at the time (neither of which I believe to be true).
5) I was present at the mastering for Classic's reissue of "Tommy." I brought along an early UK Track original for them to compare to the tape (which was the original master---photo available upon request) and as we rolled the tape and played the record in real time, we discovered that in the original mastering, the tape playback speed was actually increased at certain points to add "excitement." It was decided to reproduce that speed differential in the reissue to remain faithful not to the tape, but to the original LP, which was considered the "document of record."
5) In conclusion: I stand by what I heard as the major tonal differences between the original and reissued "Songs in the Key of Life" --it's not opinion, it is FACT.
6) How these differences will play out on your system or how your senses will react to them, is something I obviously don't know.
7) It was not my intention to trash the reissue. it was my intention to honestly tell you what it sounded like compared to an original and that's what I did.
8) As I wrote in the review, the reissue is pressed on much better, quieter, thicker vinyl. It is a meticulously done reissue in every way and well worth the money if you like the music and if you are prepared for an edgier sound than you might be used to.
9) I DON'T HAVE A FRIGGIN' AGENDA other than trying to be truthful and informative.
I'm Michael Fremer and I approved of this message"
So here's the original review, please consider what Mr. de Boer has written above as "gospel" and discard my conjecture below.
However, I stand by the sound of the reissue. It was never my intention to "trash" the reissue. Just be prepared for it to sound edgier an grittier around the vocals than you might have become accustomed to on the original, that is for sure. And be prepared for far quieter surfaces and improved dynamics.-MF (2/21/09)
Unfortunately, at the time Stevie Wonder released this sprawling career pinnacle in the fall of 1976, RCA’s pressing quality had reached its nadir. It was a Dynaflex world of paper thin, flexible records pressed from what sounded like recycled BIC pens. Yikes! Some youngsters reading this might not even know what a BIC pen is/was!
Tamla/Motown had used RCA’s mastering and pressing facilities from the label’s inception and during the great pressing days of the 1960’s Motown released some great sounding records, thanks to the mastering, pressing and the engineering.
Beginning in the mid 1960’s, most of Motown’s releases were issued in both mono and stereo, which was unusual for a label catering to the “youth market.” Still, the mono releases were more important and often, the stereo versions were delayed and sometimes featured alternative takes. But I’m rambling and writing in the passive tense. Sorry.
It took Wonder over an hour’s worth of material that filled two LPs and a four song 7” EP to get off his chest what was occupying the music of his mind between 1974’s introspective, some would say dark and definitely neglected Fullfillingness’ First Finale and this, his most acclaimed and accomplished work. Mr. Wonder never regrouped after this album to produce anything as masterful as this or the four great albums that preceeded it.
With the state of the world and the tribulations of his people on his mind, Wonder moves between the opener, in which he says that even love is in need of love in 1976 (and that the listener had better send some in “right away” because hate’s going around), and the bleakness of “Village Ghetto Land.”
Wonder doesn’t point fingers: he merely asks “Tell me would you be happy in Village Ghetto Land?” Side one ends with Wonder’s passionate tribute to music generally and Duke Ellington specifically.
The album veers between the personally joyous and tuneful (“Isn’t She Lovely”) to the non-militant pride of “Black Man.” Throughout, Wonder produces wondrous melodies, particularly on the slow movers like “Joy Inside My Tears.”
Both the music and the arrangements move away from the rock and funk of earlier albums towards more complex mainstream jazz and pop.
As with many productions of the era, there was a noticeable decrease in sound quality on this album compared to earlier Wonder releases, though no doubt the engineers thought they were making better sound here with “more”: more compression, more use of effects, more tracks and newer, more complex boards, but what was really happening was less transparency, diminished dynamics, narrower and flatter soundstages and especially less extension. This production sounds closed in, distant and listless. Bass lacks real thrust and extension and there's little shimmer from the cymbals. "Boxy" is the operative adjective.
Add the noisy Dynaflex (or whatever RCA was or was not calling it at the time) and despite the superb music making, I remember being disappointed by the clogged, flat sound, though had I known how bad sound was going to get a few years later, I would have been more than happy with it!
When a Japanese edition arrived at my local vinyl emporium back then I snapped it up and it produced a big improvement in every way. Unlike many Japanese pressed albums, the mastering did not brighten the top and/or cut the bottom and of course the pressing quality was superb.
I wish I could say that this Speakers Corner reissue was revelatory or even excellent but it’s not. Of course the Pallas 180g pressing is perfection and the packaging is absolutely stellar (complete with full-sized booket and 7" 4 song EP), but the mastering is just plain weird.
A layer of crunchy ice has been added on top and the bass has been boosted, producing a garish sonic mix. The result is an unpleasant edgy grit to Wonder’s voice. You know something's wrong when the triangle on "Love's In Need ..." is louder than Wonder's voice! And believe me, it is.
One would hope an analog source was used, but whatever was the source, this reissue sounds nothing like the original and represents an unnecessary, unwarranted revision that I’m sure would appall Stevie Wonder.
It’s very “hi-fi” and might sound exciting or “lively” on a dull system, but it’s plain wrong and difficult to recommend. Speakers Corner usually gets it right. Unfortunately, on this wonderful album, SC gets it very wrong.
In a misguided attempt to inject some life into what was a relatively dull production to begin with Mr de Boer has injected too much bass on bottom and way ice in a very thin region on top.
Copyright © 2008 MusicAngle.com & Michael Fremer - All rights reserved
SOURCE: http://www.musicangle.com Reprinted By Permission
Pick up Michael's DVD's Here:
Additionally, make sure to stop by his site, www.musicangle.com and bookmark it for further exploration. I certainly want to thank Michael for the exclusive rights to reprint his fantastic material.
ALBUM REVIEW:
Stevie Wonder (REVISED review 2/21/09)
Songs In the Key of Life
Tamla/Speakers Corner 06007 5303833 2 180g LPs+7" EP
Produced by: Stevie Wonder
Engineered by: John Fischbach and Gary Olazabal
Mixed by: N/A
Mastered by: Maarten de Boer at UMG Berliner
Review by: Michael Fremer
2009-03-01
Editor's note: this review has caused quite a dust-up, in part because of the sonic description and in part because of this, which you'll find further down in the text:
"..but the mastering is just plain weird.
A layer of crunchy ice has been added on top and the bass has been boosted, producing a garish sonic mix. The result is an unpleasant edgy grit to Wonder’s voice. You know something's wrong when the triangle on "Love's In Need ..." is louder than Wonder's voice! And believe me, it is.
One would hope an analog source was used, but whatever was the source, this reissue sounds nothing like the original and represents an unnecessary, unwarranted revision that I’m sure would appall Stevie Wonder."
Mastering engineer Maarten de Boer has responded, first on the Steve Hoffman forums:
Steve Hoffman Forums
and then to me personally. Here's what he wrote:
"Being the engineer who mastered and cut this record I think I am the only one who can put this record straight.
1. never will a digital source be used as a master for Speaker Corner records
2. the master is an analog copy run at 30 ips on virgin tape. So if the copy is done correctly it will be pretty close to the original.
3. I did use a very slight touch of EQ, 0,5dB at 700 Hz with a Q of 2.5. Just to enhance depth a bit . This is a typical 70's recording so it is very dry and lacks depth. I had to use the de esser so anybody could play the album without distortion.
4. No dolby has been used and the copy was obviously from a non dolby tape. Believe me after 30 years of disc cutting and mastering I can tell the difference.
5. If I EQ an old analog master there has to be a good reason for that otherwi9se I won't and if I EQ it it will be minimal and it will probably most of the time midrange. EQing low and top is totally useless and ruins practically everything.
What bothers me about this discussion is the amount of presumptions instead of knowledge and fact. One of the problems with vinyl is the playback system and difference in quality and sound between all these systems. I'm glad Mr Grant shows the right way to approach the record as it was cut and mastered. As long as you haven't heard the real master tape and we probably never will you will never know what the truth is. What I can tell you is that for a lot of cuts I do get the absolute original and when I compare these to the original release I am glad they masterd it originally before cutting it."
Maarten de Boer
Emil Berliner Studios
There were many posts on the thread, some accusing me of having "an agenda" (not spelled out, of course) and others telling people that my word shouldn't be taken "as gospel" (no shit!).
My response was this:
"Now that I have Mr. de Boer's email address, I will ask him before presuming anything. However, I don't think my review presumes anything and I don't think Mr. de Boer had aimed that at me. I don't think it's fair to say that I "trashed" the Wonder reissue. I reported on what I heard, comparing the original, the Japanese copy I have and the Speakers Corner reissue.
In my experience, when a reissue sounds very different from an original, it is the reissue that is the revision. This is not always the case, but usually is. If you read a lot of reviews of reissues, you will find that there are many reviewers who are biased against reissues, and of course there are the usual dingbat re-sellers of original pressings who say the same thing, and then accuse me, who sells no records, of having an "agenda."
I have no "agenda" here. There are also reviewers who love everything. I am not one of those reviewers either.
I have never asked anyone to take my word as "gospel," so when I read posters saying "why are you taking Fremer's word as 'gospel' " I agree with them, though I defy them to show me where I've ever claimed to be the light.
I state my opinion and I don't mince words---or at least I try not to.
In this case, the Speakers Corner reissue is much brighter than the original. That is not my opinion, that is a fact. And the brightness is in this one narrow zone.
Now, I am also sure Mr. deBoer has no agenda here other than the truth.
Then the issue becomes, as it has always been, is the master tape "the truth" that should pretty much be transferred to lacquer or DMM untouched? Or is it merely a tool to be manipulated to achieve a particular result.
Often, master tapes include original "notes," wherein the original mastering engineer explains what he did AT THE DIRECTION OF THE ARTIST OR PRODUCER to create the original lacquer from which the original pressing was created.
In that case, an original pressing, not the master tape, should be considered the "original document."
For instance, Sundazed's Bob Irwin told me when he mastered Love's "Forever Changes" for vinyl reissue he consulted the original notes he found. Arthur Lee insisted that the first song on the record start out very low in level and build. It's what Arthur Lee wanted. The tape wasn't produced that way but when Irwin remastered it, he conformed to the artist's intentions.
So if you compare an original gold label Elektra pressing to the Sundazed reissue, you will hear that same slow fade-up (along with dozens of other subtle "moves" found in the notes).
There was a later Elektra "butterfly" pressing mastered by someone who simply rolled the tape. The level is higher at the beginning, more uniform throughout and the cut misses all of what Arthur Lee intended for his record to sound like.
Yet I've read message boards and reviews claiming THAT was the best version of the album because it was the loudest and most dynamic and whatever....too bad it wasn't what Arthur Lee intended.
Now, as for the Stevie Wonder album under discussion here: clearly the Speakers Corner reissue is brighter in one particular region than the original, that produces an icy crust over Wonder's voice and over the voices of the background singers. It literally makes the triangle on the opening tune sound louder than Wonder's own voice!
I have no doubt Mr. de Boer's transfer is faithful (with the exception of the minor EQ tweaks he mentions) to the tape copy he was given to use as a source and we can assume it was a flat transfer and that his mastering produced a result faithful to that tape.
That does not mean, however, that the result is necessarily what Stevie Wonder, or his producers, or whoever was originally responsible for the final vinyl's sound, wanted!
Is everyone with me on this?
So in conclusion:
1) The Speakers Corner reissue was cut from an analog source
2) The Speakers Corner reissue was not a wild "revision" of that source (my wrong presumption that I will revise in my review)
3) The Speakers Corner reissue sounds much different than either an original RCA/Motown or Japanese pressing, being icier and brighter, perhaps in the "Aural Exciter" range (presumption warning) than either of those and also having a more robust bottom end.
4) Without consulting either the original mastering engineer, the original engineer Mr. Orazabal or Stevie Wonder himself (who was at CES in the Venetian Towers and who I have been told will soon take delivery of a pair of Hansen King speakers), it is impossible to determine whether the sound of the original pressing was their intent and that they desired to tame and soften the edge around Wonder's vocals and curtail the bottom end a bit, OR whether those changes happened as a result of sloppy mastering, or technical limitations of the gear at the time (neither of which I believe to be true).
5) I was present at the mastering for Classic's reissue of "Tommy." I brought along an early UK Track original for them to compare to the tape (which was the original master---photo available upon request) and as we rolled the tape and played the record in real time, we discovered that in the original mastering, the tape playback speed was actually increased at certain points to add "excitement." It was decided to reproduce that speed differential in the reissue to remain faithful not to the tape, but to the original LP, which was considered the "document of record."
5) In conclusion: I stand by what I heard as the major tonal differences between the original and reissued "Songs in the Key of Life" --it's not opinion, it is FACT.
6) How these differences will play out on your system or how your senses will react to them, is something I obviously don't know.
7) It was not my intention to trash the reissue. it was my intention to honestly tell you what it sounded like compared to an original and that's what I did.
8) As I wrote in the review, the reissue is pressed on much better, quieter, thicker vinyl. It is a meticulously done reissue in every way and well worth the money if you like the music and if you are prepared for an edgier sound than you might be used to.
9) I DON'T HAVE A FRIGGIN' AGENDA other than trying to be truthful and informative.
I'm Michael Fremer and I approved of this message"
So here's the original review, please consider what Mr. de Boer has written above as "gospel" and discard my conjecture below.
However, I stand by the sound of the reissue. It was never my intention to "trash" the reissue. Just be prepared for it to sound edgier an grittier around the vocals than you might have become accustomed to on the original, that is for sure. And be prepared for far quieter surfaces and improved dynamics.-MF (2/21/09)
Unfortunately, at the time Stevie Wonder released this sprawling career pinnacle in the fall of 1976, RCA’s pressing quality had reached its nadir. It was a Dynaflex world of paper thin, flexible records pressed from what sounded like recycled BIC pens. Yikes! Some youngsters reading this might not even know what a BIC pen is/was!
Tamla/Motown had used RCA’s mastering and pressing facilities from the label’s inception and during the great pressing days of the 1960’s Motown released some great sounding records, thanks to the mastering, pressing and the engineering.
Beginning in the mid 1960’s, most of Motown’s releases were issued in both mono and stereo, which was unusual for a label catering to the “youth market.” Still, the mono releases were more important and often, the stereo versions were delayed and sometimes featured alternative takes. But I’m rambling and writing in the passive tense. Sorry.
It took Wonder over an hour’s worth of material that filled two LPs and a four song 7” EP to get off his chest what was occupying the music of his mind between 1974’s introspective, some would say dark and definitely neglected Fullfillingness’ First Finale and this, his most acclaimed and accomplished work. Mr. Wonder never regrouped after this album to produce anything as masterful as this or the four great albums that preceeded it.
With the state of the world and the tribulations of his people on his mind, Wonder moves between the opener, in which he says that even love is in need of love in 1976 (and that the listener had better send some in “right away” because hate’s going around), and the bleakness of “Village Ghetto Land.”
Wonder doesn’t point fingers: he merely asks “Tell me would you be happy in Village Ghetto Land?” Side one ends with Wonder’s passionate tribute to music generally and Duke Ellington specifically.
The album veers between the personally joyous and tuneful (“Isn’t She Lovely”) to the non-militant pride of “Black Man.” Throughout, Wonder produces wondrous melodies, particularly on the slow movers like “Joy Inside My Tears.”
Both the music and the arrangements move away from the rock and funk of earlier albums towards more complex mainstream jazz and pop.
As with many productions of the era, there was a noticeable decrease in sound quality on this album compared to earlier Wonder releases, though no doubt the engineers thought they were making better sound here with “more”: more compression, more use of effects, more tracks and newer, more complex boards, but what was really happening was less transparency, diminished dynamics, narrower and flatter soundstages and especially less extension. This production sounds closed in, distant and listless. Bass lacks real thrust and extension and there's little shimmer from the cymbals. "Boxy" is the operative adjective.
Add the noisy Dynaflex (or whatever RCA was or was not calling it at the time) and despite the superb music making, I remember being disappointed by the clogged, flat sound, though had I known how bad sound was going to get a few years later, I would have been more than happy with it!
When a Japanese edition arrived at my local vinyl emporium back then I snapped it up and it produced a big improvement in every way. Unlike many Japanese pressed albums, the mastering did not brighten the top and/or cut the bottom and of course the pressing quality was superb.
I wish I could say that this Speakers Corner reissue was revelatory or even excellent but it’s not. Of course the Pallas 180g pressing is perfection and the packaging is absolutely stellar (complete with full-sized booket and 7" 4 song EP), but the mastering is just plain weird.
A layer of crunchy ice has been added on top and the bass has been boosted, producing a garish sonic mix. The result is an unpleasant edgy grit to Wonder’s voice. You know something's wrong when the triangle on "Love's In Need ..." is louder than Wonder's voice! And believe me, it is.
One would hope an analog source was used, but whatever was the source, this reissue sounds nothing like the original and represents an unnecessary, unwarranted revision that I’m sure would appall Stevie Wonder.
It’s very “hi-fi” and might sound exciting or “lively” on a dull system, but it’s plain wrong and difficult to recommend. Speakers Corner usually gets it right. Unfortunately, on this wonderful album, SC gets it very wrong.
In a misguided attempt to inject some life into what was a relatively dull production to begin with Mr de Boer has injected too much bass on bottom and way ice in a very thin region on top.
Copyright © 2008 MusicAngle.com & Michael Fremer - All rights reserved
SOURCE: http://www.musicangle.com Reprinted By Permission
Pick up Michael's DVD's Here:
Vinyl In The News
Another great story about vinyl, let's hope the trend continues:
Baby, it’s cold inside
Frigid Records prepares for grand opening
BIRMINGHAM, Alabama
By: Brent Thompson
There is no denying technology’s impact on the music industry. The Internet, iTunes, satellite radio and customized ring tones are but a few of the avenues that have brought healthy doses of excitement and fear to the industry. But while it’s convenient to download an album for $9.99 while sitting at your computer, there are listeners out there (myself included) that think sifting through piles of CDs and LPs is a great way to spend an afternoon. Anyone who can relate to the characters in the film High Fidelity understands this notion.
That’s where Ryan and Erin James come into this story. On Saturday, March 14, the couple will unveil Frigid Records, an independent music retailer looking to scratch the itch of local music lovers.
“We just love music and we love collecting vinyl,” Erin James says, speaking by phone. “We were just talking one night on the front porch and we said it would be awesome to have a record store. We said, ‘Well, let’s just do it.’ We got the ball rolling from there – we started calling distribution companies and getting deals with them.”
Fortunately, the couple has realistic expectations for Frigid Records and will slowly bring the store onto the local music retail scene. Currently, the store is housed inside Magic City Motor Scooters at 1305 Second Ave. North. The store can also be found online at www.frigidrecords.com. Though the idea of placing a record store inside a scooter retailer is unusual, James feels the two sides complement each other.
“One of our best friends is Matthew Myers and he owns Magic City Motor Scooters. He said, ‘I have space in the shop – why don’t you just move here for a while?’ So that’s our storefront now and we’re sharing that space with him. We’re into the scooter scene and I think scooters and music go together. We’re definitely wanting to get our own space soon. We’re just really small now and we want to have our own store as soon as we get the money to do it,” she says.
Besides its limited space, Frigid Records has a limited schedule; the duo plans to expand store hours in the coming months. While James acknowledges the challenge of advertising on a limited budget, she feels that Saturday’s grand opening event will be a proper introduction for the store.
“Right now, we only do it on Saturdays from 11 to 5. We both have full-time jobs and go to school. I’m a teacher, so we’ll be open a lot more during the summer. This coming Saturday, March 14, we’ll be open from 11 a.m.-8 p.m. We’re going to have a DJ and a raffle to benefit the APT show, We Have Signal,” she says.
Whether by design or default, an independent record store ultimately forges an identity with respect to specialties and selection. James and her husband have a clear vision for Frigid Records and its niche in the marketplace.
“What we’re striving to do is specialize in punk and hardcore with some psychobilly and rockabilly. Right now, we’ve got a mixed bag of rock and roll. We’ve got some CDs, but mostly vinyl and we want to keep it like that. There are a couple of other record stores in town, but there’s nobody you can go to and get old punk. I know that there are people that want to find really good vinyl. Some people think we’re crazy because people are buying MP3s now, but there will always be that core group of people that really cares about vinyl and wants to keep it alive,” James says.
To speak with James is to feel her unbridled enthusiasm for music and her desire to share that passion with like-minded listeners.
“When we decided to do this, we knew we weren’t going to make a lot of money,” she says. “We just want to give people an opportunity to get really good music. We’re both obsessive about music, so I get happy when somebody comes out and buys a record because I know they’re going to go home and be blown away by that album.”
Frigid Records is located inside Magic City Motor Scooters, 1305 Second Ave. North. The store is open every Saturday 11 a.m. – 5 p.m. You can become a fan of the store on Facebook or visit www.frigidrecords.com
SOURCE: http://www.bhamweekly.com
Baby, it’s cold inside
Frigid Records prepares for grand opening
BIRMINGHAM, Alabama
By: Brent Thompson
There is no denying technology’s impact on the music industry. The Internet, iTunes, satellite radio and customized ring tones are but a few of the avenues that have brought healthy doses of excitement and fear to the industry. But while it’s convenient to download an album for $9.99 while sitting at your computer, there are listeners out there (myself included) that think sifting through piles of CDs and LPs is a great way to spend an afternoon. Anyone who can relate to the characters in the film High Fidelity understands this notion.
That’s where Ryan and Erin James come into this story. On Saturday, March 14, the couple will unveil Frigid Records, an independent music retailer looking to scratch the itch of local music lovers.
“We just love music and we love collecting vinyl,” Erin James says, speaking by phone. “We were just talking one night on the front porch and we said it would be awesome to have a record store. We said, ‘Well, let’s just do it.’ We got the ball rolling from there – we started calling distribution companies and getting deals with them.”
Fortunately, the couple has realistic expectations for Frigid Records and will slowly bring the store onto the local music retail scene. Currently, the store is housed inside Magic City Motor Scooters at 1305 Second Ave. North. The store can also be found online at www.frigidrecords.com. Though the idea of placing a record store inside a scooter retailer is unusual, James feels the two sides complement each other.
“One of our best friends is Matthew Myers and he owns Magic City Motor Scooters. He said, ‘I have space in the shop – why don’t you just move here for a while?’ So that’s our storefront now and we’re sharing that space with him. We’re into the scooter scene and I think scooters and music go together. We’re definitely wanting to get our own space soon. We’re just really small now and we want to have our own store as soon as we get the money to do it,” she says.
Besides its limited space, Frigid Records has a limited schedule; the duo plans to expand store hours in the coming months. While James acknowledges the challenge of advertising on a limited budget, she feels that Saturday’s grand opening event will be a proper introduction for the store.
“Right now, we only do it on Saturdays from 11 to 5. We both have full-time jobs and go to school. I’m a teacher, so we’ll be open a lot more during the summer. This coming Saturday, March 14, we’ll be open from 11 a.m.-8 p.m. We’re going to have a DJ and a raffle to benefit the APT show, We Have Signal,” she says.
Whether by design or default, an independent record store ultimately forges an identity with respect to specialties and selection. James and her husband have a clear vision for Frigid Records and its niche in the marketplace.
“What we’re striving to do is specialize in punk and hardcore with some psychobilly and rockabilly. Right now, we’ve got a mixed bag of rock and roll. We’ve got some CDs, but mostly vinyl and we want to keep it like that. There are a couple of other record stores in town, but there’s nobody you can go to and get old punk. I know that there are people that want to find really good vinyl. Some people think we’re crazy because people are buying MP3s now, but there will always be that core group of people that really cares about vinyl and wants to keep it alive,” James says.
To speak with James is to feel her unbridled enthusiasm for music and her desire to share that passion with like-minded listeners.
“When we decided to do this, we knew we weren’t going to make a lot of money,” she says. “We just want to give people an opportunity to get really good music. We’re both obsessive about music, so I get happy when somebody comes out and buys a record because I know they’re going to go home and be blown away by that album.”
Frigid Records is located inside Magic City Motor Scooters, 1305 Second Ave. North. The store is open every Saturday 11 a.m. – 5 p.m. You can become a fan of the store on Facebook or visit www.frigidrecords.com
SOURCE: http://www.bhamweekly.com
Music News & Notes
Ciara's 'Fantasy Ride' Official Cover Art
An official cover art for Ciara upcoming third studio album "Fantasy Ride" has come out. The cover art mainly shows a close-up look at the singer with her name and the title of her new album attached on the corner of the artwork.
"Fantasy Ride" was previously slated for U.S. release on April 7. Produced by T-Pain, The-Dream, Ne-Yo and Justin Timberlake, the record has been pushed back and now set to be released across America on May 5.
==========================
That's Your Opinion
Van Morrison told The New Yorker that the Beatles seem to be a major turning point for music in the U.S. but says they just weren't that important historically in the U.K.
"I don't think 'pre-Beatles' means anything, because there was stuff before them. Over here, you have a different slant. You measure things in terms of The Beatles. We don't think music started there. Rolling Stone magazine does, because it's their mythology.
"The Beatles were peripheral. If you had more knowledge about music, it didn't really mean anything. To me, it was meaningless."
==========================
Aerosmith Music
Aerosmith is set to hit the studio later this month to begin work on their new, Brendan O’Brien-produced album, Blabbermouth reports.
“I’m really quite impressed with some of the new music we’re putting together — we’ll have a true-to-the-spirit-of Aerosmith record on our hands,” guitarist Brad Hamilton said.
An official cover art for Ciara upcoming third studio album "Fantasy Ride" has come out. The cover art mainly shows a close-up look at the singer with her name and the title of her new album attached on the corner of the artwork.
"Fantasy Ride" was previously slated for U.S. release on April 7. Produced by T-Pain, The-Dream, Ne-Yo and Justin Timberlake, the record has been pushed back and now set to be released across America on May 5.
==========================
That's Your Opinion
Van Morrison told The New Yorker that the Beatles seem to be a major turning point for music in the U.S. but says they just weren't that important historically in the U.K.
"I don't think 'pre-Beatles' means anything, because there was stuff before them. Over here, you have a different slant. You measure things in terms of The Beatles. We don't think music started there. Rolling Stone magazine does, because it's their mythology.
"The Beatles were peripheral. If you had more knowledge about music, it didn't really mean anything. To me, it was meaningless."
==========================
Aerosmith Music
Aerosmith is set to hit the studio later this month to begin work on their new, Brendan O’Brien-produced album, Blabbermouth reports.
“I’m really quite impressed with some of the new music we’re putting together — we’ll have a true-to-the-spirit-of Aerosmith record on our hands,” guitarist Brad Hamilton said.
This Date In Music History- March 13
Birthdays:
Mike Stoller of the Leiber & Stoller writing team ("Hound Dog," "Jailhouse Rock") was born today in 1933.
Neil Sedaka (1939)
David Draiman- vocals- Disturbed (1973)
U2 bass player Adam Clayton (1962)
They Are Missed:
Lyn Collins, one of James Brown's "Funky People," died in Los Angeles in 2005 (age 56). The singer, nicknamed the "Female Preacher," was sampled on Rob Base & D.J. E-Z Rock's hit "It Takes Two."
Judge Dread (Alex Hughes) died after collapsing on stage during a performance in Canterbury in 1998. He achieved 10 UK hit singles during the 70's.
History:
The Elvis Presley album was released today in 1956. Most cite it as the first million-selling album.
The Kinks released "Tired of Waiting for You" in 1965.
The Four Seasons started a three week run at #1 on the US singles chart in 1976 with “December 1963, (Oh What A Night),” the groups 5th US #1, also their only UK #1 hit.
"Live at Massey Hall," an album documenting Neil Young's '71 solo concert in Toronto, was issued in 2007. "This is the album that should have come out between "After the Gold Rush" and "Harvest," says Young.
Rick Nelson recorded "Travelin' Man" in 1961.
On this week's Cash Box chart in 1965, the Beatles held down the top four positions, with "Eight Days a Week" at #1. (the groups 7th US #1 hit). Meet the Beatles has become the all-time best-selling album in the U.S., having sold 3.5 million copies already.
Also in 1965- Eric Clapton left the Yardbirds over their new "pop" direction.
In 1999, Cher started a four week run at #1 on the US singles chart with “Believe,” making Cher the oldest woman to top the Hot 100 at the age of 53.
Police feared a Beatles connection when a terrorist organization calling itself Revolutionary Force 9 takes credit for three bombings in New York in 1970.
In 1987, the first cassingle was released and it's ... Bryan Adams' "Heat of the Night."
The Recording Industry Association of America introduced its awards for record sales in 1958. The Beatles hold the record for being awarded the most with 76 platinum certifications.
Johnny Preston was at #1 on the US singles chart in 1960 with “Running Bear,” also #1 in the UK.
Working at Abbey Road studios in London in 1967, six members of Sounds, Inc. recorded the horn parts for The Beatles song ‘Good Morning Good Morning’ (three saxophones, two trombones, and one french horn).
Harry Nilsson was at #1 on the UK singles chart in 1972 with his version of The Peter Ham and Tom Evans song 'Without You'. The song was also a #1 for Mariah Carey in 1994.
The Jackson 5 moved from Motown to Epic Records in 1976 and amend their name to the Jackson's.
Rush released “Fly By Night” in 1975.
A drunken John Lennon and Harry Nilsson (also wasted) were forcibly ejected from the Troubadour in L.A. in 1974. The fun-loving pair throw a few punches before hitting the pavement. This is another of Lennon’s “Lost Weekend” adventures while separated from Yoko Ono.
Here's an unlikely combination. Black Sabbath, Lynyrd Skynyrd, the Sex Pistols and Blondie are inducted into the Rock And Roll Hall Of Fame in 2006. Sabbath is introduced by Metallica frontman James Hetfield and drummer Lars Ulrich, who say, "Sabbath is and always will be synonymous with Heavy Metal." Sabbath frontman Ozzy Osbourne calls the honor "an achievement I'm really proud about." Kid Rock inducts Skynyrd then performs with the band. The night also has Deborah Harry refusing to let former members of Blondie perform with the group. The event takes place at New York's Waldorf-Astoria.
Mike Stoller of the Leiber & Stoller writing team ("Hound Dog," "Jailhouse Rock") was born today in 1933.
Neil Sedaka (1939)
David Draiman- vocals- Disturbed (1973)
U2 bass player Adam Clayton (1962)
They Are Missed:
Lyn Collins, one of James Brown's "Funky People," died in Los Angeles in 2005 (age 56). The singer, nicknamed the "Female Preacher," was sampled on Rob Base & D.J. E-Z Rock's hit "It Takes Two."
Judge Dread (Alex Hughes) died after collapsing on stage during a performance in Canterbury in 1998. He achieved 10 UK hit singles during the 70's.
History:
The Elvis Presley album was released today in 1956. Most cite it as the first million-selling album.
The Kinks released "Tired of Waiting for You" in 1965.
The Four Seasons started a three week run at #1 on the US singles chart in 1976 with “December 1963, (Oh What A Night),” the groups 5th US #1, also their only UK #1 hit.
"Live at Massey Hall," an album documenting Neil Young's '71 solo concert in Toronto, was issued in 2007. "This is the album that should have come out between "After the Gold Rush" and "Harvest," says Young.
Rick Nelson recorded "Travelin' Man" in 1961.
On this week's Cash Box chart in 1965, the Beatles held down the top four positions, with "Eight Days a Week" at #1. (the groups 7th US #1 hit). Meet the Beatles has become the all-time best-selling album in the U.S., having sold 3.5 million copies already.
Also in 1965- Eric Clapton left the Yardbirds over their new "pop" direction.
In 1999, Cher started a four week run at #1 on the US singles chart with “Believe,” making Cher the oldest woman to top the Hot 100 at the age of 53.
Police feared a Beatles connection when a terrorist organization calling itself Revolutionary Force 9 takes credit for three bombings in New York in 1970.
In 1987, the first cassingle was released and it's ... Bryan Adams' "Heat of the Night."
The Recording Industry Association of America introduced its awards for record sales in 1958. The Beatles hold the record for being awarded the most with 76 platinum certifications.
Johnny Preston was at #1 on the US singles chart in 1960 with “Running Bear,” also #1 in the UK.
Working at Abbey Road studios in London in 1967, six members of Sounds, Inc. recorded the horn parts for The Beatles song ‘Good Morning Good Morning’ (three saxophones, two trombones, and one french horn).
Harry Nilsson was at #1 on the UK singles chart in 1972 with his version of The Peter Ham and Tom Evans song 'Without You'. The song was also a #1 for Mariah Carey in 1994.
The Jackson 5 moved from Motown to Epic Records in 1976 and amend their name to the Jackson's.
Rush released “Fly By Night” in 1975.
A drunken John Lennon and Harry Nilsson (also wasted) were forcibly ejected from the Troubadour in L.A. in 1974. The fun-loving pair throw a few punches before hitting the pavement. This is another of Lennon’s “Lost Weekend” adventures while separated from Yoko Ono.
Here's an unlikely combination. Black Sabbath, Lynyrd Skynyrd, the Sex Pistols and Blondie are inducted into the Rock And Roll Hall Of Fame in 2006. Sabbath is introduced by Metallica frontman James Hetfield and drummer Lars Ulrich, who say, "Sabbath is and always will be synonymous with Heavy Metal." Sabbath frontman Ozzy Osbourne calls the honor "an achievement I'm really proud about." Kid Rock inducts Skynyrd then performs with the band. The night also has Deborah Harry refusing to let former members of Blondie perform with the group. The event takes place at New York's Waldorf-Astoria.
Thursday, March 12, 2009
Music News & Notes
My Morning Jacket EP
In celebration of Record Store Day on April 18th, My Morning Jacket is set to release their live EP Celebración De La Ciudad Natal exclusively to independent retailers. The seven-song disc was recorded at two of MMJ’s favorite locales in their native Louisville, Kentucky: The Waterfront Park venue and Ear-X-Tacy record store.
==========================
New Radiohead Tour/Music
Radiohead are in talks for a summer tour and hitting the studio again.
“We are working on new material. We’ll be doing some more recording. It’s business as usual,” guitarist Ed O’ Brien told the BBC. “We’ve sort of finished the bulk of In Rainbows touring. We will be doing a little bit of touring in the summer, watch this space!”
==========================
Late Night Music Battle
Last week, it was five straight nights of U2 on David Letterman. Now, Jay Leno has taken up the battle by booking Prince for three straight nights from March 25 to 27 to promote his two new albums, LOtUSFLOW3R and MPLSoUND. He'll then be back on May 28for Leno's final late night show.
==========================
Bret Michaels Autobio
Bret Michaels is scheduled to release his autobiography, "Roses and Thorns: The Rock 'n' Roll Fantasy to My Reality," in June via Simon & Schuster.
Michaels told Billboard, "It will give people the untold story. It gives you the sex, the drugs, the rock 'n' roll, but it also gives you the diabetes. It gives you every aspect of my life and what I'm going through. I think it's pretty frank."
In celebration of Record Store Day on April 18th, My Morning Jacket is set to release their live EP Celebración De La Ciudad Natal exclusively to independent retailers. The seven-song disc was recorded at two of MMJ’s favorite locales in their native Louisville, Kentucky: The Waterfront Park venue and Ear-X-Tacy record store.
==========================
New Radiohead Tour/Music
Radiohead are in talks for a summer tour and hitting the studio again.
“We are working on new material. We’ll be doing some more recording. It’s business as usual,” guitarist Ed O’ Brien told the BBC. “We’ve sort of finished the bulk of In Rainbows touring. We will be doing a little bit of touring in the summer, watch this space!”
==========================
Late Night Music Battle
Last week, it was five straight nights of U2 on David Letterman. Now, Jay Leno has taken up the battle by booking Prince for three straight nights from March 25 to 27 to promote his two new albums, LOtUSFLOW3R and MPLSoUND. He'll then be back on May 28for Leno's final late night show.
==========================
Bret Michaels Autobio
Bret Michaels is scheduled to release his autobiography, "Roses and Thorns: The Rock 'n' Roll Fantasy to My Reality," in June via Simon & Schuster.
Michaels told Billboard, "It will give people the untold story. It gives you the sex, the drugs, the rock 'n' roll, but it also gives you the diabetes. It gives you every aspect of my life and what I'm going through. I think it's pretty frank."
New Information Released on Woodstock Ultimate Collectors Edition
The 1970 Oscar winning documentary Woodstock: 3 Days of Peace and Music is both Blu-Ray and on DVD in an Ultimate Collector's Edition. Release date is June 9 but people going to SXSW will get the chance to get a first look at the new Hi-Def picture and sound on March 21.
The DVD will have two extra hours of rare performance footage featuring 18 new performances as never before seen from 13 groups, including Joan Baez, Country Joe McDonald, Santana, The Who, Jefferson Airplane, Canned Heat, Joe Cocker and five (Paul Butterfield, Creedence Clearwater Revival, The Grateful Dead, Johnny Winter and Mountain) who played at Woodstock but never appeared in any film version.
A third hour of bonus material also on the Ultimate Collector's Edition includes a featurette gallery showcasing interviews with Martin Scorsese, producer Michael Lang, director Michael Wadleigh, Hugh Hefner, Eddie Kramer (the concert’s original chief on-site engineer and producer-engineer for Jimi Hendrix) and others who chronicle the making of the festival and the film. Included are such segments as 3 Days in a Truck, No Rain! No Rain! and Living Up To Idealism. Additionally, exclusive to Blu-ray, a Customize Your Own Woodstock Playlist from the 18 bonus performances and other special features like Media Center, My WB Commentary and Live Community Screening.
The Ultimate Collector's Edition will be packaged in a unique giftbox, numbered as part of a limited run with an array of collectibles that include a 60+ page reprint of a Life magazine commemorative issue, a lucite lenticular display of vintage festival photos, festival memorabilia and an iron-on patch with the classic dove and guitar Woodstock emblem.
SOURCE: http://winkscollectibles.blogspot.com
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